No abstract

Spontaneous blinking is a non-invasive indicator known to reflect dopaminergic influence over frontal cortex and attention allocation in perceptual tasks. 38 participants watched eighteen short film clips (2 min), designed to elicit specific affective states, and arranged in six different emotional categories, while their eye movements were recorded from the vertical electroculogram. The largest blink rate inhibition, reflecting greater attention allocation to the movie, was observed during the presentation of Erotic clips, excerpts on wilderness depicting beautiful landscapes (Scenery), as well as clips showing crying characters (Compassion). Instead, the minimum blink rate inhibition was found for Fear clips, which induced a defensive response with stimulus rejection. Blink rate across time evidenced how Compassion clips elicited early inhibition while Sadness clips induced a slower, later inhibition. Correlation analyses also revealed a negative correlation (r <-0.40) between total blink rate recorded during Erotic and Compassion clips and self-reported interest. Overall, the main variable explaining blink rate was emotional Valence. Results suggest that blink modulation is related with the motivational relevance and biological significance of the stimuli, tracking their differential recruitment of attentional resources. Furthermore, they provide a solid background for studying the emotion-attention patterns and their deficits also in clinical samples (e.g., neurological and psychiatric patients) using spontaneous blinking as a not-interfering psychophysiological measure.

The need for a validated set of emotional clips to elicit emotions in more ecological experiments is increasing. Here we present the validation of a new database of emotional films, named E-MOVIE, which includes, in this first validation phase, 39 excerpts arranged in six categories, three negative (Fear, Sadness and Compassion), two positive (Erotic and Scenery) and a Neutral category. Notably, Compassion and Scenery are new in the field as they were not included in other databases. The clips in E-MOVIE are characterized by homogenous durations of approximately two minutes, which make them suitable for psychophysiological research. In order to study the affective profile prompted by each category 174 participants (112 women) rated the movies on multiple dimensions, namely valence and arousal, intensity and discreteness of the induction of one of the six basic emotions and, finally, intensity of the experience of the emotional states defined by a series of emotional adjectives. Erotic clips were effective in the elicitation of a positive emotional state, characterized by high levels of arousal and excitement. On the other hand, Fear clips (selected without blood to avoid disgust reaction) prompted an affect characterized by high arousal, low valence and high levels of reported fear and anxiety. Women reported greater unpleasantness, distress, anxiety and jittery than men to the three negative categories. Compassion clips, characterized by the depiction of crying characters, were able to induce an affective state dominated by sadness and feeling touched, consistent with an empathic reaction to emotional sufferance. Sadness clips, instead, elicited an affective state characterized by sadness together with distress and angst. We also demonstrated that clips depicting natural environments (i.e. Scenery) prompted in the viewer a surprised, inspired affective state, characterized by high valence and arousal (especially in males), a result which suggests that their past categorization as neutral stimuli was inaccurate and problematic.

Behavioral and electrophysiological correlates of the influence of task demands on the processing of happy, sad, and fearful expressions were investigated in a within-subjects study that compared a perceptual distraction condition with task-irrelevant faces (e.g., covert emotion task) to an emotion task-relevant categorization condition (e.g., overt emotion task). A state-of-the-art non-parametric mass univariate analysis method was used to address the limitations of previous studies. Behaviorally, participants responded faster to overtly categorized happy faces and were slower and less accurate to categorize sad and fearful faces; there were no behavioral differences in the covert task. Event-related potential (ERP) responses to the emotional expressions included the N170 (140–180 ms), which was enhanced by emotion irrespective of task, with happy and sad expressions eliciting greater amplitudes than neutral expressions. EPN (200–400 ms) amplitude was modulated by task, with greater voltages in the overt condition, and by emotion, however, there was no interaction of emotion and task. ERP activity was modulated by emotion as a function of task only at a late processing stage, which included the LPP (500–800 ms), with fearful and sad faces showing greater amplitude enhancements than happy faces. This study reveals that affective content does not necessarily require attention in the early stages of face processing, supporting recent evidence that the core and extended parts of the face processing system act in parallel, rather than serially. The role of voluntary attention starts at an intermediate stage, and fully modulates the response to emotional content in the final stage of processing.

In recent years, the quest for increasing the ecology of how cognition and its neurobiological foundations are investigated has surged (Spiers & Maguire, 2007). Within this trend, the use of naturalistic audiovisual stimuli like movies has rapidly increased, due to their inherent visual complexity, dynamicity, and affective potential which make movies an ideal probe to investigate multiple cognitive domains while avoiding the artificiality that usually characterizes experimental paradigms in cognitive neuroscience (Hasson & Honey, 2012; Nastase, Goldstein, & Hasson, 2020). Indeed, it is very common to