A New Set of Standardised Verbal and Non-verbal Contemporary Film Stimuli for the Elicitation of Emotions

Inter- and intra-subject similarity in network functional connectivity across a full narrative movie

Naturalistic paradigms, such as watching movies during functional magnetic resonance imaging, are thought to prompt the emotional and cognitive processes typically elicited in real life situations. Therefore, naturalistic viewing (NV) holds great potential for studying individual differences. Previous studies have primarily focused on using shorter movie clips, geared toward eliciting specific and often isolated emotions, while the potential behind using full narratives depicted in commercial movies as a proxy for real-life experiences has barely been explored. Here, we offer preliminary evidence that a full narrative movie (FNM), that is, a movie covering a complete narrative arc, can capture complex socio-affective dynamics and their links to individual differences. Using the studyforrest dataset, we investigated inter- and intra-subject similarity in network functional connectivity (NFC) of 14 meta-analytically defined networks across a full narrative, audio-visual movie split into eight consecutive movie segments. We characterized the movie segments by valence and arousal portrayed within the sequences, before utilizing a linear mixed model to analyze which factors explain inter- and intra-subject similarity. Our results show that the model best explaining inter-subject similarity comprised network, movie segment, valence and a movie segment by valence interaction. Intra-subject similarity was influenced significantly by the same factors and an additional three-way interaction between movie segment, valence and arousal. Overall, inter- and intra-subject similarity in NFC were sensitive to the ongoing narrative and emotions in the movie. We conclude that FNMs offer complex content and dynamics that might be particularly valuable for studying individual differences. Further characterization of movie features, such as the overarching narratives, that enhance individual differences is needed for advancing the potential of NV research.

A shared structure for emotion experiences from narratives, videos, and everyday life

Our knowledge of the diversity and psychological organization of emotion experiences is based primarily on studies that used a single type of stimulus with an often limited set of rating scales and analyses. Here we take a comprehensive data-driven approach. We surveyed 1,000+ participants on a diverse set of ratings of emotion experiences to a validated set of ca. 150 text narratives, a validated set of ca. 1,000 videos, and over 10,000 personal experiences sampled longitudinally in everyday life, permitting a unique comparison. All three types of emotion experiences were characterized by similar dimensional spaces that included valence and arousal, as well as dimensions related to generalizability. Emotion experiences were distributed along continuous gradients, with no clear clusters even for the so-called basic emotions. Individual differences in personality traits were associated with differences in everyday emotion experiences but not with emotions evoked by narratives or videos.

Negative emotional cues improve free recall of positive and neutral words in unmedicated patients with major depressive disorder

Individuals with major depressive disorder (MDD) exhibit attentional biases toward negative, mood-congruent stimuli while filtering out positive and neutral stimuli, resulting in memory biases to negative content. While attentional and memory biases in MDD have been extensively studied, the underlying mechanisms of these biases remain unclear. The current study investigates a novel model proposing that exposure to negative emotional cues triggers a transient "attentional window" in individuals with MDD, leading to heightened and deeper cognitive processing of any subsequent information, irrespective of its content. Forty-two unmedicated patients with MDD and no comorbid disorder and 41 healthy controls, completed six blocks of the emotional memory task, in which they were asked to watch a short video (negative, neutral, or positive valence) followed by a memory test on a list of neutral or positive valance words. Results indicated that participants with MDD, but not healthy controls, had better recall performance after a negative video compared to after neutral or positive videos, and that this effect occurred for both neutral and positive word-lists. These findings provide evidence that participants with MDD engage in deeper information processing following exposure to negative emotional stimuli. Potential clinical implications are discussed.

An extended emotion-eliciting film clips set (EGEFILM): assessment of emotion ratings for 104 film clips in a Turkish sample

The primary aim of this study was to test emotion-elicitation levels of widely used film clips in a Turkish sample and to expand existing databases by adding several new film clips with the capacity to elicit a wide range of emotions, including a rarely studied emotion category, i.e., calmness. For this purpose, we conducted a comprehensive review of prior studies and collected a large number of new suggestions from a Turkish sample to select film clips for eight emotion categories: amusement, tenderness, calmness, anger, sadness, disgust, fear, and neutrality. Furthermore, we aimed to assess emotion-eliciting levels of short video clips, mostly taken by amateur video footage. In total, 104 film clips were tested online by rating several affective dimensions. Self-reported emotional experience was assessed in terms of intensity, discreteness, valence, and arousal. It was found that at least one of the existing film clips, most of the new film clips, and the short video clips were successful at eliciting medium to high levels of target emotions. However, we also observed overlaps between certain emotions (e.g., tenderness-sadness, anger-sadness-disgust, or fear-anxiety). The current results are mostly in line with previous databases, suggesting that film clips are efficient at eliciting a wide range of emotions where cultural background might play a role in the elicitation of certain emotions (e.g., amusement, anger, etc.). We hope that this extended emotion-eliciting film clips set (EGEFILM) will provide a rich resource for future emotion research both in Turkey and the international area.

A Systematic Review of International Affective Picture System (IAPS) around the World

Standardized Emotion Elicitation Databases (SEEDs) allow studying emotions in laboratory settings by replicating real-life emotions in a controlled environment. The International Affective Pictures System (IAPS), containing 1182 coloured images as stimuli, is arguably the most popular SEED. Since its introduction, multiple countries and cultures have validated this SEED, making its adoption on the study of emotion a worldwide success. For this review, 69 studies were included. Results focus on the discussion of validation processes by combining self-report and physiological data (Skin Conductance Level, Heart Rate Variability and Electroencephalography) and self-report only. Cross-age, cross-cultural and sex differences are discussed. Overall, IAPS is a robust instrument for emotion elicitation around the world.

From Freud to Android: Constructing a Scale of Uncanny Feelings

The uncanny valley is a topic for engineers, animators, and psychologists, yet uncanny emotions are without a clear definition. Across three studies, we developed an 8-item measure of unnerved feelings, finding that it was discriminable from other affective experiences. In Study 1, we conducted an exploratory factor analysis that yielded two factors; an unnerved factor, which connects to emotional reactions to the uncanny, and a disoriented factor, which connects to mental state changes more distally following uncanny experiences. Focusing on the unnerved measure, Study 2 tests the scale's convergent and discriminant validity, concluding that participants who watched an uncanny video were more unnerved than those who watched a disgusting, fearful, or a neutral video. In Study 3, we determined that our scale detects unnerved feelings created during early 2020 by the coronavirus pandemic; a distinct source of uncanniness. These studies contribute to the psychological and interdisciplinary understanding of this strange, eerie phenomenon of being confronted with what looms just beyond our understanding.

Gender differences in the physiological effects of emotional regulation

Previous research has established that emotional regulation impacts our health; emotional expression is associated with a host of psychological and physiological benefits whereas emotional suppression has negative health consequences. Given that emotional-display rules restrict the range of emotion that men feel comfortable expressing, we hypothesized that gender might moderate the health outcomes associated with emotional regulation strategies. In a laboratory experiment, we instructed participants to either suppress or express their feelings in an interview with a researcher about a film they had watched. These participants provided saliva samples at four different points during the procedure for the later determination of cortisol. A Mixed Model ANOVA revealed that participant gender moderated the effect of emotional regulation strategy on cortisol. Contrary to the health consequences typically associated with emotional regulation strategies, men benefited more from emotional suppression than they did from emotional expression. These findings have important implications for future research and clinical work.

Comparison of response to Chinese and Western videos of mental-health-related emotions in a representative Chinese sample

Background

Emotion plays an important role in mental health. Studying the relationship between emotion and mental health requires effective emotion-eliciting materials. Most standardized emotional stimuli, however, were based on Western contents and have not been validated in other cultures. The present study compared the emotional response to standard Western videos with videos of Chinese contents in a large representative Chinese sample. The effects of content source (film vs. real-life) and delivery medium (online vs. offline), as well as the effects of demographic factors were investigated. Participants’ depression level was assessed to test the potential use of the videos in mental health research.

Methods

Top-ranked videos of basic emotions commonly implicated in mental health (happiness, sadness, anger, and fear) were chosen from a widely used Western video database. Twelve corresponding Chinese videos (film or real-life) were selected, with three clips for each emotion. In addition, three Chinese videos of the emotion “awe” were included because of the growing research attention to its role in promoting mental health. A large representative sample were recruited (N = 348) either online or offline and each participant viewed and rated his/her emotional reaction to all videos.

Results

All Chinese and Western videos effectively elicited target emotions. The intensity of emotional response was generally higher for Chinese videos than for Western videos. Film and real-life videos provided mixed results in terms of the intensity of elicited emotions. There was a small difference in the delivery medium in which one video watched online were rated more intense than being watched in the laboratory. Older adults were more emotional reactive than young people in general, but the latter showed more differentiated response to Chinese versus Western videos. People with higher education levels responded less to happy videos. Finally, emotional reactivity of anger and awe were negatively related to depression level, which was partially consistent with the emotional-context-insensitivity (ECI) hypothesis of depression.

Conclusions

The results suggest that both Western and Chinese videos could reliably elicit emotion in Chinese people, but videos with local contents were generally more effective. The set of videos can be a useful tool for studying emotion and mental health in the Chinese cultural context.

The Role of Features Types and Personalized Assessment in Detecting Affective State Using Dry Electrode EEG

Assessing the human affective state using electroencephalography (EEG) have shown good potential but failed to demonstrate reliable performance in real-life applications. Especially if one applies a setup that might impact affective processing and relies on generalized models of affect. Additionally, using subjective assessment of ones affect as ground truth has often been disputed. To shed the light on the former challenge we explored the use of a convenient EEG system with 20 participants to capture their reaction to affective movie clips in a naturalistic setting. Employing state-of-the-art machine learning approach demonstrated that the highest performance is reached when combining linear features, namely symmetry features and single-channel features, with nonlinear ones derived by a multiscale entropy approach. Nevertheless, the best performance, reflected in the highest F1-score achieved in a binary classification task for valence was 0.71 and for arousal 0.62. The performance was 10–20% better compared to using ratings provided by 13 independent raters. We argue that affective self-assessment might be underrated and it is crucial to account for personal differences in both perception and physiological response to affective cues.

Emotion Elicitation Under Audiovisual Stimuli Reception: Should Artificial Intelligence Consider the Gender Perspective?

Identification of emotions triggered by different sourced stimuli can be applied to automatic systems that help, relieve or protect vulnerable groups of population. The selection of the best stimuli allows to train these artificial intelligence-based systems in a more efficient and precise manner in order to discern different risky situations, characterized either by panic or fear emotions, in a clear and accurate way. The presented research study has produced a dataset of audiovisual stimuli (UC3M4Safety database) that triggers a complete range of emotions, with a high level of agreement and with a discrete emotional categorization, as well as quantitative categorization in the Pleasure-Arousal-Dominance Affective space. This database is adequate for the machine learning algorithms contained in these automatic systems. Furthermore, this work analyses the effects of gender in the emotion elicitation under audiovisual stimuli, which can help to better design the final solution. Particularly, the focus is set on emotional responses to audiovisual stimuli reproducing situations experienced by women, such as gender-based violence. A statistical study of gender differences in emotional response was carried out on 1332 participants (811 women and 521 men). The average responses per video is around 84 (SD = 22). Data analysis was carried out with RStudio^®.

Differences between young and older adults in physiological and subjective responses to emotion induction using films

Emotional response in aging is typically studied using the dimensional or the discrete models of emotion. Moreover, it is typically studied using subjective or physiological variables but not using both perspectives simultaneously. Additionally, tenderness is neglected in emotion induction procedures with older adults, with the present work being the first to include the study of physiological tenderness using film clips. This study integrated two separate approaches to emotion research, comparing 68 younger and 39 older adults and using a popular set of film clips to induce tenderness, amusement, anger, fear, sadness and disgust emotions. The direction of subjective emotional patterns was evaluated with self-reports and that of physiological emotional patterns was evaluated with a wearable emotion detection system. The findings suggest a dual-process framework between subjective and physiological responses, manifested differently in young and older adults. In terms of arousal, the older adults exhibited higher levels of subjective arousal in negative emotions and tenderness while young adults showed higher levels of physiological arousal in these emotions. These findings yield information on the multidirectionality of positive and negative emotions, corroborating that emotional changes in the adult lifespan appear to be subject to the relevance of the emotion elicitor to each age group.

The effects of emotion on working memory: Valence versus motivation

It is unclear whether the effects of emotional state on working memory (WM) are valence-based or motivation-based since the type of emotions used in previous research differed on both dimensions of emotion. Especially, effects of anger, which is a negative but approach-related emotional state, were mostly overlooked. To distinguish between valence vs. motivation accounts, two experiments were conducted in which participants were induced one of four emotional states to create approach-positive (happiness), avoidance-negative (fear), approach-negative (anger), and control (neutral) conditions, followed by Self-ordered Pointing Task (Experiment 1) or N-Back task (Experiment 2) as WM measures. The main effect of emotion on WM accuracy was not significant in neither experiment. In the second experiment, however, reaction times (RTs) in the avoidance-related emotion condition were significantly faster compared to those in approach-related conditions, without compromising accuracy. Together the two experiments suggest that the motivational dimension of emotional state is more effective on WM than the valence dimension, especially on the RTs, indicating working memory updating efficiency.

How effective are films in inducing positive and negative emotional states? A meta-analysis

Meta-analyses and reviews on emotion research have shown the use of film clips to be one of the most effective methods of mood induction. Nonetheless, the effectiveness of this method when positive, negative and neutral emotional targets are studied under similar experimental conditions is currently unknown. This comprehensive meta-analysis included only studies that implemented neutral, positive and negative mood inductions to evaluate the effectiveness of the film clip method as a mood induction procedure. In addition, several factors related to the films, sample and experimental procedure used, the number of emotional categories, for example, or the number of film clips watched, were included to study their influence on the effectiveness of this mood induction procedure. Forty-five studies were included with 6675 participants and 12 possible moderator variables according to the sample and the research procedure. Our findings suggest that film clips are especially powerful in inducing negative mood states (Hedges' g for valence = -1.49 and for arousal = -1.77) although they are also effective inducers of positive mood states (Hedges' g for valence of = . -1.22 and for arousal = -1.34). Additionally, this meta-analysis reveals that variables, such as the number of emotional categories or the type of stimulus used to measure the baseline, should be considered.

Sharing the filmic experience - The physiology of socio-emotional processes in the cinema

As we identify with characters on screen, we simulate their emotions and thoughts. This is accompanied by physiological changes such as galvanic skin response (GSR), an indicator for emotional arousal, and respiratory sinus arrhythmia (RSA), referring to vagal activity. We investigated whether the presence of a cinema audience affects these psychophysiological processes. The study was conducted in a real cinema in Berlin. Participants came twice to watch previously rated emotional film scenes eliciting amusement, anger, tenderness or fear. Once they watched the scenes alone, once in a group. We tested whether the vagal modulation in response to the mere presence of others influences explicit (reported) and implicit markers (RSA, heart rate (HR) and GSR) of emotional processes in function of solitary or collective enjoyment of movie scenes. On the physiological level, we found a mediating effect of vagal flexibility to the mere presence of others. Individuals showing a high baseline difference (alone vs. social) prior to the presentation of film, maintained higher RSA in the alone compared to the social condition. The opposite pattern emerged for low baseline difference individuals. Emotional arousal as reflected in GSR was significantly more pronounced during scenes eliciting anger independent of the social condition. On the behavioural level, we found evidence for emotion-specific effects on reported empathy, emotional intensity and Theory of Mind. Furthermore, people who decrease their RSA in response to others' company are those who felt themselves more empathically engaged with the characters. Our data speaks in favour of a specific role of vagal regulation in response to the mere presence of others in terms of explicit empathic engagement with characters during shared filmic experience.

E-MOVIE - Experimental MOVies for Induction of Emotions in neuroscience: An innovative film database with normative data and sex differences

The need for a validated set of emotional clips to elicit emotions in more ecological experiments is increasing. Here we present the validation of a new database of emotional films, named E-MOVIE, which includes, in this first validation phase, 39 excerpts arranged in six categories, three negative (Fear, Sadness and Compassion), two positive (Erotic and Scenery) and a Neutral category. Notably, Compassion and Scenery are new in the field as they were not included in other databases. The clips in E-MOVIE are characterized by homogenous durations of approximately two minutes, which make them suitable for psychophysiological research. In order to study the affective profile prompted by each category 174 participants (112 women) rated the movies on multiple dimensions, namely valence and arousal, intensity and discreteness of the induction of one of the six basic emotions and, finally, intensity of the experience of the emotional states defined by a series of emotional adjectives. Erotic clips were effective in the elicitation of a positive emotional state, characterized by high levels of arousal and excitement. On the other hand, Fear clips (selected without blood to avoid disgust reaction) prompted an affect characterized by high arousal, low valence and high levels of reported fear and anxiety. Women reported greater unpleasantness, distress, anxiety and jittery than men to the three negative categories. Compassion clips, characterized by the depiction of crying characters, were able to induce an affective state dominated by sadness and feeling touched, consistent with an empathic reaction to emotional sufferance. Sadness clips, instead, elicited an affective state characterized by sadness together with distress and angst. We also demonstrated that clips depicting natural environments (i.e. Scenery) prompted in the viewer a surprised, inspired affective state, characterized by high valence and arousal (especially in males), a result which suggests that their past categorization as neutral stimuli was inaccurate and problematic.

A standardised database of Chinese emotional film clips

Film clips are widely used in emotion research due to their relatively high ecological validity. Although researchers have established various film clip sets for different cultures, the few that exist related to Chinese culture do not adequately address positive emotions. The main purposes of the present study were to establish a standardised database of Chinese emotional film clips that could elicit more categories of reported positive emotions compared to the existing databases and to expand the available film clips that can be used as neutral materials. Two experiments were conducted to construct the database. In experiment 1, 111 film clips were selected from more than one thousand Chinese movies for preliminary screening. After 315 participants viewed and evaluated these film clips, 39 excerpts were selected for further validation. In experiment 2, 147 participants watched and rated these 39 film clips, as well as another 8 excerpts chosen from the existing databases, to compare their validity. Eventually, 22 film excerpts that successfully evoked three positive emotions (joy, amusement, and tenderness), four negative emotions (moral disgust, anger, fear, and sadness), and neutrality formed the standardised database of Chinese emotional film clips.

Utilizing Neutral Affective States in Research: Theory, Assessment, and Recommendations

Even though researchers regularly use neutral affect induction procedures (AIPs) as a control condition in their work, there is little consensus on what is neutral affect. This article reviews five approaches that researchers have used to operationalize neutral AIPs: to produce a(n) (a) minimal affective state, (b) in-the-middle state, (c) deactivated state, (d) typical state, or (e) indifferent state. For each view, the article delineates the theoretical basis for the neutral AIP, how to assess it, and provides recommendations for when and how to use it. The goal of the article is to encourage researchers to state their theoretical assumptions about neutral affect, to validate those assumptions, and to make appropriate conclusions based on them.

Emotional Differences in Young and Older Adults: Films as Mood Induction Procedure

Film clips are proven to be one of the most efficient techniques in emotional induction. However, there is scant literature on the effect of this procedure in older adults and, specifically, the effect of using different positive stimuli. Thus, the aim of the present study was to examine emotional differences between young and older adults and to know how a set of film clips works as mood induction procedure in older adults, especially, when trying to elicit attachment-related emotions. To this end, we use this procedure to analyze differences in subjective emotional response between young and older adults. A sample of 57 older adults and 83 young adults watched a film set previously validated in young population. Their responses were studied in an individual laboratory session to elicit 6 target emotions (disgust, fear, sadness, anger, amusement and tenderness) and neutral state. Self-reported emotional experience was measured using the Self-Assessment Manikin (SAM). Our results show that film clips are capable of evoking positive and negative emotions in older adults. Furthermore, older adults experienced more intensely negative emotions than young adults, especially in response to disgust and fear clips. They also reported higher arousal than young adults, especially in the case of sadness, anger and tenderness clips. Nevertheless, the older adults recovered more easily from the effects of the emotion induction. The young adults reported higher arousal ratings than older adults in response to amusement film clips. On the other hand, this study reflects the importance of controlling the baseline state to study the real strength of mood induction. Overall, current data suggests significant differences occur in emotional response in adult age and that film clips are an effective tool for studying positive and negative emotions in aging research.

A film set for the elicitation of emotion in research: A comprehensive catalog derived from four decades of investigation

Emotions are highly influential to many psychological processes. Indeed, research employing emotional stimuli is rapidly escalating across the field of psychology. However, challenges remain regarding discrete evocation of frequently co-elicited emotions such as amusement and happiness, or anger and disgust. Further, as much contemporary work in emotion employs college students, we sought to additionally evaluate the efficacy of film clips to discretely elicit these more challenging emotions in a young adult population using an online medium. The internet is an important tool for investigating responses to emotional stimuli, but validations of emotionally evocative film clips across laboratory and web-based settings are limited in the literature. An additional obstacle is identifying stimuli amidst the numerous film clip validation studies. During our investigation, we recognized the lack of a categorical database to facilitate rapid identification of useful film clips for individual researchers' unique investigations. Consequently, here we also sought to produce the first compilation of such stimuli into an accessible and comprehensive catalog. We based our catalog upon prior work as well as our own, and identified 24 articles and 295 film clips from four decades of research. We present information on the validation of these clips in addition to our own research validating six clips using online administration settings. The results of our search in the literature and our own study are presented in tables designed to facilitate and improve a selection of highly valid film stimuli for future research.

A New Standardized Emotional Film Database for Asian Culture

Researchers interested in emotions have endeavored to elicit emotional responses in the laboratory and have determined that films were one of the most effective ways to elicit emotions. The present study presented the development of a new standardized emotional film database for Asian culture. There were eight kinds of emotion: fear, disgust, anger, sadness, neutrality, surprise, amusement, and pleasure. Each kind included eight film clips, and a total of 64 emotional films were viewed by 110 participants. We analyzed both the subjective experience (valence, arousal, motivation, and dominance) and physiological response (heart rate and respiration rate) to the presentation of each film. The results of the subjective ratings indicated that our set of 64 films successfully elicited the target emotions. Heart rate declined while watching high-arousal films compared to neutral ones. Films that expressed amusement elicited the lowest respiration rate, whereas fear elicited the highest. The amount and category of emotional films in this database were considerable. This database may help researchers choose applicable emotional films for study according to their own purposes and help in studies of cultural differences in emotion.

The effect of sleep deprivation on the encoding of contextual and non-contextual aspects of emotional memory

Sleep loss affects emotional memory, but the specific effects on its contextual and non-contextual aspects are unknown. In this study we investigated the possible differential influence of one night of sleep deprivation on the encoding and subsequent recall of these two aspects of emotional information. Forty-eight healthy subjects, divided in a sleep deprivation (SD) and a well-rested group (WR), completed two testing sessions: the encoding session took place after one night of sleep for the WR and after one night of sleep deprivation for the SD group; the recall session after two nights of recovery sleep for both groups. During the encoding session, 6 clips of films of different valence (2 positive, 2 neutral and 2 negative) were presented to the participants. During the recall session, the non-contextual emotional memory was assessed by a recognition task, while the contextual emotional memory was evaluated by a temporal order task. The SD group showed a worst non-contextual recognition of positive and neutral events compared to WR subjects, while recognition of negative items was similar in the two groups. Instead, the encoding of the temporal order resulted deteriorated in the SD participants, independent of the emotional valence of the items. These results indicate that sleep deprivation severely impairs the encoding of both contextual and non-contextual aspects of memory, resulting in significantly worse retention two days later. However, the preserved recognition of negative non-contextual events in sleep deprived subjects suggests that the encoding of negative stimuli is more "resistant" to the disruptive effects of sleep deprivation.