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  1. Effects of incidental positive emotion and cognitive reappraisal on affective responses to negative stimuli.Yu Song, Jessica I. Jordan, Kelsey A. Shaffer, Erik K. Wing, Kateri McRae & Christian E. Waugh - 2019 - Cognition and Emotion 33 (6):1155-1168.
    ABSTRACTPrevious studies have identified two powerful ways to regulate emotional responses to a stressor: experiencing incidental positive emotions and using cognitive reappraisal to reframe the stressor. Several cognitive and motivational theories of positive emotion support the formulation that incidental positive emotions may facilitate cognitive reappraisal. To test the separate and interacting effects of positive emotions and cognitive reappraisal, we first adapted an established picture-based reappraisal paradigm by interspersing blocks of positive emotion inducing and neutral pictures. Across two pre-registered studies, reappraisal (...)
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  • The Distancing-Embracing model of the enjoyment of negative emotions in art reception.Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Thomas Jacobsen & Stefan Koelsch - 2017 - Behavioral and Brain Sciences 40:e347.
    Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, (...)
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  • Virtual reality, real emotions: a novel analogue for the assessment of risk factors of post-traumatic stress disorder.Pauline Dibbets & Michel A. Schulte-Ostermann - 2015 - Frontiers in Psychology 6.
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  • An Ambiguous World of Film: Cinematic Immersion beyond Early Heidegger.Ludo de Roo - 2024 - Film-Philosophy 28 (1):11-30.
    Shawn Loht's ground-breaking Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) offers a detailed account of film experience as rooted in Martin Heidegger's existential structure of Dasein. Adapting Being and Time for a phenomenology of cinematic experience, Loht accurately describes how various existential structures of Dasein are “fostered” by the projected world of film: in Loht's account, being-in-the-world is extended in the film experience. Loht's project offers fertile ground for developing the phenomenological basis of film experience. Yet, (...)
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  • Negative emotions in art reception: Refining theoretical assumptions and adding variables to the Distancing-Embracing model.Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Thomas Jacobsen & Stefan Koelsch - 2017 - Behavioral and Brain Sciences 40.
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  • The impact of perception and presence on emotional reactions: a review of research in virtual reality. [REVIEW]Julia Diemer, Georg W. Alpers, Henrik M. Peperkorn, Youssef Shiban & Andreas Mã¼Hlberger - 2015 - Frontiers in Psychology 6.
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  • Aesthetics of the Narrative Climax in Contemporary TV Serials.Héctor J. Pérez - 2022 - Journal of Aesthetics and Art Criticism 80 (2):214-223.
    This article draws on concepts from cognitive psychology to explore the significance of the narrative climax, focusing on the final climax of the series The Americans as a case study. Two aspects of the aesthetic experience are considered: the special intensity that climaxes elicit, and the diversity of the cognitive content they generate, which can include both aesthetic and non-aesthetic properties. The climax is experienced in a state of absorption triggered by a set of strategies of temporal prolongation related to (...)
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  • Customer Engagement in Multi-Sensory Virtual Reality Advertising: The Effect of Sound and Scent Congruence.Malaika Brengman, Kim Willems & Laurens De Gauquier - 2022 - Frontiers in Psychology 13.
    Despite the power of VR in immersing viewers in an experience, it generally only targets viewers via visual and auditory cues. Human beings use more senses to gather information, so expectedly, the full potential of this medium is currently not yet tapped. This study contributes in answering two research questions: How can conventional VR ads be enriched by also addressing the forgotten sense of smell?; and Does doing so indeed instill more engaging experiences? A 2 × 3 between-subjects study is (...)
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  • Commentary: Virtual Reality, Real Emotions: A Novel Analogue for the Assessment of Risk Factors of Post-traumatic Stress Disorder.Zhongyu Shi - 2022 - Frontiers in Psychology 13.
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