The Effect of Background Music in Shark Documentaries on Viewers' Perceptions of Sharks

The influence of background music and narrative setting on anthropomorphic judgements of killer whale (Orcinus orca) emotional states and subsequent donation behavior

Animal documentary films such as Blackfish, considered nonfiction accounts of reality, nonetheless use rhetorical devices to engage viewers and shape their emotional experience for maximum effect. Such devices can also influence attitudes and alter behavior. In animal documentaries, anthropomorphic impressions of the animals by audiences are key. Using general population samples in the US, three online experiments assessed the influence of background music and narrative setting on how viewers emotionally appraised the emotional state of a killer whale (Orcinus orca) and subsequently donated to causes affiliated with killer whales. While happy music led to perceptions of a happy whale, sad music led to perceptions of a sad whale. mediation analyses showed that these perceptions indirectly influence donation behavior, via beliefs about the killer whale's welfare and wellbeing. Analyses also indicated that the highest donation amounts towards killer whales were elicited from footage depicting a killer whale in the wild, with sad background music. These findings highlight the potential power that animal and nature documentaries have over viewers, which, when combined with human tendencies toward anthropomorphism, can have significant influence on conservation attitudes and behavior.

A content analysis of 32 years of Shark Week documentaries

Despite evidence of their importance to marine ecosystems, at least 32% of all chondrichthyan species are estimated or assessed as threatened with extinction. In addition to the logistical difficulties of effectively conserving wide-ranging marine species, shark conservation is believed to have been hindered in the past by public perceptions of sharks as dangerous to humans. Shark Week is a high-profile, international programming event that has potentially enormous influence on public perceptions of sharks, shark research, shark researchers, and shark conservation. However, Shark Week has received regular criticism for poor factual accuracy, fearmongering, bias, and inaccurate representations of science and scientists. This research analyzes the content and titles of Shark Week episodes across its entire 32 years of programming to determine if there are trends in species covered, research techniques featured, expert identity, conservation messaging, type of programming, and portrayal of sharks. We analyzed titles from 272 episodes (100%) of Shark Week programming and the content of all available (201; 73.9%) episodes. Our data demonstrate that the majority of episodes are not focused on shark bites, although such shows are common and many Shark Week programs frame sharks around fear, risk, and adrenaline. While criticisms of disproportionate attention to particular charismatic species (e.g. great whites, bull sharks, and tiger sharks) are accurate and supported by data, 79 shark species have been featured briefly at least once. Shark Week's depictions of research and of experts are biased towards a small set of (typically visual and expensive) research methodologies and (mostly white, mostly male) experts, including presentation of many white male non-scientists as scientific experts. While sharks are more often portrayed negatively than positively, limited conservation messaging does appear in 53% of episodes analyzed. Results suggest that as a whole, while Shark Week is likely contributing to the collective public perception of sharks as bad, even relatively small alterations to programming decisions could substantially improve the presentation of sharks and shark science and conservation issues.

Current and future considerations for shark conservation in the Northeast and Eastern Central Pacific Ocean

Sharks are iconic and ecologically important predators found in every ocean. Because of their ecological role as predators, some considered apex predators, and concern over the stability of their populations due to direct and indirect overfishing, there has been an increasing amount of work focussed on shark conservation, and other elasmobranchs such as skates and rays, around the world. Here we discuss many aspects of current shark science and conservation and the path to the future of shark conservation in the Northeastern and Eastern Central Pacific. We explore their roles in ecosystems as keystone species; the conservation measures and laws in place at the international, national, regional and local level; the conservation status of sharks and rays in the region, fisheries for sharks in the Northcentral Pacific specifically those that target juveniles and the implications to shark conservation; a conservation success story: the recovery of Great White Sharks in the Northeast Pacific; public perceptions of sharks and the roles zoos and aquariums play in shark conservation; and the path to the future of shark conservation that requires bold partnerships, local stakeholders and innovative measures.

Sounds Like Respect. The Impact of Background Music on the Acceptance of Gay Men in Audio-Visual Advertising

Companies increasingly seek to use gay protagonists in audio-visual commercials to attract a new affluent target group. There is also growing demand for the diversity present in society to be reflected in media formats such as advertising. Studies have shown, however, that heterosexual consumers (especially men), who may be part of the company's loyal consumer base, tend to react negatively to gay-themed advertising campaigns. Searching for an instrument to mitigate this unwanted effect, the present study investigated whether carefully selected background music can shape the perceived gender of gay male advertising protagonists. In a 2 × 2 between-subjects online experiment (musical connotation × gender of the participant), 218 heterosexual participants watched a commercial promoting engagement rings that featured gay male protagonists, scored with feminine- or masculine-connoted background music. As expected, women generally reacted more positively than men to the advertising. Men exposed to the masculine-connoted background music rated the promoted brand more positively, and masculine music also enhanced (at least in the short term) these men's acceptance of gay men in general (low and medium effect sizes) more than was the case for feminine background music. Carefully selected background music affecting the perceived gender of gay male advertising protagonists may prevent negative reactions from heterosexual audiences and, therefore, motivate companies to use gay protagonists in television commercials on a more regular basis.

Perception of the ethical acceptability of live prey feeding to aquatic species kept in captivity

Previous research into public perceptions of live prey feeding has been focused on terrestrial animals. The reasons for this likely relate to the difficulty humans have in being compassionate to animals who are phylogenetically distantly related. In order to test these assumptions, the general public (two groups; one who had just visited an aquarium; and one group who had just visited a zoo), aquarium professionals in the UK/US and terrestrial zoo animal professionals (UK) were investigated to see how they would differ in their responses when asked about feeding various live aquatic animals to one another. Likert based surveys were used to obtain data face to face and via online social media. Demographics in previous research identified a lower acceptance of live prey feeding by females, however in aquatic animals this was not reflected. Instead, separations in perception were seen to exist between participants dependent on whether they had just visited a zoo or aquarium, or worked with animals.