The apparent reality of movies and emotional arousal: A study using physiological and self-report measures

Affective and Behavioral Responses to Robot-Initiated Social Touch: Toward Understanding the Opportunities and Limitations of Physical Contact in Human–Robot Interaction

“…We applied items of both the Fear Arousal Scale (FAS) and Disgust Arousal Scale (DAS) (Rooney et al, 2012), for each movie separately in order to investigate how supposedly comforting touches affect the perception of the movie itself. For each scale, four questions such as "I found the fragment very scary" were answered on a 5-point Likert scale.…”

Actually in the Cinema: A Field Study Comparing Real 3D and 2D Movie Patrons' Attention, Emotion, and Film Satisfaction

“…Research has identified that self-reports of perceived realism of the film experience (Konijn et al, 2009), perceived realism of the characters (Krakowiak & Oliver, 2012), and environmental immersion (Visch et al, 2010) have all been positively associated with self-reported emotional states. In addition, emotion processes, operationalized through physiological measures, have been associated with environmental immersion (Reeves et al, 1999) and perceived apparent reality (Meehan et al, 2005;Rooney et al, 2012). Implicit in much of the research in emotion toward film is the idea that increasing emotional arousal will also increase viewer satisfaction.…”

“…However, they do not always offer a high level of mundane realism, that is, similarity to a typical everyday experience (Aronson & Carlsmith, 1968). For example, many of the studies' findings are derived from the use of film-clips (e.g., Lombard, 1995;Rooney et al, 2012;Visch et al, Downloaded by [York University Libraries] at 23:03 03 January 2015 2010) or abridged versions of films (de Wied et al, 1994). Furthermore, some of the previous research studies collected data using relatively invasive physiological measurement tools (e.g., Reeves et al, 1999;Rooney et al, 2012) that are not present during the typical viewing experience.…”

Immersion Revisited: A review of existing definitions of immersion and their relation to different theories of presence

“…The inconsistent usage of the term immersion in definitions proposed by researchers probably has been exacerbated by the fact that it has been applied within a variety of domains. These domains include, but are not limited to, VE research (Slater, 2003;Witmer & Singer, 1998), video game studies (Adams & Rollings, 2006;Brown & Cairns, 2004;McMahan, 2003), film studies (Rooney, Benson, & Hennessy, 2012;Visch, Tan, & Molenaar, 2010), music studies (Dura, 2006;Ihde, 2007), and research dealing with linear and interactive works of literary fiction (Ryan, 2003). Furthermore, according to Lombard and Ditton (1997), the concept of presence has gained interest within a range of academic disciplines, including communication, cognitive science, computer science, engineering, philosophy, psychology, and the arts.…”