Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the phenomenology of grief. We explore two overlapping claims. First, horror is well suited to represent the experience of grief, in particular because the disruptive effects of horror “monsters” on protagonists mirror the core experience of disruption that accompanies bereavement. Second, horror offers ways in which the experience of grief can be (...) contained and regulated and, in doing so, may offer psychological benefits for the bereaved. While our focus will be squarely on film, much of what we say applies to other media. (shrink)

People tend to show greater liking for expressions of sadness when these expressions are described as art. Why does this effect arise? One obvious hypothesis would be that describing something as art makes people more likely to regard it as fictional, and people prefer expressions of sadness that are not real. We contrast this obvious hypothesis with a hypothesis derived from the philosophical literature. In this alternative hypothesis, describing something as art makes people more inclined to appropriate it, that is, (...) to see it as an expression of their own sadness. Study 1 found that describing the exact same sad text as art (e.g., a monologue) as opposed to not-art (e.g., a diary entry) led to increased liking for the work. Study 2 showed that this effect is not mediated by fictionality. Study 3 showed that the effect is mediated by appropriation. Study 4 looked at the impact of a manipulation of fictionality. Describing a work as fictional did lead to increased liking, but this effect was completely mediated by appropriation. These results provide at least some initial support for the appropriation hypothesis. (shrink)

In this article, I will first present a number of contemporary philosophical conceptions that offer various solutions to the “paradox of negative emotions” as a general problem of how one can enjoy art that involves painful emotions. Solutions presented include ambivalence and value judgments theories, compensatory theories, and theories of catharsis. Then the article highlights a number of modern empirical studies devoted to this paradox. Despite the fact that they contain methodological and substantive problems, and do not add up to (...) a coherent system, their results are valuable, since they challenge the possibility of a universal solution to the paradox. (shrink)

Given its clinical significance, horror should occupy a prominent place within emotion theory. However, conceptualizations of horror within psychological science are relatively underdeveloped and conceptually confused. Through conceptual analysis of the disparate literature on the emotion, we seek to establish horror as a qualitatively distinct mode of engagement with the world and to remedy its over-intellectualization, as evident in many prior accounts. Given its etymology, we first address horror's characteristic immobilization—at the level of stereotypical facial configuration and action readiness—before analyzing (...) horror's formal object and appraisal structure. In the process, we critique schema accounts of the emotion and argue for conceptualizing horror pre-reflectively by grounding it in appraised violations of the practical dynamics of social engagement. (shrink)

To probe the motivational roles of hedonic gratification and social gratification in giving “Like” feedback on social media, we developed a set of novel pictures to simulate WeChat Moments. We subsequently examined how the personality trait of extraversion and stimulus content characteristics influenced “Liking” behavior. A 2 × 3 × 2 -mixed experimental design was applied to data obtained from 56 WeChat Moments users. These participants included 28 individuals with the highest extraversion scale scores, and 28 individuals with the lowest (...) extraversion scale scores, according to the NEO Five-Factor Inventory. Briefly, participants observed pictures on an interface similar to that of WeChat Moments and were given the option to “Like” each picture. “Like” rates and response time were then compared across groups and conditions by applying a mixed-design analysis of variance. Pearson's correlation coefficients were calculated to explore relationships between the “Like” rates under each condition and the scores for each personality trait. Compared with the neutral pictures, the positive and negative pictures were “Liked” more and less frequently, respectively. Compared with the poster-unrelated pictures, the personally related pictures were “Liked” more frequently. In the extrovert group, the frequency of “Likes” given to unrelated negative content positively associated with neuroticism and negatively associated with conscientiousness. No correlations were observed in the introvert group. Compared with not giving “Like” feedback, participants gave “Likes” to positive and negative pictures more quickly and slowly, respectively.These results support the hypothesis that hedonic gratification and social gratification motivate “Like” feedback for positive content and personally related content, respectively. “Liking” behavior was not affected by extraversion, but was related to neuroticism and conscientiousness. Content-related differences in time intervals for giving “Like” feedback in this study suggest that people do not hesitate to give “Like” feedback to positive content on WeChat Moments, yet linger in deciding to give “Like” feedback to negative content. (shrink)