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Effects of emotions on memory
Effects of emotions on memory
Effects of emotions on memory
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Television messages can be defined a psychological stimulus (A. Lang, 2000). Within this perspective, mediated messages are assumed to be environmental stimuli that posses survival relevance in the forms of valence and arousal in its content (A. Lang & Friestad, 1993; Wang & A. Lang, 2006). Therefore, mediated messages automatically activate the human motivational systems. Through activating the human motivational system, mediated messages influence human’s ongoing emotional experience (A. Lang, 2006a).
Television messages are composed of two streams of variously redundant information, one audio and one video (A. Lang, 2000). These streams of information are continuous, and both the audio and the video channels carry story, content (including motivational significance), and structural information (Basil, 1994a; A. Lang, 2000; Thorson, Reeves, & Schleuder, 1985). Visual channel carries the context in which the story is set; it can include still pictures, moving pictures, text, live action images, animated images, or a combination of these. The auditory channel serves the script or storyline of a television program; it can also have natural sound information, or sound effects (A. Lang, 2006a; Russell, 2002).
Regarding the television research under the LC4MP paradigm, it have been discussed the relationship between emotional audiovisual content, emotional experience, and cognitive response. Studies have proved viewers have better memory for arousing or negative audiovisual content (Grabe, A. Lang, & Zhao, 2003; A. Lang et al., 1996). On the other hand, researches also point out that the structural feature in audiovisual messages like fast edits (A. Lang, Zhou, Schwartz, Bolls, & Potter, 2000) or fast pacing (A. Lang, Bolls, Pott...
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...teractively activate the motivational systems and determine emotional experience. This study will represent a first to address this important issue.
Because the emotional relevance of mediated messages activate the human motivational systems (A. Lang et al., 2007; A. Lang, Shin, & Lee, 2005), it is important to develop understanding of the influence of various channels or modalities on motivational activation and emotional experience. By advancing understandings of motivational activation stands to contribute to knowledge about cognitive processing of information in mediated messages. Automatic allocation of processing resources to cognitive processing of information in audiovisual messages depends largely on motivational activation (A. Lang et al., 1999; A. Lang, Dhillon, & Dong, 1995; A. Lang et al., 1996; A. Lang, Park, Sanders-Jackson, Wilson, & Wang, 2007).
Nabi, Robin L., et al. "Reality-Based Television Programming and the Psychology of Its Appeal." Media Psychology 5 (2003): 303-330.
In the world today watching television is so addictive that everything else looks unattractive. The author argues that television is not lethal as drugs and alcohol but it can have many effects such as children getting more violent and reality seem second best. Every person lives are filled with emotions including anxiety, depression, and stress so after long hard work day the best medicine is to turn the television on and not to worry about anything. For example, I usually drive from site to site to take care of business. So when I return home from work I will sit on my couch and turn the television on and flick the channel until I fall to sleep. As Marie Winn describes, "the television experience allows the participant to blot out the real world and e...
One of the mediums by which this cultural shift has continually happened is through television. Not only does culture affect choices made by those in the television industry, but popular series and talk shows, whether intentionally or not, name what culturally acceptable regarding many social issues. Television, TV for short, is referring to the telecommunication medium by which ideas are transmitted into moving pictures. The Television industry will be defined as the group of brains behind the creating process of a television show of any genre. Genres each have their own purpose and effect on the audience; talk shows mean to engage, while sitcoms, drams, mini-series, and television comedies are meant to entertain. Regardless of its intentions, each genre of TV has an affect on the people who internalize what they are watching.
The image that TV gives to the world is not accurate which then is transformed into a generalization. Johnson recognizes that stereotypes have been nurtured by TV, but he pays more attention to the structure that can make a human more intelligent (278-279). He believes that TV’s demand has increased because of its complexity. He thinks that the masses have broken the common thought that says, “[T]he “masses” want dumb” (278). Instead, the demand of TV programming has increased because viewers are thinking more about the structure rather than following trends. He mentions that TV has become more realistic but at the same time more ambiguous. He claims, “[W]hat media have lost in clarity, they have gained in realism” (279). The reality presented in TV is the real world (279). In other words, Johnson believes that the complexity of TV programming has evolved so much that has helped the masses to make connections with the real life. He also claims that the ambiguity which presents negative content is having a positive impact in the society. However, it depends on the person’s thought
In final analysis, the motion picture is the one that goes deeper inside the spectator’s mind. The other mediums such as still picture and theatrical play also provide the visual and aural elements for the spectator, yet they seem to be inferior to the motion picture in that they lack the reality, affinity, and creativity in terms of use of time and space. The levels of emotions such as attention, memory, imagination, emotion, and unity, which were introduced by Munsterberg, indicates how the spectator perceives the elements of the film and ends up with it.
Television has become a big part in children’s day-to-day lives especially in the 20th century. Children in this century rely on television to keep them entertained and educated instead of entertaining and educating themselves by participating in activities, which will teach them a lot more in life then the actual television. There is no doubt that children are most easily influenced by television because of the different content that they watch as well as the amount of time consumed watching TV. The television does have an emotional and intellectual development on children but this all depends on the content that they’re watching and the way that they absorb the information that the show is trying to send out. Different programs will portray
By assessing the personal meaning of events, emotion comes up. What’s more, positive emotions have not only a role of marking happiness, but also a function to continue
Up until recently television has been the most prominent medium of entertainment and information in our lives. Nothing could beat Saturday morning cartoons, the six o'clock news and zoning out from the world by the distractions of prime time sitcoms. It is all of these things and more that formed television into what was thought to be the ultimate entertainment medium, that is, up until now. Television in the twenty-first century is not the television our parents watched or in fact what we watched as children. Today’s generation are no longer satisfied with the traditional television experience. Today’s audience no longer has to follow the network’s predetermined schedule nor is television the one dimensional experience it used to be. Viewers no longer need to schedule a fixed time in order to gather information or watch their favourite show (Smith 5). They can record it with the push of the DVR (Digital Video Recording) button or watch it on a device and obtain background information via the Internet. In addition, viewers now have the opportunity to interact with, share, and produce their own material from their favourite show (5). In order to not lose the authenticity of television, media theorists have created transmedia. This new twist on television gives the user more control and more involvement than ever before. The concept has been termed as transmedia storytelling. The online journal Infoline defines transmedia storytelling in its January 2014 issue as “social, mobile, accessible and re-playable.” Originally coined in the 1990’s it was not until 2003 when Henry Jenkins, a professor of communications at the University of Southern California, wrote his article “Transmedia Storytelling” that the term began being ...
Resonance occurs when real-world events supports the distorted image of reality show in television (Bryant, et al., 2013). Whenever the direct experiences are in agreement with the message from the television, the messages are reinforced –they resonate- and the cultivate effect is amplified. (Bryant, et al., 2013). In other words, if the viewer’s life experiences are similar to the media content that they are viewing, and the media messages are more likely to have an effect on them (Van Vonderen and Kinnally, 2002). Instances of direct experience that reflect instances observed on the television also combine in the viewer’s minds, making it more difficult for them to recall which was direct experience and which experience they viewed on the television (Van Vonderen and Kinnally, 2002). For example, television can act as a reinforce if an adolescent’s friends always tell her she would be prettier if she lost weight. As a consequence, this girl comes to believe think is desirable and she holds this belief with greater intensity than she did before watching television (Hendricks,
Since emotions are typically needed to communicate successfully, this gives way to the possibility that emotions exist to be our governing channel of communication. The level of understandability and intensity of communication is exceedingly dependant on the amount of emotion used. Emotionless verbal communication is complex to understand, uninteresting and monotonous. Emotionless nonverbal communication is generally next to impossible to comprehend, and is the borderline of understanding and bewilderment. Communication could be straightforwardly thought of as expressed emotion.
The method used for this research is a literature review of articles related to emotional in...
Roscoe, J 2010, ‘Multi-Platform Event Television: Reconceptualizing our Relationship with Television’, The Communication Review, vol. 7, issue. 4, pp. 363-369.
Emotion is the “feeling” aspect of consciousness that includes physical, behavioral, and subjective (cognitive) elements. Emotion also contains three elements which are physical arousal, a certain behavior that can reveal outer feelings and inner feelings. One key part in the brain, the amygdala which is located within the limbic system on each side of the brain, plays a key role in emotional processing which causes emotions such as fear and pleasure to be involved with the human facial expressions.The common-sense theory of emotion states that an emotion is experienced first, leading to a physical reaction and then to a behavioral reaction.The James-Lange theory states that a stimulus creates a physiological response that then leads to the labeling of the emotion. The Cannon-Bard theory states that the physiological reaction and the emotion both use the thalamus to send sensory information to both the cortex of the brain and the organs of the sympathetic nervous system. The facial feedback hypothesis states that facial expressions provide feedback to the brain about the emotion being expressed on the face, increasing all the emotions. In Schachter and Singer’s cognitive arousal theory, also known as the two-factor theory, states both the physiological arousal and the actual arousal must occur before the emotion itself is experienced, based on cues from the environment. Lastly, in the cognitive-mediational theory
This brings us to the two factors that influence an audience when presenting information through a media: the vividness of presentation and the position of a story (Baran 302). These factors, along with others, induce the audience to feel as if a particul...
R. J. Dolan, Emotion, Cognition, and Behavior, Science 8 November 2002: 298 (5596), 1191-1194. [DOI:10.1126/science.1076358]