The Persuasive Effect of Host and Audience Reaction Shots in Television Talk Shows

Abstract

Conceptualizing talk shows as persuasive messages and based on dual-processing models of persuasion, we explored the effects of nonverbal reactions of a talk show host and studio audience members to arguments presented by a talk show guest on a low-involvement topic. Participants viewed 1 of 4 versions of a talk show segment in which host and studio audience reactions shots were manipulated to be either neutral or positive. Results suggested that positive audience or host reactions can enhance persuasive influence; however, if those cues are incongruent, persuasive influence may be negated. Path analysis suggested that the host reaction's impact on attitude was indirectly experienced through both its interaction with audience response valence and its impact on perceptions of source trustworthiness. The article also addresses implications for the impact of multiple cues in persuasive messages.

Provide Consumers with What They Want on Word of Mouth Forums

“…On the other hand, emotional processing refers to the process in which people rely not so much on the informational portion of the WOM; instead, the strength of others' opinions or the way the messages are conveyed generate receivers' emotions. Hence, relevant components, such as argument strength of WOM, or whether WOM is vividly conveyed are important triggers of emotional processing [31,38].…”

The prescriptive power of the television host. A transposition of Milgram's obedience paradigm to the context of TV game show

“…Our assumption is that the authority is incarnated by the game host. While the persuasive influence of hosts is now widely recognized (Nabi and Hendriks, 2003), it is the host's prescriptive power which we would like to make apparent and whose potential limits we would like to test. This power is related to the statutory position occupied in an organizational structure and results from a delegation of power (Coenen-Huther, 2005).…”

Sentimental Frauds

“…returned to a damp‐eyed Winfrey” to make her response rhyme visually with her associates' testimonials (Bastone 2006). The technique recalls the filmic device of shot/reverse shot, which uses alternating close‐ups to align the spectator with each character's point of view, drawing in the viewer to facilitate emotional identification (Nabi and Hendriks 2003). As a result, those in the television audience are enlisted as participants.…”