In recent years, many studies have shown that perceiving other individuals’ direct gaze has robust effects on various attentional and cognitive processes. However, considerably less attention has been devoted to investigating the affective effects triggered by eye contact. This article reviews research concerning the effects of others’ gaze direction on observers’ affective responses. The review focuses on studies in which affective reactions have been investigated in well-controlled laboratory experiments, and in which contextual factors possibly influencing perceivers’ affects have been controlled. (...) Two important themes emerged from this review. First, explicit affective evaluations of seeing another’s direct versus averted gaze have resulted in rather inconsistent findings; some studies report more positive subjective feelings to direct compared to averted gaze, whereas others report the opposite pattern. These contradictory findings may be related, for example, to differences between studies in terms of the capability of direct-gaze stimuli to elicit feelings of self-involvement. Second, studies relying on various implicit measures have reported more consistent results; they indicate that direct gaze increases affective arousal, and more importantly, that eye contact automatically evokes a positively valenced affective reaction. Based on the review, possible psychological mechanisms for the positive affective reactions elicited by eye contact are described. (shrink)

This article analyses the gazes, looks, stares and glares in Laurence Anyways, and examines their affective, interpretive, and symbolic qualities, and their potential to create viewer empathy through affect. The cinematic gaze can produce sensations of shame and fear, by offering a sequence of varied “encounters” to which viewers can react, before we have been given a character onto which we can deflect them, thus bypassing the representational, narrative and even the sympathetic power of the medium to create “raw”, apparently (...) unmediated sensations. Through the point-of-view shot and direct address, the viewer is the object of the gazes it receives, and experiences their hate and rejection before actually being presented with the film's narrative object of the gaze – the film's protagonist, a transgender woman named Laurence. It examines how the viewer, after being affected, interprets and misinterprets the emotions behind the gazes, and then cognitively attaches the gazes' importance... (shrink)