Emotion Portrayals Research Articles

“No punishment is enough for monsters”: vindictiveness as an important political emotion in dealing with Belgian (potential) returnee men

ABSTRACT Building on the call to further integrate emotions in critical security and terrorism studies, we explore the ways emotions figure in media discourses and shape responses and policies on the returnee question. Through critical discourse analysis and thick description, we show how Belgian (potential) returnee men were subject to varying securitising discourses and emotional portrayals in media coverage over the past decade. Our argument contends that media discourse(s) on the returnee question exhibit a complex emotional landscape. We discern dominant, alternative and rising emotions that undergird the media coverage. We will illustrate how the “dominant” emotion of fear oscillated with an “alternative” emotion of vulnerability and, over the course of a decade, was accompanied by a “rising” emotion of vindictiveness. We argue that the cultivation of vindictiveness contributes to securitising narratives that portray Belgian (potential) returnee men as irredeemable monsters deserving of extreme punishments. This rising discourse undermines democratic principles and the rule of law. We speak of political emotions because emotions are deeply intertwined with power dynamics, societal structures, and political processes, which shape collective attitudes, behaviours, and policies towards (potential) returnees.

An Analysis Phatic Expression on Hotel Transylvania Animated Movie

In contemporary filmmaking, the portrayal of emotions is pivotal, with phatic communication playing a crucial role. Phatic communication, involving verbal interactions aimed at maintaining social relationships rather than conveying information, enhances narrative and character development. This study examines phatic expressions in the animated film "Hotel Transylvania," directed by Genndy Tartakovsky, to uncover the deeper meanings and social significance of these seemingly simple interactions. The analysis reveals that greetings, casual conversations, and social courtesies in the film not only establish and maintain social bonds but also contributing to the film’s charm and authenticity. By exploring phatic communication in "Hotel Transylvania," this research offers insights into sociolinguistics and communication studies, emphasizing the importance of these expressions in storytelling and the functions of phatic expression in social context so that the readers can apply it to enhance their conversations.

Facial Animation Strategies for Improved Emotional Expression in Virtual Reality

The portrayal of emotions by virtual characters is crucial in virtual reality (VR) communication. Effective communication in VR relies on a shared understanding, which is significantly enhanced when virtual characters authentically express emotions that align with their spoken words. While human emotions are often conveyed through facial expressions, existing facial animation techniques have mainly focused on lip-syncing and head movements to improve naturalness. This study investigates the influence of various factors in facial animation on the emotional representation of virtual characters. We conduct a comparative and analytical study using an audio-visual database, examining the impact of different animation factors. To this end, we utilize a total of 24 voice samples, representing 12 different speakers, with each emotional voice segment lasting approximately 4–5 s. Using these samples, we design six perceptual experiments to investigate the impact of facial cues—including facial expression, lip movement, head motion, and overall appearance—on the expression of emotions by virtual characters. Additionally, we engaged 20 participants to evaluate and select appropriate combinations of facial expressions, lip movements, head motions, and appearances that align with the given emotion and its intensity. Our findings indicate that emotional representation in virtual characters is closely linked to facial expressions, head movements, and overall appearance. Conversely, lip-syncing, which has been a primary focus in prior studies, seems less critical for conveying emotions, as its accuracy is difficult to perceive with the naked eye. The results of our study can significantly benefit the VR community by aiding in the development of virtual characters capable of expressing a diverse range of emotions.

From Tradition to Transformation: Bharatanatyam Explored through Feminist and Psychological Contexts

This study explores the evolution and contemporary significance of Bharatanatyam, an Indian classical dance form. It examines the evolution of the dance form, focusing on the portrayal of stories, emotions, and characters. The research also reimagines the Ashta-Nayikas, the eight main female archetypes in classical dance, through the lens of contemporary psychology. The study uses qualitative data analysis, including media studies, historical texts, and in-depth interviews, to reveal the dynamic interaction between modernity and tradition. The study highlights the dance form’s innate resilience and the need for dance artists to develop coping mechanisms to navigate the intricacies of tradition and modernity.

The Future Orientation of Italian Adolescents in Post-Pandemic Times: Associations with Self-Efficacy and Perceived Academic Achievement

Future orientation refers to an individual’s conscious portrayal of upcoming events, encompassing thoughts, motivations, and emotions. Research on future orientation has primarily focused on adolescents due to their perceived necessity to prepare for adulthood. To investigate the hopes and fears of Italian adolescents in post-pandemic times, as well as age and gender differences and the associations between future orientation, self-efficacy, and perceived academic achievement, a survey was conducted with 388 Italian high school students. The Future Orientation and Life Course Prospective Questionnaires, along with the Problem-Solving Self-Efficacy Scale, were administered. Data analysis involved content analysis of hopes and fears, as well as statistical methods (t-tests, Pearson’s correlation coefficients, and multiple regression analysis) were employed. A greater number of fears than hopes were mentioned. Age differences were marginal. Compared with males, females expressed a greater number of hopes and fears and provided more detailed insights into their fears within the domains of higher education, self, and the general existential category. As expected, positive and modest correlations were observed between future orientation, self-efficacy, and academic achievement. Notably, self-efficacy and work/career future orientation were found to predict academic achievement. The results are discussed in terms of their relevance for school educational programs.

TRACING BHAVNA (FEELING/EMOTION) AND VICHAR (THOUGHT) IN INDIAN AND WESTERN POETICS

This research paper investigates the nuanced concepts of bhavna (feeling/emotion) and vichar (thought) in Indian and Western literature and poetics. Drawing upon classical Indian writings of Abhinavgupta, Bhartruhari, Mamata, Bharat Muni and canonical poems by William Wordsworth, Coleridge, John Keats, Matthew Arnold, and Robert Browning, the paper analyzes how these two cultural traditions approach the portrayal and integration of emotion and thought in artistic expression. By examining representative excerpts from these Western poets alongside examples from classical Indian texts, this study aims to elucidate the similarities, differences, and unique characteristics of bhavna and vichar in shaping the aesthetic experience across cultural traditions.

<span>Some characteristics of poetic genres in poetry section of Dong Thap Literature And Arts Newspaper</span>

Understanding the characteristics of poetic genres showcased in the poetry column of Dong Thap Literature and Arts Newspaper helps us gain insight into the newspaper's position amidst the changing modern life. The poetry compositions in this newspaper not only inherit various forms of national poetry but also demonstrate innovation and creativity by incorporating traditional poetic structures. This is evident in the portrayal of emotions that resonate with the intricate and multidimensional mood swings of contemporary individuals, while reflecting aspects of social life and local cultural values. These elements contribute to the distinct and diverse features of Dong Thap Literature and Arts Newspaper.

Research on the Content Characteristics of Narrative MV

MV (Music Video) is an art form that combines music and pictures, while narrative MV is a form of expressing the inner emotions and stories of music in the way of telling stories through pictures. The MV "Stars" tells the story of a supporting teacher and a Tibetan boy. This article analyzes the MV "Stars", expounds the related concepts of MV, analyzes and studies its content, characteristics and narrative methods. Narrative MVs not only need excellent music works and superb shooting techniques, but also need a vivid story, as well as the portrayal of emotions and details. The research on MV not only discovers its artistic value and expressive power, but also meets people's needs for music and visual art and improves the quality of life.

Training strategies towards performing emotions on film: an integrated approach

South African film budgets do not allow for extensive preparation and rehearsal periods. South African film actors prepare their portrayal of emotion as part of their performance scores in isolation and are expected to present their already crafted performances while the camera is rolling. However, the actor must be able to produce an emotion at will. They must navigate the onset and conclusion of the emotion whilst effectively portraying it to the camera that is capturing the moment on film. The (film) actor’s physical manifestation of the character’s emotion is the means through which audiences gain insight into characters (Baron & Carnicke, 2011). Reframing Screen Performance. Michigan: The University of Michigan Press, 174). The actor needs to embody these elements to signify the character’s emotions (Gosselin et al, 2005). Components and Recognition of Facial Expression in the Communication of Emotion by Actors. In: P. Ekman, and E.L. Rosenberg, eds. What the face Reveals: Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding Systems (FACS), 2nd ed. New York: Oxford University Press, 243–270) quickly, upon demand, and with the required filmic verisimilitude. This article offers a five-phase process, that draws on various embodied performance pedagogies (such as Emotional Body, Laban/Bartenieff Movement Studies and Lessac Kinesensics), as well as from relevant scholarship in the field of Emotion. This process facilitates and brings forth required embodied emotions in actor to character development in a way that reinforces verisimilitude and can be effectively strategised away from the actual filming moment. It is structured to be safe in its approach, effective in the emotionally embodied delivery, and acknowledges both cultural and idiosyncratic diversity in the actors in the service of the character to be portrayed.

Facial expression analysis in a wild sporting environment

The scientific community and mass media have already reported the use of nonverbal behavior analysis in sports for athletes’ performance. Their conclusions stated that certain emotional expressions are linked to athlete’s performance, or even that psychological strategies serve to improve endurance performance. This paper examines the portrayal of well-known emotions and their relationship to the participants of an ultra-distance race in a high-stake environment. For this purpose, we analyzed almost 600 runners captured when they passed through a set of locations placed along the race track. We have observed a correlation between the runners’ facial expressions and their performance along the track. Moreover, we have analyzed Action Unit activations and aligned our findings with the state-of-the-art psychological baseline.

Semantic-based visual emotion recognition in videos-a transfer learning approach

<p><span>Automatic emotion recognition is active research in analyzing human’s emotional state over the past decades. It is still a challenging task in computer vision and artificial intelligence due to its high intra-class variation. The main advantage of emotion recognition is that a person’s emotion can be recognized even if he is extreme away from the surveillance monitoring since the camera is far away from the human; it is challenging to identify the emotion with facial expression alone. This scenario works better by adding visual body clues (facial actions, hand posture, body gestures). The body posture can powerfully convey the emotional state of a person in this scenario. This paper analyses the frontal view of human body movements, visual expressions, and body gestures to identify the various emotions. Initially, we extract the motion information of the body gesture using dense optical flow models. Later the high-level motion feature frames are transferred to the pre-trained convolutional neural network (CNN) models to recognize the 17 various emotions in Geneva multimodal emotion portrayals (GEMEP) dataset. In the experimental results, AlexNet exhibits the architecture's effectiveness with an overall accuracy rate of 96.63% for the GEMEP dataset is better than raw frames and 94% for visual geometry group-19 VGG-19, and 93.35% for VGG-16 respectively. This shows that the dense optical flow method performs well using transfer learning for recognizing emotions.</span></p>

The Mandarin Chinese auditory emotions stimulus database: A validated set of Chinese pseudo-sentences.

Emotional prosody is fully embedded in language and can be influenced by the linguistic properties of a specific language. Considering the limitations of existing Chinese auditory stimulus database studies, we developed and validated an emotional auditory stimuli database composed of Chinese pseudo-sentences, recorded by six professional actors in Mandarin Chinese. Emotional expressions included happiness, sadness, anger, fear, disgust, pleasant surprise, and neutrality. All emotional categories were vocalized into two types of sentence patterns, declarative and interrogative. In addition, all emotional pseudo-sentences, except for neutral, were vocalized at two levels of emotional intensity: normal and strong. Each recording was validated with 40 native Chinese listeners in terms of the recognition accuracy of the intended emotion portrayal; finally, 4361 pseudo-sentence stimuli were included in the database. Validation of the database using a forced-choice recognition paradigm revealed high rates of emotional recognition accuracy. The detailed acoustic attributes of vocalization were provided and connected to the emotion recognition rates. This corpus could be a valuable resource for researchers and clinicians to explore the behavioral and neural mechanisms underlying emotion processing of the general population and emotional disturbances in neurological, psychiatric, and developmental disorders. The Mandarin Chinese auditory emotion stimulus database is available at the Open Science Framework ( https://osf.io/sfbm6/?view_only=e22a521e2a7d44c6b3343e11b88f39e3 ).

Analyzing the Role of Emotional Intelligence on the Performance of Small and Medium Enterprises (SMEs) Using AI-Based Convolutional Neural Networks (CNNs)

Human emotion detection is necessary for social interaction and plays an important role in our daily lives. Artificial intelligence research is rising, focusing on automated emotion detection. The capability to identify the emotion, which is considered one of the traits of emotional intelligence, is a component of human intelligence. Although the study is limited dependent on facial expressions or voice is flourishing, it is identifying emotions via body movements, a less researched issue. To attain emotional intelligence, this study suggests a deep learning approach. Here initially the video can be converted into image frames after the converted image frames can be preprocessed using the Glitter bandpass butter worth filter and contrast stretch histogram equalization. Then from the enhanced image, the features can be clustered using the hybrid Gaussian BIRCH algorithm. Then the specialized features are retrieved from the body of human gestures using the AdaDelta bacteria foraging optimization algorithm, and the selected features are fed to a supervised Kernel Boosting LENET deep-learning algorithm. The experiment is conducted using Geneva multimodal emotion portrayals (GEMEPs) corpus data set. This data set includes, human body gestures portraying the archetypes of five emotions, such as anger, fear, joy, pride, and sad. In these emotion detection techniques, the suggested Kernel Boosting LENET classifier achieves 98.5% accuracy, 94% precision, 95% sensitivity, and F-Score 93% outperformed better than the other existing classifiers. As a result, emotional acknowledgment may help small and medium enterprises (SMEs) to improve their performance and entrepreneurial orientation. The correlation coefficient of 188 and the significance coefficient of 0.00 show that emotional intelligence and SMEs performance have a significant and positive association.

Vocal emotion recognition by native Turkish children with normal hearing and with hearing aids

Development of vocal emotion recognition in children with normal hearing takes many years before reaching adult-like levels. In children with hearing loss, decreased audibility and potential loss of sensitivity to relevant acoustic cues may additionally affect vocal emotion perception. Hearing aids (HAs) are traditionally optimized for speech understanding, and it is not clear how children with HAs are performing in perceiving vocal emotions. In this study, we investigated vocal emotion recognition in native Turkish normal hearing children (NHC, age range: 5–18 years), normal hearing adults (NHA, age range: 18–45 years), and children with HAs (HAC, age range: 5–18 years), using pseudo-speech sentences expressed in one of the three emotions, happy, sad, or angry (Geneva Multimodal Emotion Portrayal (GEMEP) Corpus by Banziger and Scherer, 2010; EmoHI Test by Nagels et al., 2021). Visual inspection of the preliminary data suggests that performance increases with increasing age for NHC and that in general, HAC have lower recognition scores compared to NHC. Further analyses will be presented, along with acoustical analysis of the stimuli and an exploration of effects of HA settings. In addition, for cross-language comparison, these data will be compared to previously collected data with the same paradigm in children from the UK and the Netherlands.

Feel the suspense! masculine positions and emotional interpellations in Swedish sports betting commercials

ABSTRACT Gambling advertising is often permeated by stereotypical portrayals of gender, including those of male gamblers as tough and successful. Simultaneously, representations of men in other advertising has become increasingly diverse, including emotional and sexualized, heroic and muscular portrayals. This article uses both these bodies of research to discuss Swedish sports betting commercials from 2019–2020. It shows that different commercials draw on diametrically different formulations of the game, emphasizing skill and luck, rationality and emotion respectively, which is conceptualized as different, gendered emotional interpellations. These include production of emotional or stoic masculine viewer positions, as well as the portrayal and evoking of emotions, and point to the psychic and emotional dimension of neo-liberal, consumerist culture, which strives to incorporate and exploit ever more aspects of the personal. The article furthers the theorizing of emotions in consumerist culture, contributes to gambling research by problematizing gendered ideas about skill and luck, and adds to studies of men in contemporary consumerist culture with discussions of emotionality, rationality, homosociality, and masculinized interpellations of different kinds.

The Evolving Portrayal of Female Emotions in the Marvel Cinematic Universe

ABSTRACT Historically, female characters in comic books have largely been assigned to supporting roles, dressed to cater to the male gaze, or sometimes disregarded as mere plot devices to advance the stories of male characters. In more recent years, this has started to change with a select number of female characters’ stories being highlighted by major blockbuster releases. This article will explore the way that female representation has evolved in the Marvel Cinematic Universe over the past decade, with special focus on three key scenes in Marvel’s The Avengers, Captain Marvel, and WandaVision that reflect an evolution in the way that female emotions are handled within the narrative of these franchises. Discussion will be given to the way these pop culture messages influence the work that feminist therapists do with clients from a narrative perspective.

Impaired emotion perception and categorization in semantic aphasia

According to a constructionist model of emotion, conceptual knowledge plays a foundational role in emotion perception; reduced availability of relevant conceptual knowledge should therefore impair emotion perception. Conceptual deficits can follow both degradation of semantic knowledge (e.g., semantic ‘storage’ deficits in semantic dementia) and deregulation of retrieval (e.g., semantic ‘access’ deficits in semantic aphasia). While emotion recognition deficits are known to accompany degraded conceptual knowledge, less is known about the impact of semantic access deficits. Here, we examined emotion perception and categorization tasks in patients with semantic aphasia, who have difficulty accessing semantic information in a flexible and controlled fashion following left hemisphere stroke. In Study 1, participants were asked to sort faces according to the emotion they portrayed – with numbers, written labels and picture examples each provided as category anchors across tasks. Semantic aphasia patients made more errors and showed a larger benefit from word anchors that reduced the need to internally constrain categorization than comparison participants. They successfully sorted portrayals that differed in valence (positive vs. negative) but had difficulty categorizing different negative emotions. They were unimpaired on a control task that involved sorting faces by identity. In Study 2, participants matched facial emotion portrayals to written labels following vocal emotion prosody cues, miscues, or no cues. Patients presented with overall poorer performance and benefited from cue trials relative to within-valence miscue trials. This same effect was seen in comparison participants, who also showed deleterious effects of within-valence miscue relative to no cue trials. Overall, we found that patients with deregulated semantic retrieval have deficits in emotional perception but that word anchors and cue conditions can facilitate emotion perception by increasing access to relevant emotion concepts and reducing reliance on semantic control. Semantic control may be of particular importance in emotion perception when it is necessary to interpret ambiguous inputs, or when there is interference between conceptually similar emotional states. These findings extend constructionist accounts of emotion to encompass difficulties in controlled semantic retrieval.

An ecolinguistic perspective on Assyrian-Iranian migrants’ portrayal of emotions toward their linguistic resources

In this study, I explore the relationship between migrants' linguistic resources, their environment, and their emotions, focusing on two Assyrian-Iranian migrants in Germany. By adopting an ecological approach, I examine how the memories they have created in Iran and Germany impact their emotional attachments to the Persian, Assyrian, and German languages. I argue that their experiences with these languages cause them to ascribe distinct emotional values to each. On the one hand, their strong feelings of belonging to a place (Iran), which correspond to their good memories of speaking Persian in that place, lead them to highly value that language and incorporate it into most aspects of their social lives. On the other hand, the migrants’ memories of a language with negative or neutral connotations (in this case, German) correspond with a lower level of reported social interactions in that language. This study shows that the language which these participants use to express their emotional involvement in particular moments of their life invokes specific feelings, and represents their inner world better than their other linguistic resources.

Facets of Interpersonal Accuracy Across the Lifespan: Is There a Single Skill in Older Age?

This study investigated age differences and similarities in younger and older women’s ability to accurately judge others’ emotions, personality, and rapport, collectively referred to as interpersonal accuracy (IPA). A sample of 124 young (ages 18–22) and 94 older women (ages 60–90) completed four different IPA tasks: two emotion perception tasks using posed stimuli, and two interaction-based tasks where participants judged their interaction partner’s personality and perceived rapport. Accuracy performance was analyzed using both frequentist and Bayesian approaches. Young women outperformed older women in judging emotions from static facial expressions as well as dynamic multimodal emotion portrayals, but not in judging an interaction partner’s personality traits or rating of rapport. The age difference was stronger for the dynamic as compared to the static stimuli. Performance across tasks was correlated more in older than in younger women, in particular among the emotion recognition tasks. These results offer some evidence for a single IPA skill in older compared to younger adults and may guide future work in measuring changes to interpersonal accuracy across the adult lifespan.

Enjoying sad music: A test of the prolactin theory

Philosophers have long wrestled with the apparent paradox of the enjoyment of negative emotional portrayals in the arts. An example of this apparent paradox is the enjoyment among some listeners of nominally sad music. An experiment is reported in which 39 participants listened to sad and happy music while serum prolactin (PRL) concentrations were measured. The purpose of the experiment was to test an a priori theory, proposed by Huron, that liking sad music is mediated by elevated PRL levels. Contrary to the theory, sad music did not result in a significant increase in PRL; nor was the pleasure of listening to sad music associated with increased PRL. Nominally happy music did result in a decrease of PRL, especially for those participants who most prefer happy music over sad music. The effect was greatest for those who score high on a measure of loneliness. Consistent with other studies, the degree of liking sad music over happy music was found to correlate with trait openness to experience, although this effect was not echoed in PRL levels. Post-hoc analyses indicate that PRL decreases were most marked for male listeners and those who score high on a loneliness measure. In general, the results are not consistent with the theory proposed by Huron.