Parasocial Interaction with People on the Screen

Gleich, Uli

doi:10.1007/978-3-663-10899-3_3

Cited by 44 publications

(40 citation statements)

References 24 publications

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“…Even though Parasocial Interaction is one-sided, it can create the illusory effect of actual social behavior and relationships. Gleich (1997) has found that Parasocial Interaction can be active to some degree and has behavioral dimensions. This finding is supported by affective responses of audiences to a celebrity in negative situations.…”

Section: Parasocial Interaction and Female Audiencesmentioning

confidence: 99%

Friend-zone with benefits: The parasocial advertising of Kim Kardashian

Lueck

2012

Journal of Marketing Communications

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Section: Parasocial Interaction and Female Audiencesmentioning

confidence: 99%

Friend-zone with benefits: The parasocial advertising of Kim Kardashian

Lueck

2012

Journal of Marketing Communications

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“…In short, the original concept states that media such as television allow an "intimacy at a distance" (Horton & Wohl, 1956) between the viewer and the media character. Much like the unilateral interactions of recipients with television persona, known from the literature on parasocial interactions (Gleich, 1997;Hoffner, 1996;Stevens, Behm-Morawitz, & Kim, 2014), interaction between online users and deceased loved ones was found. Analyses of parasocial interaction and relationship with television persona highlight that the difference between direct interactions and parasocial interactions lies in the lack of reciprocity.…”

Section: Study Design and Research Methodsmentioning

confidence: 95%

Emotion regulation in bereavement: searching for and finding emotional support in social network sites

Döveling

2014

New Review of Hypermedia and Multimedia

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In an age of rising impact of online communication in social network sites (SNS), emotional interaction is neither limited nor restricted by time or space. Bereavement extends to the anonymity of cyberspace. What role does virtual interaction play in SNS in dealing with the basic human emotion of grief caused by the loss of a beloved person? The analysis laid out in this article provides answers in light of an interdisciplinary perspective on online bereavement. Relevant lines of research are scrutinized. After laying out the theoretical spectrum for the study, hypotheses based on a prior in-depth qualitative content analysis of 179 postings in three different German online bereavement platforms are proposed and scrutinized in a quantitative content analysis (2127 postings from 318 users). Emotion regulation patterns in SNS and similarities as well as differences in online bereavement of children, adolescents and adults are revealed. Large-scale quantitative findings into central motives, patterns, and restorative effects of online shared bereavement in regulating distress, fostering personal empowerment, and engendering meaning are presented. The article closes with implications for further analysis in memorialization practices.

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“…Importantly, PSI's conception of character engagement explicitly acknowledges the fictional nature of characters setting them apart from real people. 34 Also in this respect it is a unique approach in social cognition.…”

Section: Parasocial Relations To Charactersmentioning

confidence: 99%

“…I think I even said it out loud, and I was like oh, how could you start something with a man who just attacked you? (P12) [34] On the one hand, some degree of empathy, on the other hand, it was sort of, "My god woman, didn't you see this coming?" On the one hand, impatience, once again, you want to shake her up and say, "Why don't you go and lead a life that suits you instead of having other people decide who you should marry and then where you should go, how you should live."…”

Section: Parasocial Relations To Charactersmentioning

confidence: 99%

absorbed character engagement

Bálint¹,

Tan²

2019

Screening Characters

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…there's a part of you that…you've grown accustomed to not sharing with other people.It's a very private, intimate personal aspect of yourself, and then all of a sudden you see it reflected in something other than yourself. A sense of acknowledgement, that you're being acknowledged. That's why I call it positive. It's an affirmation that the ideas you have, the emotions you have, aren't yours alone; they're things that are found in others that you can share. That's what I got from this film." -Participant 18 on Bergman's Winter Light (1963) Absorbed character engagementa special case of character engagementis a deeply personal, complex and meaningful experience leaving viewers and readers with a profound impact on the self, illustrated by the quote above. This chapter explores how absorbed character engagement comes about and what psychological processes and phenomenological experiences are reflected in it. To this end, we conducted interviews on absorbed film and literary experiences and analyzed them in light of concepts of character engagement developed in cognitive film studies. This phenomenological-empirical approach is not that common in cognitive film studies. Being mostly concerned with neurological and psychological mechanisms the phenomenology of character engagement tends to suffer some undertheorizing. To address this gap, we consider first-person experiences in more depth than usual in cognitive film studies.This study explores how fictional characters appear in the narrative experience, and what personal meanings are attributed to them by audience members.3 Mind and Person Perception in Character EngagementFictional characters have been conceptualized as narrative constructions in the text, or as mental constructions in the audience. 1 This latter approach states that characters are imaginary human beings having mental states and stable traits that are constructed mentally by audience members from signs in fictional texts. Following this latter mimetic assumption, research on character engagement borrowed much from social cognition, the field in social psychology studying how people make sense of others and themselves in the real social world. 2 Two major social cognition research strands are relevant for character engagement: person perception and mind perception. 3 Person perception in character engagement is a dynamic process in which narrative information cues mental schemas in audiences. The idea of character engagement as person perception was expressed in work by Dolf Zillmann, Murray Smith, Carl Plantinga and Ed Tan. 4 These authors describe character engagement as a largely automated process involving spontaneous perception and comprehension of social information. Viewers' and readers' impressions of characters are guided by characters' physical appearance, non-verbal communication and observable behavior. These features implicitly activate previously stored mental representations of social situations. Prototypical narrative situations or genre relatedexpectations are more likely to act...

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Parasocial Interaction with People on the Screen

Cited by 44 publications

References 24 publications

Friend-zone with benefits: The parasocial advertising of Kim Kardashian

Friend-zone with benefits: The parasocial advertising of Kim Kardashian

Emotion regulation in bereavement: searching for and finding emotional support in social network sites

absorbed character engagement

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