Depicting emotions for a male or for a female audience: Do children adapt the content of their drawings to the audience gender?

When depicting emotions, children have been shown to alter the content of their drawings (e.g., number and types of expressive cues) depending on the characteristics of the audience (i.e., age, familiarity, and authority). However, no study has yet investigated the influence of the audience gender on children’s depiction of emotions in their drawings. This study examined whether drawing for a male versus for a female audience have an impact on the number and type of emotional information children use to depict sadness, anger, and fear. Children aged 7 ( N = 92) and 9 ( N = 126) were asked to draw a figure and then to produce three drawings of a person, to depict three emotions (sadness, anger, fear). Children were randomly assigned to one of the three conditions: they were instructed either to draw with no explicit mention of an audience (control condition) or to draw so that the depicted emotion would be recognized by a male (male audience condition) or by a female (female audience condition). A content analysis was conducted on children’s drawings, revealing the use of seven types of graphic cues for each emotion. We found numerous differences between the three conditions relative to the type of cues used by children to depict emotions, particularly for anger and fear and particularly at the age of 7. Overall, children used facial cues more frequently for a female audience and contextual cues more frequently for a male audience. These results are discussed in terms of their implications in clinical, educational, and therapeutic settings.

Control of Audiences through Information Communication Technology in the Perspective of Communication Psychology

This journal discusses audience control through information and communication technology in the perspective of communication psychology through studying phenomena with a literature approach. Information and communication technology (ICT) is capable of providing a controlling effect for individuals and society. In fact, from 2014-2019 there were mass actions carried out by a group of masses. Some have named it the MUI Fatwa Guard National Movement (GNPF-MUI) Action 411 and 212 until the mass action which took place on May 22, 2019 and on September 26, 2019. Various news has spread through the sophistication of information and communication technology through media applications social facebook, instagram, whatsapp information spreads so massively. This has an effect on controlling the behavior of individuals and communities (audiences), so that so many audiences who are exposed to information are unable to stem and carry out searches related to the information obtained, resulting in behavior in accordance with the expectations of the information disseminators. In this case it can be concluded that the effect of media can affect perceptions, down to the aspects of affection and behavior. Communication psychology provides a relevant understanding perspective related to these various phenomena. Individuals and societies when using information and communication technology involve perceptions, memories, needs, values, attitudes, motives, motivations, personality, knowledge, emotions, skills and personal and social interpretations. Thus it can be concluded that information and communication technology in use today can have an impact on audiences in aspects of perception, affection, and behavior. So without realizing it information technology can be used for the benefit of various individuals or groups in controlling audiences.

Critical Contexts: Television Studies, Fandom Studies, and the Vid

What can television scholars and historians learn from vids and vidding? This chapter considers the vid form and vidding practice in existing scholarship. The bulk of academic engagement with vids and vidding is in the loosely defined field of fan studies rather than in television studies. However, vids are possible because of the changing form and shape of television, from home videocassette recording through to digital video. Audience control over watching television, theorized as ways of controlling that flow, also provides the technological tools for making vids. The vid form is textual proof of fans using the tools at their disposal to intervene, respond, and create in a context wherein they have no official role.

KAJIAN SEJARAH DAN PERKEMBANGAN TEORI EFEK MEDIA

Media is one of the important needs for the community, but the media has an effect on the community both directly and indirectly. In Media Effects Theory three paradigms are used by the media to find out the effects of these media. The first paradigm, called the powerful effects paradigm (Direct Effects Models), the media is said to have enormous power so that members of the isolated and anonymous audience of this mass audience will surrender immediately. The second paradigm is the minimalist effect or the limited effects paradigm (Limited Effects Models), the media seen in audience control over selectivity. The third paradigm of cumulative effects (Cumulative Effects Models), the community has too much potential for media in limited exposure. At present, the research on the theory of media effects has developed sufficiently to the extent of several specific sub-areas of research Key word : Theory of media effects

The Implications of Using Interactive Artifacts to Bridge the Divide Between Audience and Stage in a Conventional Hall Setting

Within the field of performance art, where the audience and the performance stage is separated, there is a paradox in keeping a conventional divide between the audience and the performing stage while expanding the possible space of engagement between the two. Interactive technology yields tantalizing promises of creating an underlying layer so the conventional divide is still respected and somewhat preserved. This paper presents a cross-sectional view of experiments done with the Royal Danish Theatre to explore different strategies of creating interactive mediation to bridge this divide. We will introduce examples of passive spectatorship modeled performances that attempted to integrate digital interaction. Through the experiments, we have become aware of central implications that one needs to be aware of to fully succeed in integrating in a manner that does not negatively impact the experience of the audience members. The three implications are context expectations, level of audience control, and the embodied experience. Based on the experiments and the implications, we suggest two things to consider: First, we discuss the possibility to work across disciplines and stakeholders to custom design mediated experiences for a particular production. Second, we propose the possibility to think in terms of designing artifacts that can be integrated into the hall setting across different plays without larger interference with the overall experience.

Media fragmentation in the context of bounded social networks: How far can it go?

As researchers took note of the emerging ubiquity of new media, they predicted how digital technologies would facilitate an increasingly fragmented audience. New media (i.e. technologies with online capabilities) were observed to possess previously unmatched levels of content options and audience control over consumption. Many researchers have since observed that the current audience landscape has not reached previously anticipated degrees of fragmentation, leading to questions about potentially mitigating factors. In this study, we utilize emerging network analytical procedures to examine the role of interpersonal relationships in both exacerbating and mitigating audience fragmentation. We find support for the notion that social ties can mitigate fragmentation with regard to particular types of media use, notably, those most narrowly defined. Implications of this cross-disciplinary study are discussed.