Relationship of Terror Feelings and Physiological Response During Watching Horror Movie

Fukumoto, Manabu; Tsukino, Yuuki

doi:10.1007/978-3-319-24369-6_41

Cited by 5 publications

(3 citation statements)

References 3 publications

(3 reference statements)

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“…The consequences may be gauged based upon the circumstance, and the spectator is engaged. Fukumoto and Tsukino (2015) observed the relationship of horror movie character and physiological effects through experimental study on 10 male Individuals and find that horror movies give excitement and brought changes in short term physiology that give pleasure to some and change in temporal cardio rhythm. However, results are varying on Individual to Individual.…”

Section: Resultsmentioning

confidence: 99%

Horror Sells as Commodity: Examining Socio-psychological Effects of Horror Film among Adults during Covid-19

Shah¹

2020

PSSR

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This research seeks to uncover the causes that affect young people's choice to watch horror films. Demographics i.e. gender, setting, and psychological factors i.e. past beliefs about the entities shown in horror films; audiences are exposed to specific results that differ in severity and naturebased on their gender category, setting, and past beliefs about the objects seen in horror films. This study's fundamental structure is to find the psychological issues among adults while focusing on social cognitive theory. It can be explained what makes some people enjoy horror films and why some people avoid them, argues that audiences are proactive and their location, self-effectiveness, and selfreflexiveness play a significant role in their learning process. The survey research is employed for this study and data collected from 560 male and female of two cities of Punjab, Pakistan (Sargodha and Lahore) with age 20 to 35 years during the Covid-19 lockdown. The findings of the study reveal that there are two critical reasons for youth to watching horror films, amusement and interest. Young people who believe in these characters from film or other supernatural entities are more scared than those who do not believe in their existence. It is infer that horror is commodity that sells fear in horror films among adults. However, Sociopsychological effects of horror films cannot be ignored.

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Section: Resultsmentioning

confidence: 99%

Horror Sells as Commodity: Examining Socio-psychological Effects of Horror Film among Adults during Covid-19

Shah¹

2020

PSSR

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“…Previous studies have searched for the factor that makes people like horror things, although they are scared (physically). For example, according to Fukumoto et al [11], the subject's breathing increased in intensity and its cycle was reduced to the point where it was causing fear sensations in them, which relates the psychological changes with the physical changes effectively, through the clear data [11]. Moreover, about the horror games, Vachiratamporn et al have explored deeply; they found that When the players were in a suspense state as opposed to a neutral condition, participants were more likely to feel terror from a terrifying incident.…”

Section: The Mechanisms Of Addiction In Horror Gamementioning

confidence: 99%

Exploring Addiction Mechanism of Different Game Types

Guan¹,

Chen²

2023

EHSS

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Video game addiction is a term that describes games that dominate a person most of the time. However, the degree of addiction and the amount of time spent playing vary from one type of game to another. So this literature review will explore the mechanism of addiction in terms of different game types, analyzing the relationship between the causes of game addiction in terms of 3 models (dopamine, operant conditioning, and feeling-state theory). In order to figure out what the most attractive type of game is, This is done by classifying all kinds of games into 10 categories and creating a ranking list for all games from 5 different websites. Those websites are chosen randomly from the search engines such as Google and Bing. The results are based on prior studies that looked into the causes of game addiction in each category and analyzed those games by three models. The results suggest that the mechanism of video game addiction varies between games.

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“…Tensed muscles, a quickened pulse and high adrenalin production are processes or states that are typically identified with a readiness to action (for empirical research on viewers' bodily responses to fictional films, see Kreibig et al 2007;Child et al 2014;Fukumoto and Tsukino 2015). These seem to be the same processes Bradley and Lang refer to when they speak of "preparatory metabolic changes that occur in muscles and glands" (Bradley and Lang 2000, 244).…”

Section: Fictional Emotions and Their Motivational Forcementioning

confidence: 99%

Emotions, Actions and Inclinations to Act

Werner

2020

Erkenn

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Emotional responses to fiction are part of our experience with art and media. Some of these responses (“fictional emotions”) seem to be directed towards fictional entities—entities that we believe do not exist. Some philosophers argue that fictional emotions differ in nature from other emotional responses. (cf. Walton in J Philos 75(1):5–27, 1978, Mimesis as make-believe, Harvard University Press, Cambridge, 1990, Walton, in: Hjort, Laver (ed.) Emotion and the arts, Oxford University, New York, 1997; Currie in The nature of fiction, Cambridge University Press, Cambridge, 1990; Stecker in Br J Aesthet 51(3):295–308, 2011) The claim is supposed to be supported among others by ‘the argument from action.’ In contrast to genuine emotions, proponents of this argument claim, fictional emotions do not motivate their bearers to act. (cf. Yanal in Paradoxes of emotion and fiction, Pennsylvania State University Press, University Park, 1999; Lamarque in Br J Aesthet 21(4):291–304, 1981; Carroll in The philosophy of horror: or, paradoxes of the heart, Routledge, London, 1990; Currie 1990; Walton 1978, 1990; Suits in Pac Philos Q 87(3):369–386, 2006; Friend, in: Kind (ed.) The Routledge handbook of philosophy of imagination, Routledge, New York, 2016) This claim grounds in what may appear to be an obvious fact: that viewers and readers of are not led to act by their fictional emotions. It is certainly true that viewers and readers of fiction do not form intentions to perform actions directed towards fictional entities. In contrast to the proponents of the argument from action, I will argue that the lack of any such intentions can be explained only with reference to intending’s doxastic conditions, conditions that are unsatisfied in the fictional scenario. Decisively, this explanation does not refer to the motivational force of the agent’s emotions; indeed, it doesn’t refer to emotions at all. Thus, the lack of intentions to perform actions directed towards fictional objects provides no support for the claim that fictional emotions are no genuine emotions.

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Relationship of Terror Feelings and Physiological Response During Watching Horror Movie

Cited by 5 publications

References 3 publications

Horror Sells as Commodity: Examining Socio-psychological Effects of Horror Film among Adults during Covid-19

Horror Sells as Commodity: Examining Socio-psychological Effects of Horror Film among Adults during Covid-19

Exploring Addiction Mechanism of Different Game Types

Emotions, Actions and Inclinations to Act

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