Facial expressions are of major importance in understanding the mental and emotional states of others. So far, most studies on the perception and comprehension of emotions have used isolated facial expressions as stimuli; for example, photographs of actors displaying facial expressions corresponding to one of the so called ‘basic emotions.’ However, our real experience during social interactions is different: facial expressions of emotion are mostly perceived in a wider context, constituted by body language, the surrounding environment, and our beliefs and expectations. Already in the early twentieth century, the Russian filmmaker Lev Kuleshov argued that such context, established by intermediate shots of strong emotional content, could significantly change our interpretation of facial expressions in film. Prior experiments have shown behavioral effects pointing in this direction, but have only used static images as stimuli. Our study used a more ecological design with participants watching film sequences of neutral faces, crosscut with scenes of strong emotional content (evoking happiness or fear, plus neutral stimuli as a baseline condition). The task was to rate the emotion displayed by a target person’s face in terms of valence, arousal, and category. Results clearly demonstrated the presence of a significant effect in terms of both valence and arousal in the fear condition only. Moreover, participants tended to categorize the target person’s neutral facial expression choosing the emotion category congruent with the preceding context. Our results highlight the context-sensitivity of emotions and the importance of studying them under ecologically valid conditions.

According to film mythology, the Soviet filmmaker Lev Kuleshov conducted an experiment in which he combined a close-up of an actor's neutral face with three different emotional contexts: happiness, sadness, and hunger. The viewers of the three film sequences reportedly perceived the actor's face as expressing an emotion congruent with the given context. It is not clear, however, whether or not the so-called "Kuleshov effect" really exists. The original film footage is lost and recent attempts at replication have produced either conflicting or unreliable results. The current paper describes an attempt to replicate Kuleshov's original experiment using an improved experimental design. In a behavioral and eye tracking study, 36 participants were each presented with 24 film sequences of neutral faces across six emotional conditions. For each film sequence, the participants were asked to evaluate the emotion of the target person in terms of valence, arousal, and category. The participants' eye movements were recorded throughout. The results suggest that some sort of Kuleshov effect does in fact exist. For each emotional condition, the participants tended to choose the appropriate category more frequently than the alternative options, while the answers to the valence and arousal questions also went in the expected directions. The eye tracking data showed how the participants attended to different regions of the target person's face (in light of the intermediate context), but did not reveal the expected differences between the emotional conditions.

Hebrew), and Sólveig Þorsteinsdóttir (Icelandic). Finally, we would like to thank all the participants.

Attentional capture by schematic emotional faces was investigated in two experiments using the flanker task devised by Eriksen and Eriksen (1974). In Experiment 1, participants were presented with a central target (a schematic face that was either positive or negative) flanked by two identical distractors, one on either side (schematic faces that were positive, negative, or neutral). The objective was to identify the central target as quickly as possible. The impact of the flankers depended on their emotional expression. Consistent with a threat advantage hypothesis (negative faces are processed faster and attract more processing resources), responses to positive faces were slower when these were flanked by (response incompatible) negative faces as compared with positive or neutral faces, whereas responses to negative faces were unaffected by the identity of the flankers. Experiment 2 was a standard flanker task with letter stimuli except that the task-neutral flankers were schematic faces that were either positive, negative, or emotionally neutral. In this case, in which faces and emotional expressions were to be ignored, performance seemed entirely unaffected by the faces. This result suggests that attentional capture by emotional faces is contingent on attentional control settings.