Does believing something to be fiction allow a form of moral licencing or a 'fictive pass' in understanding others' actions?

Introduction: The human capacity to engage with fictional worlds raises important psychological questions about the mechanisms that make this possible. Of particular interest is whether people respond differently to fictional stories compared to factual ones in terms of how immersed they become and how they view the characters involved and their actions. It has been suggested that fiction provides us with a 'fictive pass' that allows us to evaluate in a more balanced, detached way the morality of a character's behaviour. Methods: We use a randomised controlled experimental design to test this. Results and discussion: We show that, although knowing whether a substantial film clip is fact or fiction does not affect how engaged with ('transported' by) a troubling story an observer becomes, it does grant them a 'fictive pass' to empathise with a moral transgressor. However, a fictive pass does not override the capacity to judge the causes of a character's moral transgression (at least as indexed by a causal attribution task).

How Audiences Engage With Drama: Identification, Attribution and Moral Approval.

Fictional storytelling has played an important role in human cultural life since earliest times, and we are willing to invest significant quantities of time, mental effort and money in it. Nonetheless, the psychological mechanisms that make this possible, and how they relate to the mechanisms that underpin real-world social relationships, remain understudied. We explore three factors: identification (the capacity to identify with a character), moral approval and causal attribution with respect to a character's behaviour in live performances of two plays from the European literary canon. There were significant correlations between the extent to which subjects identified with a character and their moral approval of that character's behaviour that was independent of the way the play was directed. However, the subjects' psychological explanations for a character's behaviour (attribution) were independent of whether or not they identified with, or morally approved of, the character. These data extend previous findings by showing that moral approval plays an important role in facilitating identification even in live drama. Despite being transported by an unfolding drama, audiences do not necessarily become biased in their psychological understanding of why characters behaved as they did. The psychology of drama offers significant insights into the psychological processes that underpin our everyday social world.

Emotional arousal when watching drama increases pain threshold and social bonding.

Fiction, whether in the form of storytelling or plays, has a particular attraction for us: we repeatedly return to it and are willing to invest money and time in doing so. Why this is so is an evolutionary enigma that has been surprisingly underexplored. We hypothesize that emotionally arousing drama, in particular, triggers the same neurobiological mechanism (the endorphin system, reflected in increased pain thresholds) that underpins anthropoid primate and human social bonding. We show that, compared to subjects who watch an emotionally neutral film, subjects who watch an emotionally arousing film have increased pain thresholds and an increased sense of group bonding.