ABSTRACT
Much of the information people encounter in everyday life is not factual; it originates from fictional sources, such as movies, novels, and video games, and from direct experience such as pretense, role-playing, and everyday conversation. Despite the recent increase in research on fiction, there is no theoretical account of how memory of fictional information is related to other types of memory or of which mechanisms allow people to separate fact and fiction in memory. We present a theoretical framework that places memory of fiction in relation to other cognitive phenomena as a distinct construct and argue that it is an essential component for any general theory of human memory. We show how fictionality can be integrated in an existing memory model by extending Rubin's dimensional conceptual memory model. By this means, our model can account for explicit and implicit memory of fictional information of events, places, characters, and objects. Further, we propose a set of mechanisms involving various degrees of complexity and levels of conscious processing that mostly keep fact and fiction separated but also allow information from fiction to influence real-world attitudes and beliefs: content-based reasoning, source monitoring, and an associative link from the memory to the concept of fiction.
ABSTRACT
Fictionality and fictional experiences are ubiquitous in people's everyday lives in the forms of movies, novels, video games, pretense and role playing, and digital technology use. Despite this ubiquity, though, the field of cognitive science has traditionally been dominated by a focus on the real world. Based on the limited understanding from previous research on questions regarding fictional information and the cognitive processes for distinguishing reality from fiction, we argue for the need for a comprehensive and systematic account that reflects on related phenomena, such as narrative comprehension or imagination embedded into general theories of cognition. This is important as incorporating cognitive processing of fictional events into memory theory reshapes the conceptual map of human memory. In this paper, we highlight future challenges for the cognitive studies of fictionality on conceptual, neurological, and computational levels. Taking on these challenges requires an interdisciplinary approach between fields like developmental psychology, philosophy, and the study of narrative comprehension. Our aim is to build on such interdisciplinarity and provide conclusions on the ways in which new theoretical frameworks of fiction cognition can aid understanding human behaviors in a wide range of aspects of people's daily lives, media consumption habits, and digital encounters. Our account also has the potential to inform technological innovations related to training intelligent digital systems to distinguish fact and fiction in the source material.
ABSTRACT
The popularity of watching movies and videos on handheld devices is rising, yet little attention has been paid to its impact on viewer behaviour. Smartphone spectatorship is characterized by the small handheld screen as well as the viewing environment where various unrelated stimuli can occur, providing possible distractions from viewing. Previous research suggests that screen size, handheld control, and external stimuli can affect viewing experience; however, no prior studies have combined these factors or applied them for the specific case of smartphones. In the present study, we compared smartphone and large-screen viewing of feature films in the presence and absence of external distractors. Using a combination of eye tracking, electrodermal activity measures, self-reports, and recollection accuracy tests, we measured smartphone-accustomed viewers' attention, arousal, engagement, and comprehension. The results revealed the impact of viewing conditions on eye movements, gaze dispersion, electrodermal activity, self-reports of engagement, as well as comprehension. These findings show that smartphone viewing is more effective when there are no distractions, and smartphone viewers are more likely to be affected by external stimuli. In addition, watching large stationary screens in designated viewing environments increases engagement with a movie.
