Band 34, Heft 4

In this paper, involvement in fictional films is defined as a multidimensional construct consisting of qualitatively differing, interdependent modes of reception. Based on theoretical considerations that we developed further through successive questionnaire studies, we construct a four-factor-model with the latent factors Identity Work, In-Emotion, Imagination, and Production. We subsequently develop and validate a measurement instrument, the Modes of Reception Inventory, which assesses dominant modes of reception for fictional films. The psychometric properties and the construct validity of this scale are tested using structural equation modeling. Finally, we discuss possible extensions and applications of modes of reception for audience research.

Several models of narrative persuasion posit that a reader's phenomenological experience of a narrative plays a mediating role in the persuasive effects of the narrative. Because the narrative reading experience is multi-dimensional, this experiment investigates which dimensions of this experience – referred to here as narrative engagement – mediate between reading a story and the persuasive effects of the story. Narrative engagement was manipulated by giving participants a selection task to carry out while reading or by adding language errors to the story. Results showed that the task decreased the engagement dimension Being in Narrative World and the language errors decreased the dimension Attentional Focus. No corresponding effects on attitudes were found. However, comparisons with a control group showed that reading the story rendered attitudes more consistent with the story. Regression analysis indicated that this effect may be explained by readers' emotions regarding the characters.

Readers of fiction tend to have better abilities of empathy and theory of mind (Mar et al., Journal of Personality 74: 1047–1078, 2006). We present a study designed to replicate this finding, rule out one possible explanation, and extend the assessment of social outcomes. In order to rule out the role of personality, we first identified Openness as the most consistent correlate. This trait was then statistically controlled for, along with two other important individual differences: the tendency to be drawn into stories and gender. Even after accounting for these variables, fiction exposure still predicted performance on an empathy task. Extending these results, we also found that exposure to fiction was positively correlated with social support. Exposure to nonfiction, in contrast, was associated with loneliness, and negatively related to social support.

This paper addresses the issue of narrative influence on knowledge acquisition in science education. Special characteristics of narratives and of narrative processing are compared to characteristics and processing of traditional expository educational materials. This paper goes beyond the existing literature on processing of media presentations that combine narrative and educational contents. Effects of four distinctive narrative features – dramatization, emotionalization, personalization, and fictionalization – are discussed with regard to their influence on single steps in knowledge acquisition (interest, attention, elaboration, and representation) to explain the superiority of narratives over expository material found in some studies. The need for a model describing the complex relationships between the effects of the single narrative characteristics on knowledge acquisition is proposed.

Public debates on reality television often address the display of emotion and immoral conduct. Television scholars have recently proposed that while reality television offers its audience an opportunity to learn valuable lessons, they rarely address the issue of the morality of the genre. In this contribution, we analyze the display of emotion and immoral conduct in the Dutch reality show The Golden Cage . Reality television is viewed as constituting a ‘moral laboratory’. The question guiding our research revolved around the kind of exercise this moral laboratory provides for. A dramaturgical study of the display of actions and emotions as part of participant “projects” (Beckerman, Dynamics of drama: Theory and method of analysis, Drama Book Specialists, 1979) was used to answer this question. Results indicate that moral issues and emotions were continuously at stake, and immoral conduct appeared to be coupled with pleasurable emotions. It is concluded that the laboratory of The Golden Cage is at least equally suited for exercising autonomy and identity performance under competitive pressure as it is for the simulation of moral conflicts.