What you say and what I hear-Investigating differences in the perception of the severity of psychological and physical violence in intimate partner relationships.

The correct communication of the severity of violence is essential in the context of legal trials, custody cases, support of victims, etc., for providing fair treatment. A narrator that communicates their experiences of interpersonal violence may rate the seriousness of the incident differently than a rater reading the narrator's text, suggesting that there exist perceptual differences (PD) in severity ratings between the narrator and the rater. We propose that these perceptual differences may depend on whether the narrative is based on physical or psychological violence, and on gender differences. Physical violence may be evaluated as more serious by the receiver of the narrative than by the narrator (Calibration PD), whereas the seriousness of psychological violence may be difficult to convey, leading to a discrepancy in the seriousness ratings between the narrator and the rater (Accuracy PD). In addition, gender stereotypes may influence the seriousness rating (Gender PD), resulting in violence against women being perceived as more serious than the same violence against men. These perceptual differences were investigated in 3 phases using a new experimental procedure. In Phase 1, 113 narrators provided descriptions and seriousness ratings of self-experienced physical and psychological violence in relationships. In Phase 2, 340 independent raters rated the seriousness of 10 randomly selected narrations from Phase 1. In Phase 3, the genders in the narrations were changed to the opposite gender, and seriousness ratings were collected from 340 different raters. Our results confirmed the hypothesized perceptual differences. Violence to male victims was considerably more likely to be seen as severe when the raters were misled to believe the victim was a woman. We propose that these data provide practical guidelines for how to deal with misinformation in the communication of violence. The data also show that mean values and the confidence of such severity ratings need to be adjusted for several factors, such as whether it is self-experienced or communicated, the type of violence, and the gender of the victims and raters.

Does the Kuleshov Effect Really Exist? Revisiting a Classic Film Experiment on Facial Expressions and Emotional Contexts.

According to film mythology, the Soviet filmmaker Lev Kuleshov conducted an experiment in which he combined a close-up of an actor's neutral face with three different emotional contexts: happiness, sadness, and hunger. The viewers of the three film sequences reportedly perceived the actor's face as expressing an emotion congruent with the given context. It is not clear, however, whether or not the so-called "Kuleshov effect" really exists. The original film footage is lost and recent attempts at replication have produced either conflicting or unreliable results. The current paper describes an attempt to replicate Kuleshov's original experiment using an improved experimental design. In a behavioral and eye tracking study, 36 participants were each presented with 24 film sequences of neutral faces across six emotional conditions. For each film sequence, the participants were asked to evaluate the emotion of the target person in terms of valence, arousal, and category. The participants' eye movements were recorded throughout. The results suggest that some sort of Kuleshov effect does in fact exist. For each emotional condition, the participants tended to choose the appropriate category more frequently than the alternative options, while the answers to the valence and arousal questions also went in the expected directions. The eye tracking data showed how the participants attended to different regions of the target person's face (in light of the intermediate context), but did not reveal the expected differences between the emotional conditions.

Emotion concepts and emotional states in social judgment and categorization.

An objection to conclusions of research investigating effects of emotions on cognitive processes is that the effects are due to the activation of semantic concepts rather than to emotional feelings. A sentence unscrambling task was developed to prime concepts of happiness, sadness, or neutral ideas. Pilot studies demonstrated that unscrambling emotional sentences did not affect emotional state but did prime semantically related words. Experiment 1 showed that the induction of emotional state but not the sentence unscrambling task produced emotion-congruent judgments. Results of Experiment 2 showed that individuals in emotional states categorized according to emotional equivalence more often than participants in a neutral state. Sentence unscrambling had no effect on emotional response categorization. The influences of emotions and emotion knowledge in cognition and emotion are discussed.

Adult attachment and the perception of facial expression of emotion.

Adult attachment orientation has been associated with specific patterns of emotion regulation. The present research examined the effects of attachment orientation on the perceptual processing of emotional stimuli. Experimental participants played computerized movies of faces that expressed happiness, sadness, and anger. Over the course of the movies, the facial expressions became neutral. Participants reported the frame at which the initial expression no longer appeared on the face. Under conditions of no distress (Study 1), fearfully attached individuals saw the offset of both happiness and anger earlier, and preoccupied and dismissive individuals later, than the securely attached individuals. Under conditions of distress (Study 2), insecurely attached individuals perceived the offset of negative facial expressions as occurring later than did the secure individuals, and fearfully attached individuals saw the offset later than either of the other insecure groups. The mechanisms underlying the effects are considered.