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This study intends to corroborate certain theories of comparative narratology expressed by François Jost in his essay L’oeil-caméra: entre film et roman (1987) through the use of eye tracking. Referring to Gerard Génette’s (1972) narratological concept of “focalization”, Jost coined the neologism “ocularisation” to define how the viewing relationships between camera (narrating instance), character(s) and spectator are regulated in a filmic text. Involving some male and female test subjects in the research, who were shown in the laboratory the same three sequence plans taken from three films by Orson Welles and Alfred Hitchcock (Citizen Kane, 1941; Touch of Evil, 1958; Rear Window, 1954), by means of eye tracking software, the intention is to identify coherences, idiosyncrasies or possible oculometric isotopies within the visual maps and in the internal editings of the various users.