Using Drama to Persuade

Deighton, John; Römer, Daniel; McQueen, Josh

doi:10.1086/209219

Cited by 329 publications

(211 citation statements)

References 17 publications

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“…We posit that because emotion gaming is readily available and well-learned, and because it is perceived to be more persuasive, people will in many circumstances be more likely to engage in emotion gaming than in the misrepresentation of non-emotional information. In fact, there is evidence supporting the relative persuasiveness and strength of affect-laden messages (Deighton, Romer, and McQueen 1989;Pham et al 2001). We suspect that people can intuit the greater effectiveness of emotion-laden cues and prefer to game emotions over non-emotional information.…”

Section: )mentioning

confidence: 93%

“…These researchers have stressed the importance of distinguishing between rational versus emotional appeals (Rothschild 1987), instrumental versus expressive messages (Holbrook and Hirschman 1982), or dramatic versus argumentative ads (Deighton et al 1989). Moreover, there is evidence supporting the relative effectiveness of affect-laden messages.…”

Section: Gaming Emotions or Expectations?mentioning

confidence: 99%

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Gaming Emotions in Social Interactions

Andrade¹,

Ho²

2009

J Consum Res

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One's own emotions may influence someone else's behavior in a social interaction. If one believes this, she or he has an incentive to game emotions-to strategically modify the expression of a current emotional state-in an attempt to influence her or his counterpart. In a series of three experiments, this article investigates the extent to which people (1) misrepresent a current emotional state, (2) willfully acknowledge their strategic actions, (3) choose to game emotions over nonemotional information, and (4) improve their financial well-being from emotion gaming. (c) 2009 by JOURNAL OF CONSUMER RESEARCH, Inc..

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Section: )mentioning

confidence: 93%

Section: Gaming Emotions or Expectations?mentioning

confidence: 99%

Gaming Emotions in Social Interactions

Andrade¹,

Ho²

2009

J Consum Res

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“…This can be likened to a drama, as discussed by Deighton, Romer, and McQueen (1989). They note that a drama is processed empathically, suggesting that empathy may be an important element in positive responses to charity appeals.…”

Section: Empathymentioning

confidence: 96%

Guilt and giving: A process model of empathy and efficacy

Basil

Ridgway

Basil

2007

Psychology and Marketing

284

254

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This research develops a model of consumer response to charity appeals. Using the Extended Parallel Process Model from the fear appeal literature as a foundation, the current model proposes that empathy and self-efficacy generate guilt and reduce maladaptive responses, which, in turn, shapes donation intention. The results demonstrate that the impact of empathy on charitable donation intention is fully mediated by guilt and maladaptive responses. The impact of self-efficacy is partially mediated by guilt and maladaptive responses. Therefore, both empathy and self-efficacy determine whether guilt or maladaptive responses result. This model clarifies the process through which guilt appeals operate, by identifying the roles of empathy and self-efficacy.

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“…Highly entertained viewers might discredit the brand once they discover what is being advertised, either due to disbelief if arguments are used, due to less relevance or meaningfulness of the ad, or due to less empathy if drama is used (Deighton et al 1989). Viewers might also pay less attention to a message that is associated with the brand once they are already entertained (Mitchell and Olson 1981).…”

Section: Caveats Final Considerations and Future Researchmentioning

confidence: 99%

Why, When, and How Much to Entertain Consumers in Advertisements? A Web-Based Facial Tracking Field Study

2014

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The authors would like to thank Rich Sadowsky for customizing the web-based facial tracking system for this research. The authors would also like to thank Andy Dreisch and Brent Sapiro of Affectiva, Inc. for helping collect the data. The first author would like to thank John Deighton, Rohit Deshpande, Michael Norton and Rik Pieters for their valuable suggestions regarding an earlier version of this paper, and especially to Anissa Mak and Sumit Malic for valuable research assistantship. The usual disclaimer regarding responsibility for mistakes applies. 2 AbstractThe presence of positive entertainment (e.g., visual imagery, upbeat music, humor) in TV advertisements can make them more attractive and persuasive. However, little is known about the downsides of using too much entertainment. This research focuses on why, when, and how much to entertain consumers in TV advertisements. We collected data in a large-scale field study using 82 ads with various levels of entertainment shown to 178 consumers in their homes and workplaces. Using a novel web-based face tracking system, we continuously measure consumers' smile responses, and their viewing interest and purchase intent. A simultaneous Bayesian Hierarchical model is estimated to assess how different levels of entertainment affect purchases by endogenizing viewing interest. We find that entertainment has an inverted U-shape relationship with purchase intent. Importantly, we separate entertainment into that which comes before the brand versus that which comes after, and find that the former is positively associated with purchase intent while the latter is not. We conducted a large-scale field study by measuring entertainment 1 more naturally, in a web setting, and address three important questions. One, is there such a thing as having too much positive entertainment in ads? If too much positive entertainment can have detrimental persuasion effects in ads, and we find it does, then, two, it becomes important to understand how much entertaining content should be used. We find evidence that as much as a quarter of TV ads have passed the optimal level by dedicating too much of the ad time to entertain the consumer. KeywordsThree, does it matter when during the ad the entertainment occurs? We find that where entertainment is placed relative to the brand's first appearance has significant impact on the consumer's intent to purchase the brand.This research also provides new conceptual understanding of how the level of entertainment in an ad is related to its attractiveness and persuasiveness in increasing purchases.To do so, we propose a new individual-specific measure to identify whether the viewer associates the entertainment experienced in the ad with the brand based on the order of its presentation relative to the brand. We define pre-brand-associated entertainment (preBAE) as that which precedes the first presentation of the brand and post-brand-associated entertainment (postBAE) as that which follows the first presentation of the brand. These types of entertainment a...

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Using Drama to Persuade

Cited by 329 publications

References 17 publications

Gaming Emotions in Social Interactions

Gaming Emotions in Social Interactions

Guilt and giving: A process model of empathy and efficacy

Why, When, and How Much to Entertain Consumers in Advertisements? A Web-Based Facial Tracking Field Study

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