Abstract
Applying a dual-process rationale, this study explored the cognitive and affective mechanisms involved in the processing of hedonic versus eudaimonic film clips and their putatively distinct inspirational effects. The two types of narratives were operationalized in terms of complete and incomplete goal satisfaction in the film endings. Participants either watched the final boxing match from <em>Rocky</em>, where the protagonist loses the fight, but achieves self-mastery and finds love (eudaimonic narrative) or from <em>Rocky II</em>, where he wins against his opponent (hedonic narrative). A combination of continuous measures of how pleasant participants felt (slider ratings) and psychophysiological measures (heart rate, galvanic skin response [GSR], pulse volume amplitude [PVA]) indicating cognitive load and arousal was used to track the audience responses while watching a compilation of the same intro and the different fight versions. Results revealed that arousal was more strongly associated with participants’ affective scores during the hedonic (winning) version than during the eudaimonic (losing) one. Furthermore, participants experience more positive affect and arousal after watching the protagonist win the match compared to those that watched him lose. Lastly, participants in the eudaimonic condition were more likely to be inspired to exercise afterward. Implications of our results are discussed.
Highlights
It has long been known that the effects of media entertainment can go beyond mere enjoyment and delight, for instance with content designed to “enlighten through the exhibition of the fortunes or misfortunes of others” (Zillmann & Bryant, 1986, p. 303)
The Rocky II winning fight was presented to participants in the hedonic condition, and the Rocky I losing fight was presented to participants in the eudaimonic condition
The protagonist is shown to have won the fight in Rocky II while in Rocky I
Summary
It has long been known that the effects of media entertainment can go beyond mere enjoyment and delight, for instance with content designed to “enlighten through the exhibition of the fortunes or misfortunes of others” (Zillmann & Bryant, 1986, p. 303). Media scholars have suggested a conceptual divide between entertainment content created to be enjoyed (i.e., hedonic content) or to be appreciated (i.e., eudaimonic content; Oliver & Bartsch, 2010; Oliver & Raney, 2011). Hedonic offerings, such as comedies or action films, allow audiences to reduce stress and negative emotions through pleasure, thrill, or humor (Oliver & Raney, 2011). While in general terms eudaimonic entertainment is defined by its capacity to elicit more complex cognitive responses or affective experiences
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