“Stirring it up!” Emotionality in audience responses to political speeches

Speaker-audience interaction in political speeches has been conceptualised as a form of dialogue between speaker and audience. Of particular importance is research pioneered by Atkinson (e.g., 1983, 1984a, 1984b) on the analysis of rhetorical devices utilised by politicians to invite audience applause. Atkinson was not concerned with emotionalisation in political speech-making, rather with how applause was invited in relation to group identities through ingroup praise and/or outgroup derogation. However, his theory has provided important insights into how speakers invite audience responses, and a powerful stimulus for associated research. The purpose of this article is to address the shortfall of emotionalisation research within the realm of political speeches. We begin with an account of Atkinsons influential theory of rhetoric, followed by a relevant critique. The focus then turns to our main aim, namely, how key findings from previous speech research can be interpreted in terms of emotionalisation. Specifically, the focus is on audience responses to the words of political speakers, and how different forms of response may reflect audience emotionality. It is proposed that both duration and frequency of invited affiliative audience responses may indicate more positive emotional audience responses, while uninvited interruptive audience applause and booing may provide notable clues to issues on which audiences have strong feelings. It is concluded that there is strong evidence that both invited and uninvited audience responses may provide important clues to emotionalisation - both positive and negative - in political speeches.

(Re)Presentation in Verbatim Theatre

<p>Using a range of interpretive methodologies and based on both the practice of others and the author’s production, direction and evaluation of a series of shows this thesis explores a number of aspects of verbatim theatre presentation and re-presentation (restaging). The form of verbatim theatre discussed is primarily that deriving from personal interview material and the predominant thesis focus is one of Australasian context and practice. The thesis is in two separate sectons with strongly related aims; the first section aiming to clarify and support the second. The first section answers questions about verbatim theatre evolution, processes and practices through both reviews of literature and interviews with prominent practitioners. It reveals vitality and diversity in VT practice, breadth and depth of scholarship in both Australia and New Zealand. It illuminates the processes and practices of creating and performing a verbatim play to support those who may consider doing so. The second section describes and evaluates the performance of re-presentations in August 2015 of the VT play We’ll Meet Again. This play had been developed in 1994 from interviews with war veterans to create a theatrical event honouring a generation whose common experience was involvement in the Second World War. The actors in the re-presentation were all students at Toi Whakaari:New Zealand Drama School and the show was performed in nine venues over six days. Audiences were predominantly elderly although those at community centre venues were of a range of ages. Tools used to evaluate the performances included audience survey forms with room for written comments, observations of audience responses and verbal feedback and interviews with actors. The remarkably positive survey responses and powerful written and oral testimony support the argument that a re-presentation of verbatim theatre has the potential to reinstate and broaden further the impact, appeal, value and aims of the original work. This argument is further supported with the formation of guidelines to present research findings as well as supporting, in a practical and immediate way, those embarking on re-presentation. A selection of images and performance video, illustrating the context and findings of the research are included in the thesis document.</p>

(Re)Presentation in Verbatim Theatre

<p>Using a range of interpretive methodologies and based on both the practice of others and the author’s production, direction and evaluation of a series of shows this thesis explores a number of aspects of verbatim theatre presentation and re-presentation (restaging). The form of verbatim theatre discussed is primarily that deriving from personal interview material and the predominant thesis focus is one of Australasian context and practice. The thesis is in two separate sectons with strongly related aims; the first section aiming to clarify and support the second. The first section answers questions about verbatim theatre evolution, processes and practices through both reviews of literature and interviews with prominent practitioners. It reveals vitality and diversity in VT practice, breadth and depth of scholarship in both Australia and New Zealand. It illuminates the processes and practices of creating and performing a verbatim play to support those who may consider doing so. The second section describes and evaluates the performance of re-presentations in August 2015 of the VT play We’ll Meet Again. This play had been developed in 1994 from interviews with war veterans to create a theatrical event honouring a generation whose common experience was involvement in the Second World War. The actors in the re-presentation were all students at Toi Whakaari:New Zealand Drama School and the show was performed in nine venues over six days. Audiences were predominantly elderly although those at community centre venues were of a range of ages. Tools used to evaluate the performances included audience survey forms with room for written comments, observations of audience responses and verbal feedback and interviews with actors. The remarkably positive survey responses and powerful written and oral testimony support the argument that a re-presentation of verbatim theatre has the potential to reinstate and broaden further the impact, appeal, value and aims of the original work. This argument is further supported with the formation of guidelines to present research findings as well as supporting, in a practical and immediate way, those embarking on re-presentation. A selection of images and performance video, illustrating the context and findings of the research are included in the thesis document.</p>

Gaming and Photography: Investigating the Elision of Illusion and the Actual

<p>The application of aesthetics and techniques from photography into computer generated images leads audiences to read images of a virtual space similarly to images of a physical space. This phenomenon has allowed for a continuation in the cultural fascination with photorealism, and cases of audiences mistaking images from the virtual space as ‘real’. This thesis looks in detail at how the boundaries between the virtual and physical space shift when approaching the virtual space of a video game from the perspective of a photographer, rather than a player. It looks in detail at how audiences interpret images of the virtual space of video games when displayed in a form reminiscent of art photography. Photographs of the virtual and physical spaces were produced for online surveys and an exhibition to test audience perceptions of image origin. Participants were also asked to try and distinguish photorealism in the landscape form, urban form, and material form. Technical analysis of audience responses, combined with textual analysis of the images themselves, helped in determining the types of content, as well as styles of photography that were used by the audience as indexes to reality in the virtual space. In some cases, the technical theory could explain the thought process of the participants, however in other cases there were dominant factors that more significantly impacted participant interpretations, despite what theory suggested. This highlighted the blur that is emerging between the physical and virtual spaces. There were difficulties in designing tests that could identify and isolate the elements that influenced perceptions of photorealism, due to the complex, and sometimes unexpected, ways in which people made judgments about the images. A variety of factors and areas for future research arose from the tests, including using the medium of photography to document the ever-changing landscape of the virtual space.</p>

Gaming and Photography: Investigating the Elision of Illusion and the Actual

<p>The application of aesthetics and techniques from photography into computer generated images leads audiences to read images of a virtual space similarly to images of a physical space. This phenomenon has allowed for a continuation in the cultural fascination with photorealism, and cases of audiences mistaking images from the virtual space as ‘real’. This thesis looks in detail at how the boundaries between the virtual and physical space shift when approaching the virtual space of a video game from the perspective of a photographer, rather than a player. It looks in detail at how audiences interpret images of the virtual space of video games when displayed in a form reminiscent of art photography. Photographs of the virtual and physical spaces were produced for online surveys and an exhibition to test audience perceptions of image origin. Participants were also asked to try and distinguish photorealism in the landscape form, urban form, and material form. Technical analysis of audience responses, combined with textual analysis of the images themselves, helped in determining the types of content, as well as styles of photography that were used by the audience as indexes to reality in the virtual space. In some cases, the technical theory could explain the thought process of the participants, however in other cases there were dominant factors that more significantly impacted participant interpretations, despite what theory suggested. This highlighted the blur that is emerging between the physical and virtual spaces. There were difficulties in designing tests that could identify and isolate the elements that influenced perceptions of photorealism, due to the complex, and sometimes unexpected, ways in which people made judgments about the images. A variety of factors and areas for future research arose from the tests, including using the medium of photography to document the ever-changing landscape of the virtual space.</p>

Exploring Audience Engagement and Critical Narrative Intervention With the Celling Sex Film

Young women who trade sex experience high rates of stigma that exacerbate existing health inequities. The products of participatory visual methodologies show promising potential for challenging stigma. In total, 15 young women who trade sex created individual brief videos to share their experiences. Following a participatory analysis, the videos were edited into one composite movie to highlight key messages. Eight facilitated screenings (cohosted by participant filmmakers and research team members) were organized with diverse community and health organizations. Audiences were led through a series of interactive writing, drawing, viewing, and discussion activities. Sessions were audio recorded, transcribed verbatim, and inductively analyzed to assess the impacts of the film on audiences. Audience reactions were categorized into four overarching themes to describe main impacts: consciousness raising, commitments to practice and organizational change, effectiveness of the approach, and limitations. Audience responses demonstrated that facilitated screenings can challenge harmful stereotypes and help viewers consider pathways to enact positive change in their personal and professional lives. However, changing deep-rooted patterns of stigma takes time, dedication, and accountability.

Flooding the Zone: How Exposure to Implausible Statements Shapes Subsequent Belief Judgments

Much scholarly attention has been paid to the effects of misinformation on beliefs and attitudes, but rarely have studies investigated potential downstream effects of misinformation exposure on belief judgments involving subsequent factual statements. Drawing from work on anchoring-and-adjustment and defensive reasoning, this study examines how exposure to initial falsehoods that vary in terms of their plausibility shapes subsequent belief judgments. Across two survey experiments, we find that initial exposure to a less plausible statement decreases belief in subsequent statements, whether true or false. This order effect has implications for misinformation research, as studies examining audience responses to a single falsehood may fail to capture the full range of misinformation effects. Other implications are discussed in this article.

Deon and Telos: How Journalisms Are Evolving Their Ethical Approaches

Survey evidence shows a deontological ethical ideology remains dominant in global journalism, underpinned by a cultural value of detachment. This article opens by considering the strain imposed on these precepts in US corporate media while covering the Trump White House—ultimately to breaking point with the defeated president’s campaign to overturn the result, attempting to co-opt news organisations in the process. Feedback loops of cause and effect have, in any case, been exposed in today’s extended media, making the involvement of journalism in stories—through influence on audience responses and source behaviours—impossible to overlook. At the same time, new journalisms are emerging and growing, which adhere instead to a teleological ethical ideology. They openly identify themselves with external goals, and appeal for funds from donors and supporters on that basis. The article then goes on to present original data from analysing statements of aims and purpose put out by 12 news organisations working in four of these new fields: Peace Journalism; Solutions Journalism; Engaged, or Participatory Journalism; and Investigative Journalism, respectively. These represent a growing edge in journalism, it is argued, since they are positioned to respond positively to the changed conditions brought about by political and technological forces, which were illustrated by the Trump crisis. The study points to the changes in institutional arrangements now needed, if the structural foundations for their survival and success are to be strengthened.

How Satirical News Impacts Affective Responses, Learning, and Persuasion: A Three-Level Random-Effects Meta-Analysis

Satirical news blends entertainment with information and opinion. Satire can thus impact various audience responses, such as positive and negative affect, learning, and persuasion. However, the presence and size of these communicative effects have been debated. We conducted a three-level random-effects meta-analysis on the impact of satirical news ( k = 70, Ntotal = 22,969). We compared satirical news to two reference categories: (1) control messages with no or irrelevant information, and (2) regular news with similar informational content. Results demonstrate that satirical (vs. regular) news increased positive affective responses and message discounting. By contrast, satire increased learning compared to control messages, but not compared to regular news. We find limited evidence for a positive main effect of satire on persuasion. However, we find different moderating effects, indicating that persuasion effects are stronger for Republicans (vs. other voters), student (vs. general-population) samples, TV satire (vs. online and print satire), and for satire targeting social actors.