ABSTRACT
Abstract Introduction: Film clips are the most used stimuli to induce different emotional states. Objective: Identify, select, and evaluate a set of film clips according to dimensionality and discreteness of emotions. Film experts suggested 437 fragments, but only 70 met the criteria to be included in the LATEMO-E film-clip database. Study 1: The 70 film clips were tested for their ability to induce disgust, anger, fear, sadness, amusement, tenderness, and neutral (n = 147 participants; mean age = 20.64 years, SD ±2.21 years). Results: A total of 28 film clips presented adequate scores on intensity and discreteness. Study 2: A total of 28 selected film clips were assessed again in a new sample of 106 participants (mean age = 20.96 years, SD ±2.45 years). Results: Anger and amusement film clips were the most extreme in the valence and activation dimensions. Anger and fear film clips were the most extreme categories in the intensity, certainty, and control dimensions. Conclusions: These stimuli were useful for inducing emotional states that can be judged from both the dimensional perspective of emotions and the basic emotions perspective. Evoked emotions could be differentiated according to cognitive patterns of evaluation that guide behavior in response to emotional stimulation.
Resumo Introdução: os clipes são os estímulos mais utilizados para induzir diferentes estados emocionais. Objetivo: identificar, selecionar e avaliar um conjunto de clipes de filme de acordo com a discrição e dimensionalidade da emoção. 437 fragmentos foram sugeridos por especialistas em filmes, mas 70 atenderam aos criterios de inclusão em um banco de dados de filmes. Estudo 1: os 70 clipes foram testados em sua capacidade de induzir: nojo, raiva, medo, tristeza, diversão, ternura e neutro (N = 147 participantes; M = 20,64; DP ±2,21). Resultados: 28 clipes apresentaram escores adequados de intensidade e discrição. Estudo 2: 28 clipes selecionados foram reavaliados em uma nova amostra de 106 participantes (M = 20,96; DP ±2,45). Resultados: os clipes de raiva e diversão foram os mais extremos nas dimensões de valência e ativação. Clips de raiva e medo foram as categorias mais extremas nos indicadores de intensidade, certeza e controle. Conclusões: os estímulos foram úteis para induzir estados emocionais que podem ser julgados tanto pela perspectiva dimensional das emoções quanto pela perspectiva básica das emoções. Além disso, as emoções evocadas são diferenciadas de acordo com os padrões cognitivos de avaliação que guiam o comportamento em resposta à estimulação emocional.
Resumen Introducción: los fragmentos de películas están entre los estímulos más usados para inducir distintos estados emocionales. Objetivo: identificar, seleccionar y evaluar un set de fragmentos de películas según la discreción y la dimensionalidad de la emoción. Expertos en cine sugirieron 437 fragmentos, pero solo 70 fueron identificados como aquellos que cumplieron con los criterios de inclusión en un set de fragmentos de películas. Estudio 1: los 70 fragmentos fueron evaluados en su capacidad para inducir: asco, ira, miedo, tristeza, diversión, ternura y neutro (N = 147 participantes; M = 20.64; DE ±2.21). Resultados: 28 fragmentos presentaron puntuaciones adecuadas en intensidad y discreción. Estudio 2: los 28 fragmentos fueron reevaluados en una nueva muestra de 106 participantes (M = 20.96, DE ±2.45). Resultados: los fragmentos de ira y diversión fueron los más extremos en las dimensiones valencia y activación. Ira y miedo fueron las categorías más extremas en los indicadores intensidad, certeza y control. Conclusiones: los estímulos resultaron útiles para inducir estados emocionales que pueden ser juzgados desde la perspectiva dimensional de las emociones, así como desde el enfoque de las emociones básicas. Además, las emociones provocadas se diferencian en función de patrones cognitivos de evaluación que guían la conducta en respuesta al estímulo emocional.
ABSTRACT
Debido al interés actual en la relación entre emoción y cognición, ha surgido la necesidad de contar con técnicas confiables de inducción emocional. Uno de los procedimientos más utilizados para el estudio experimental de la experiencia emocional es la inducción de emociones mediante fragmentos de películas. El objetivo del estudio que se informa fue conocer las características subjetivas y objetivas de la respuesta emocional ante estímulos audiovisuales inductores de emociones positivas y negativas, en una muestra de jóvenes argentinos. Se seleccionaron 20 fragmentos de películas (10 de valencia positiva y 10 de valencia negativa). La muestra estuvo integrada por 81 participantes (44 mujeres) de 18 a 25 años (M = 21.20 ±2.57). La respuesta emocional subjetiva se evaluó con el Self-Assessment Manikin (Bradley & Lang, 1994) y la objetiva, registrando la frecuencia cardíaca. La valencia, la activación y el control correlacionaron en la mayoría de los fragmentos. Además, hombres y mujeres presentan una reactividad diferenciada a la valencia de los estímulos, dado que las mujeres fueron más sensibles a los estímulos negativos (mutilaciones y animales amenazantes) y los hombres, a los estímulos positivos (contenido erótico y cómico). Por último, la inducción emocional se mantuvo aproximadamente 30 minutos después de finalizada la presentación de los estímulos para los videos de valencia negativa y 15 minutos para los de valencia positiva. Se concluye que la investigación realizada constituye un aporte al estudio de las medidas subjetivas de la emoción y las características de la experiencia emocional en función del tiempo y del sexo de quienes la experimentan.
Developments since the mid-twentieth century in the research of emotion and the growing interest in its interaction with cognition have generated the need for reliable emotional induction techniques. The efforts made in recent years to carry out the standardization of film clips capable of inducing emotion stand are remarkable. With this, these methodological resources are widely chosen by researchers to study emotional processes. The aims of the research were: (1) to assess valence, arousal, dominance (subjective measures) and cardiac frequency (objective measure) in relation with positive and negative emotions induced by film clips, (2) to determine how long the emotional induction remained active after the presentation of audio visual stimuli, and (3) to evaluate whether there are sex differences in emotional experience, subjectively and objectively, induced by film clips. 81 college students (44 women) from 18 to 25-years-old of Córdoba (Argentina) were evaluated. The average age was 21.20 (SD: ± 2.57). The sample was finally composed by 81 participants for not meeting certain requirements to conform. The evaluation was performed individually in a room equipped for that purpose. Each participant watched 10 film clips of positive or negative valence. Participants evaluated valence, arousal and dominance at 15, 30, 45 y 60 minutes post-induction. Each experiment lasted approximately 90 minutes. The instruments administrated were note of informed consent, 20 Battery of film fragments with ability to induce emotions, Self-Assessment Manikin (SAM), sociodemographic data form, questionnaire of pattern of alcohol and other substances consumption, stress test equipment 12-lead CardioVex. Significant correlations between valence, arousal and dominance in most film clips were obtained. Then, repeated measures ANOVA between the scores were made in the SAM Activation after the emotional induction, significant interaction were found between Time and Type of Induction [F(4,316) = 2.5461, p < .05 ηp² = .031]. According to Fisher post hoc test, there were significant differences between means of the arousal to the last film clip of the series and 15, 30, 45, and 60 minutes post-induction (p < .001) in the negative condition, and between the last film and 15, 30, 45 y 60 minutes post-induction (p < .01). Significant difference also was found between 30 minutes arousal to Positive Induction and Negative Induction (p < .01). Finally, in terms of sex differences in emotional experience, women reported more negative valence than men in the film clips of negative valence: The Exorcist [F(40) = 8.576; p < .05] Saving Private Ryan [F(40) = 10.833, p < .01], Misery [F (40) = 4.500; p < .05] and Dead Man Walking [F(40) = 7.121; p < .05]. In addition, women reported greater arousal in the positive film clip There's Something About Mary 2 [F(37) = 6.014; p < .05]. Finally men reported greater dominance in face to negative film clips The Exorcist [F(40) = 8.051; p < .01], Schindler's List 2 [F(40) = 4.963; p < .05], Leaving Las Vegas [F (40) = 5.829; p < .05] and the positive film clip Something About Mary 2 [F(37) = 5.166; p < .05] while women reported greater dominance to the film clip When Harry Met Sally [F(37) = 5.106; p < .05]. Study of discreet emotions and heart rate variability was suggested for more correlations between subjective and objective measures of emotion. Naturally, negative stimuli are more thrilling because they present major intensity and discreteness than positive stimuli. Response to negative stimuli also have a more significant biological importance. Men use more effective emotion regulation strategies than women, whereas, women use negative and non-adaptive emotion regulation strategies. As a conclusion, this study make a contribution to the study of subjective and objective measures of emotion and the features of the emotional experience according to time of the induction and sex of those who experience.