Book chapters by Sophie H. Janicke
Raney A. A., & Janicke, S. H. (2014). Morality and the selection, reception, and effects of enter... more Raney A. A., & Janicke, S. H. (2014). Morality and the selection, reception, and effects of entertainment media. In M.B. Oliver and A.A. Raney (Eds.), Media and Social Life (pp. 29-46). New York: Routledge.
Papers by Sophie H. Janicke
Abstract
Spirituality is a complex, multidimensional concept, involving distinct and related outl... more Abstract
Spirituality is a complex, multidimensional concept, involving distinct and related outlooks on and experiences with sacredness, transcendence, connectedness, and deep truths (e.g., Elkins, Hedstrom, Hughes, Leaf, & Saunders, 1988; Emmons, 2006). Given the positive connotations associated with such outlooks and experiences, it is unsurprising that the relationship between spirituality and well-being has been explored from a variety of perspectives. However, to date, the role that media content and use might play in that relationship has been largely ignored, at least by media psychologists. The goal of this chapter is to explore that role. That is, we aim to examine how media can be used in the pursuit and service of spirituality leading to subjective well-being. To that end, we first operationalize spirituality before situating the term—and the experiences it represents—within the current landscape of empirical media uses and effects scholarship.
Recent scholarship of media psychology acknowledged that media entertainment offers more than pur... more Recent scholarship of media psychology acknowledged that media entertainment offers more than purely hedonistic enjoyment, but also meaningful experiences. This study expands our understanding of media enjoyment by exploring a new dimension that illuminates entertainment's elicitation of spiritual emotions and beliefs, such as those related to human's connectedness, blessedness, and transcendence. Results from an online survey (N=220) indicate that media entertainment elicits spiritual emotions and increases the saliency of spiritual beliefs, as related to self-actualization and spiritual experiences in everyday life. Furthermore, trait transcendence and eudaimonic media motivations add to the explanation of audience's mediated spiritual experiences. Open-ended responses, analyzed by three coders, revealed that themes of transcendence and human connectedness are an integral part of the experiences viewers derive from entertainment. This explanatory study provides the groundwork to investigate spiritual media experiences and advances understanding of audiences' appreciation for media entertainment. Implications for the media psychological research tradition are discussed.
Expanding on the research of meaningful entertainment media and its effects, this study investiga... more Expanding on the research of meaningful entertainment media and its effects, this study investigated the relationship between experiences related to elevation responses to film, and helping behavior. Whereas research thus far has focused primarily on portrayals of altruism to elicit elevation, the results of this study show that portrayals of connectedness, love, and kindness in meaningful films are also able to elicit feelings of elevation. Moreover, elevation mediated the relationship between meaningful films and feelings of connectedness to the transcendent, gratitude towards one's family; the importance of love in life; compassionate love towards close others; and compassionate motivation to love and be good to humanity. Helping behavior was the greatest for females who remembered a meaningful film and experienced very high levels elevation.
Disposition theories have a long and rich tradition in explaining the enjoyment of traditional he... more Disposition theories have a long and rich tradition in explaining the enjoyment of traditional hero narratives. The disposition formula, however, is less successful when applied to the current box-office-busting trend of antihero movies. Recent research with a variety of entertainment formats suggests that identification and moral disengagement are important factors for the enjoyment of antihero narratives. The present study attempts to unify and build upon this work, examining additional personality and general entertainment variables in the development of a generalized model of the antihero narrative enjoyment process. Participants (n = 234) viewed one of three feature-length antihero films. Findings revealed a consistent enjoyment model that highlights the importance of identification for disposition building, and narrative engagement—including identification, transportation and perceived realism—for enjoyment. The importance of personality variables and moral disengagement-laden antihero schemas in relation to the model are discussed.
The present study attempts to address the proposed assumption by Raney (2004) that cognitive sche... more The present study attempts to address the proposed assumption by Raney (2004) that cognitive schemas are a main component for how media characters are morally perceived and evaluated. Story schemas become specifically important for antihero narratives, where viewers encounter moral transgressions they would likely not approve when encountered in real life. Participants were exposed to either a hero or antihero TV crime drama in two quasi-experimental studies. Reaction time measurements were employed as a means to assess the narrative schemas. Study One supports the assumption for underlying schemas that impact moral-judgment making, irrespective of the moral complexity of the character in question. Study Two differentiates between a hero and antihero schema and illuminates how schema-related responses are context sensitive. In short, moral transgressions are more likely to be accepted inside a narrative context than outside a narrative context. Implications of these findings for media effects research are discussed.
Research differentiates between hedonic and eudaimonic motivations to consume entertainment, as w... more Research differentiates between hedonic and eudaimonic motivations to consume entertainment, as well as the resulting enjoyable and appreciative (or meaningful) experiences. To date, research has focused on hedonically motivated/enjoyable media; eudaimonically motivated/meaningful media experiences have received far less attention. The present study is exploring the role of spirituality in meaningful media experiences, differentiating the concept from religiousness or religiosity as well as from the most recent conceptualization of eudaimonia in media. Furthermore, effects on spiritual contemplation and attitude strengthening (i.e. narrative persuasion) from particular spiritual entertainment fare will be examined. The study will add to the existent scholarship of media entertainment and narrative persuasion as well as conceptualizations of eudaimonic (i.e. meaning seeking) media experiences, suggesting that spirituality should be considered as an additional dimension for the understanding of pensive media experiences.
With the swift arrival of 3D technology in our living rooms, content creators are pressured to ke... more With the swift arrival of 3D technology in our living rooms, content creators are pressured to keep up with increased demand by consumers. Experience suggests to us that simply applying 2D storytelling conventions to 3D is rarely the best option to meet this demand. So, developing new forms and approaches to storytelling within a 3D environment is a must. But how do we go about this? The outlined project contributed to the exploration of this question from the perspective of media psychology.
Communications The European Journal of Communication Research, 2015
Affective disposition theory explains well the process of enjoying hero narratives. However, it ... more Affective disposition theory explains well the process of enjoying hero narratives. However, it is not particularly well suited to explain the appeal of narratives featuring antiheroes. Recent exploratory scholarship on antiheroes suggests that character identification and the process of moral disengagement might be important factors in the enjoyment of such fare. The current study builds on this initial work and adds another piece of evidence in support of these claims. A sample of 101 self-identified fans and nonfans of the television series 24 viewed a condensed version of Season 1, providing evaluation of various protagonist perceptions, moral judgments, and emotional responses to the narrative, as well as overall enjoyment. As expected, fans reported greater liking of the protagonist Jack Bauer and greater enjoyment. But more importantly, regression analyses illuminated key differences between the groups in terms of the factors predicting enjoyment, providing a clearer picture of how we enjoy antihero narratives.
The effect of violent television on children is a widely discussed issue across countries. While ... more The effect of violent television on children is a widely discussed issue across countries. While in the United States indecency and offensive speech is regulated by the FCC, violence is not. Since content regulation can violate First Amendment rights, Congress regarded a technological regulation of violent broadcasting as the solution with the least compelling problems of free speech rights and enforced the V-chip in the Telecommunication Act 1996. However, this blocking device proves to be very ineffective. The paper at hand analyzes the debate about the regulation of violent content on television in the United States and compares this matter with the broadcast regulation in Germany, where violent television content is, in fact, regulated. In analyzing how German broadcast regulation is operating, the paper concludes that for an effective violent content regulation in the United States, a proper rating system which is independent from industrial interests is a necessity. Further recommendations for a time channeling regulation of violent television content in the United States are derived from the comparative analysis of the two countries.
Talks by Sophie H. Janicke
What techniques have already found mainstream acceptance at highly innovative companies such as G... more What techniques have already found mainstream acceptance at highly innovative companies such as Google, Target and Comcast that can also help academics? They are ancient but innovate and include exercises for the Mind and Heart, in short: Mindfulness programs. Based on neuroscientific research, this workshop will introduce the science behind our unhealthy work habits, stress and reduced productivity as a result, while introducing a toolkit for everyday life that has been scientifically shown to decrease stress, enhance self-compassion, attention and productivity and helps us to re-connect with the true and happy self we want to be. Get ready to take a breath, re-learn how to focus, feel connected, and calm your mind.
Recent scholarship of media psychology acknowledged that media entertainment offers more than pur... more Recent scholarship of media psychology acknowledged that media entertainment offers more than purely hedonistic enjoyment, but also meaningful experiences. This study expands our understanding of media enjoyment by exploring a new dimension that illuminates entertainment’s elicitation of spiritual emotions and beliefs, such as those related to human’s connectedness, blessedness, and transcendence. Results from an online survey (N=220) indicate that media entertainment elicits spiritual emotions and increases the saliency of spiritual beliefs, as related to self-actualization and spiritual experiences in everyday life. Furthermore, trait transcendence and eudaimonic media motivations add to the explanation of audience’s mediated spiritual experiences. Open-ended responses, analyzed by three coders, revealed that themes of transcendence and human connectedness are an integral part of the experiences viewers derive from entertainment. This explanatory study provides the groundwork to investigate spiritual media experiences and advances understanding of audiences’ appreciation for media entertainment. Implications for the media psychological research tradition are discussed.
Understanding the impact of 3D technology is critical for content providers, advertisers, educato... more Understanding the impact of 3D technology is critical for content providers, advertisers, educators, parent groups, and government agencies. Our research investigates the psychological processes involved in consumption of all types of 3D media content, as well as the potential short-term and long-term effects associated with those processes. The rich media environment and viewing experiences offered through 3D should have new and possibly profound impact on these processes. Our research is examining this impact in three key areas, including learning environments, emotional effects, and content enjoyment. Our exhibit will provide a comprehensive overview of the research we have conducted in the 3D arena, including research we recently presented to industry leaders in Hollywood.
A panel proposal submitted to the Interactive Media & Emerging
Technologies Division for possible... more A panel proposal submitted to the Interactive Media & Emerging
Technologies Division for possible inclusion in the 2012 Broadcast Education Association Conference
Summary
The tipping point for stereoscopic 3D entertainment is here:
television, video game systems, the Internet, mobile devices, and, of course, motion pictures. A quick walk through the NAB
Exhibition Hall will convince you of this. In fact, industry
experts forecast 50% home saturation for stereoscopic 3D
technologies as early as 2016. But having the ability to create 3D entertainment is one thing; it is quite another to create enjoyable 3D content. Applying 2D storytelling conventions to 3D can get you the former, but experience over the past few years suggests that it is rarely the best option to create the latter. Developing new forms and approaches to storytelling and entertainment within a 3D environment is a must. But how do we go about this? The purpose of this panel is to address that question. First, academicians and industry leaders currently creating and researching stereoscopic 3D entertainment will provide an update of their latest work.
Secondly, panelists will participate in a roundtable discussion of
how the two groups can work together to create effective
synergies across these emerging technologies to develop truly
entertaining stereoscopic 3D content. Time will be set aside for audience members to join in the conversation.
From the humble wireframe graphics of Atari’s 1980 arcade hit, Battlezone, to the reality-bending... more From the humble wireframe graphics of Atari’s 1980 arcade hit, Battlezone, to the reality-bending, animated environment featured in Crytek’s 2011 blockbuster, Crysis 2, the digital gaming industry has consistently managed to leverage improvements in technology for improvements in gameplay. For this legacy to continue, game developers must better understand how to leverage stereoscopic 3D technology in the gaming experience. To do so, developers first must identify the unique effects of 3D technology on key aspects of the gaming experience.
Without question, the gaming experience is multifaceted. In this study, we target key psychological and physiological phenomena impacted by stereoscopic technology: presence, engagement, immersion, arousal, and enjoyment. We examine these phenomena in both 3D and 2D users to effectively identify the unique qualities associated with “good” 3D games. Our goal is to better understand the ways that these key variables are differentially impacted by current gaming features.
To that end, participants were randomly assigned to play Grand Turismo 5 in either 3D or 2D, with the various psychological processes associated with overall enjoyment of the gaming experience measured upon completion. Physiological measures of arousal and presence—heart rate and skin conductance—were also assessed.
In our presentation, we will share the results of this experimental study. Further, we will situate these findings within the broader context of entertainment theory and will discuss how this burgeoning academic field can offer crucial insight into the lived experiences of 3D users. Armed with this greater understanding, content developers can craft games and other narratives offering the most enjoyable stereoscopic 3D user experience possible.
With the swift arrival of 3D technology in our living rooms, content creators are pressured to ke... more With the swift arrival of 3D technology in our living rooms, content creators are pressured to keep up with increased demand by consumers. Experience suggests to us that simply applying 2D storytelling conventions to 3D is rarely the best option to meet this demand. So, developing new forms and approaches to storytelling within a 3D environment is a must. But how do we go about this? Our study will contribute to the exploration of this question from the perspective of media psychology. Our project investigates several variables underlying a positive 3D entertainment experience, as well the process through which entertainment narratives can impact a viewer’s attitudes about particular issues (i.e., narrative persuasion). We specifically look at the process of transportation into the narrative world, an experience that has been shown to underlie both of effects. We contend that 3D theoretically lends itself to the creation of a greater feeling of transportation for the viewer, which ultimately should impact their enjoyment and narrative persuasion. Our project involves two experimental studies, using a variety of 2D and 3D content. Our work takes a first step in better understanding the 3D entertainment experience from a media-psychological perspective, offering a model of how academic research can assist in the development of this industry.
Dissertation by Sophie H. Janicke
ProQuest Dissertations and Thesis Full Text, Apr 15, 2014
Recently, so called "antihero" TV shows such as Dexter, Revenge , or The Walking Dead seem to fi... more Recently, so called "antihero" TV shows such as Dexter, Revenge , or The Walking Dead seem to find great reception among audiences. Traditional crime dramas are enjoyed based on the moral approval of the protagonist and the empathetic feeling for the hero to win over the immoral, harm deserving villain. That formula, however, does not account for the immoral actions antiheroes perform, who despite their morally inappropriate actions are still greatly liked and identified with, and narratives featuring them are greatly enjoyed. Raney (2004) argued that viewers are cognitive misers and instead of morally scrutinizing the character's actions before building a disposition towards them, they rely on narrative schemas. Through repeated exposure to a certain kind of narrative (i.e., traditional hero narrative or non-traditional antihero narrative), specific story schemas are formed that provide the viewer with a set of rules how to interpret the unfolding events and preformed attitudes about the protagonists, which consequently eliminate cognitively taxing scrutinizing of the characters actions, leaving cognitive energy to fully immerse into the story. Story schemas become specifically important for antihero narratives, where viewers encounter moral transgressions they would likely not approve when encountered in real life (e.g., Dexter murdering criminals). This dissertation project attempted to empirically investigate several related issues: (1) the existence of a specific hero and antihero narrative schema; and (2) how much the context--real-world vs. fictional--matters for the evaluation of morally complex characters (i.e., antiheroes) and their morally ambiguous actions. Two independent studies, with altogether three different treatments, were conducted employing reaction-time measurement to investigate these questions. Participants were exposed to either a hero or antihero narrative and then had to read an either fictional-framed or realistically framed antihero story. Results support the existence of two different narrative schemas that impact moral judgment making, supporting Raney's (2004) proposition about the relevance of schemas for the processing of narratives. Additionally, results indicate that the context in which the moral evaluation is made (inside or outside the narrative context) affects the evaluation of an antihero, connecting the context with schema activation. Inside the narrative context (or more generally speaking "from a fictional perspective") the antihero is evaluated more positively than outside the narrative context (from a realism perspective), based on the activated schema. Furthermore, the findings lead to the argument that the activation of a hero schema primes the viewer to evaluate protagonists and their actions based on the ethical principle of deontology (i.e., in a rule-based manner). This is in comparison to the activation of an antihero schema that primes the viewer to evaluate protagonists and their actions from a consequentialist standpoint (i.e., in a deliberate manner). The findings of this dissertation are relevant for our understanding of how we process media narratives and specifically media characters that violate our moral standards. Furthermore, the results about the context-dependent approval of an antihero lead to the argument that we evaluate moral transgressions in fiction and reality differently. The conceptualization of a fictional moral lens and a real-world moral lens is introduced and discussed in relation to the limited-effects perspective of media. Lastly, assuming that antihero narratives appeal to a specific group of people, exposure over a long period of time could reinforce their way of moral judgment making (i.e., focusing on the consequences of a certain situation (consequentialism), rather than strictly following rules (deontology)), which could affect a persons' ethical decision making in various fields. Several implications of the results as well as limitations are discussed.
teaching philosophy by Sophie H. Janicke
Tell me and I forget. Teach me and I remember. Involve me and I learn. (Benjamin Franklin)
Based... more Tell me and I forget. Teach me and I remember. Involve me and I learn. (Benjamin Franklin)
Based on my teaching experiences and personal beliefs, this quote most resonates with me. Students learn the most the more they are involved in the learning process. I therefore see my responsibility as a teacher to create opportunities to get students engaged by creating a fun, transparent, and open classroom atmosphere that fosters critical thinking and personal agency to make an impact in the world.
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Book chapters by Sophie H. Janicke
Papers by Sophie H. Janicke
Spirituality is a complex, multidimensional concept, involving distinct and related outlooks on and experiences with sacredness, transcendence, connectedness, and deep truths (e.g., Elkins, Hedstrom, Hughes, Leaf, & Saunders, 1988; Emmons, 2006). Given the positive connotations associated with such outlooks and experiences, it is unsurprising that the relationship between spirituality and well-being has been explored from a variety of perspectives. However, to date, the role that media content and use might play in that relationship has been largely ignored, at least by media psychologists. The goal of this chapter is to explore that role. That is, we aim to examine how media can be used in the pursuit and service of spirituality leading to subjective well-being. To that end, we first operationalize spirituality before situating the term—and the experiences it represents—within the current landscape of empirical media uses and effects scholarship.
Talks by Sophie H. Janicke
Technologies Division for possible inclusion in the 2012 Broadcast Education Association Conference
Summary
The tipping point for stereoscopic 3D entertainment is here:
television, video game systems, the Internet, mobile devices, and, of course, motion pictures. A quick walk through the NAB
Exhibition Hall will convince you of this. In fact, industry
experts forecast 50% home saturation for stereoscopic 3D
technologies as early as 2016. But having the ability to create 3D entertainment is one thing; it is quite another to create enjoyable 3D content. Applying 2D storytelling conventions to 3D can get you the former, but experience over the past few years suggests that it is rarely the best option to create the latter. Developing new forms and approaches to storytelling and entertainment within a 3D environment is a must. But how do we go about this? The purpose of this panel is to address that question. First, academicians and industry leaders currently creating and researching stereoscopic 3D entertainment will provide an update of their latest work.
Secondly, panelists will participate in a roundtable discussion of
how the two groups can work together to create effective
synergies across these emerging technologies to develop truly
entertaining stereoscopic 3D content. Time will be set aside for audience members to join in the conversation.
Without question, the gaming experience is multifaceted. In this study, we target key psychological and physiological phenomena impacted by stereoscopic technology: presence, engagement, immersion, arousal, and enjoyment. We examine these phenomena in both 3D and 2D users to effectively identify the unique qualities associated with “good” 3D games. Our goal is to better understand the ways that these key variables are differentially impacted by current gaming features.
To that end, participants were randomly assigned to play Grand Turismo 5 in either 3D or 2D, with the various psychological processes associated with overall enjoyment of the gaming experience measured upon completion. Physiological measures of arousal and presence—heart rate and skin conductance—were also assessed.
In our presentation, we will share the results of this experimental study. Further, we will situate these findings within the broader context of entertainment theory and will discuss how this burgeoning academic field can offer crucial insight into the lived experiences of 3D users. Armed with this greater understanding, content developers can craft games and other narratives offering the most enjoyable stereoscopic 3D user experience possible.
Dissertation by Sophie H. Janicke
teaching philosophy by Sophie H. Janicke
Based on my teaching experiences and personal beliefs, this quote most resonates with me. Students learn the most the more they are involved in the learning process. I therefore see my responsibility as a teacher to create opportunities to get students engaged by creating a fun, transparent, and open classroom atmosphere that fosters critical thinking and personal agency to make an impact in the world.
Spirituality is a complex, multidimensional concept, involving distinct and related outlooks on and experiences with sacredness, transcendence, connectedness, and deep truths (e.g., Elkins, Hedstrom, Hughes, Leaf, & Saunders, 1988; Emmons, 2006). Given the positive connotations associated with such outlooks and experiences, it is unsurprising that the relationship between spirituality and well-being has been explored from a variety of perspectives. However, to date, the role that media content and use might play in that relationship has been largely ignored, at least by media psychologists. The goal of this chapter is to explore that role. That is, we aim to examine how media can be used in the pursuit and service of spirituality leading to subjective well-being. To that end, we first operationalize spirituality before situating the term—and the experiences it represents—within the current landscape of empirical media uses and effects scholarship.
Technologies Division for possible inclusion in the 2012 Broadcast Education Association Conference
Summary
The tipping point for stereoscopic 3D entertainment is here:
television, video game systems, the Internet, mobile devices, and, of course, motion pictures. A quick walk through the NAB
Exhibition Hall will convince you of this. In fact, industry
experts forecast 50% home saturation for stereoscopic 3D
technologies as early as 2016. But having the ability to create 3D entertainment is one thing; it is quite another to create enjoyable 3D content. Applying 2D storytelling conventions to 3D can get you the former, but experience over the past few years suggests that it is rarely the best option to create the latter. Developing new forms and approaches to storytelling and entertainment within a 3D environment is a must. But how do we go about this? The purpose of this panel is to address that question. First, academicians and industry leaders currently creating and researching stereoscopic 3D entertainment will provide an update of their latest work.
Secondly, panelists will participate in a roundtable discussion of
how the two groups can work together to create effective
synergies across these emerging technologies to develop truly
entertaining stereoscopic 3D content. Time will be set aside for audience members to join in the conversation.
Without question, the gaming experience is multifaceted. In this study, we target key psychological and physiological phenomena impacted by stereoscopic technology: presence, engagement, immersion, arousal, and enjoyment. We examine these phenomena in both 3D and 2D users to effectively identify the unique qualities associated with “good” 3D games. Our goal is to better understand the ways that these key variables are differentially impacted by current gaming features.
To that end, participants were randomly assigned to play Grand Turismo 5 in either 3D or 2D, with the various psychological processes associated with overall enjoyment of the gaming experience measured upon completion. Physiological measures of arousal and presence—heart rate and skin conductance—were also assessed.
In our presentation, we will share the results of this experimental study. Further, we will situate these findings within the broader context of entertainment theory and will discuss how this burgeoning academic field can offer crucial insight into the lived experiences of 3D users. Armed with this greater understanding, content developers can craft games and other narratives offering the most enjoyable stereoscopic 3D user experience possible.
Based on my teaching experiences and personal beliefs, this quote most resonates with me. Students learn the most the more they are involved in the learning process. I therefore see my responsibility as a teacher to create opportunities to get students engaged by creating a fun, transparent, and open classroom atmosphere that fosters critical thinking and personal agency to make an impact in the world.