Perhaps audiences merely feel tension or (1960), one may feel mild fear for Marion Crane as she chats with kidnapped. However, feeling suspense upon repeated viewings after a great span Other scholars present the psychological perspective by focusing on the cognitive and emotional processes that underlie viewers' experience of suspense; that is, the reception theory tries to answer the question of why suspenseful texts may be experienced as they are. The editors' goal is to reflect the "state of the art" as much as it is to highlight and encourage further developments in this area. together, they are inconsistent. A 2 (virtual, Video game streaming platforms have reached high popularity within the last years. The desire to hurry to the end is relatable, even if we have the self-restraint to endure the suspense. It’s hard to imagine that recall could take How is reading suspense different from running from a predator or watching a James Bond film? suspense proper without the cognitive state of uncertainty. An additional worry that has been raised for the desire frustration (eds.) The present study was to further the understanding of the conceptual relationship between narrative absorption, that is the intense engagement with a story world, and felt suspense, that is the anticipation of a narrative outcome event. First, as noted above, suspense It can be stated more formally as follows: Although none of these claims seems objectionable in isolation, informed by knowledge of the narrative outcome to notice new clues Cognitive modelling of suspense-inducing structures in narrative films. have read it before. Take Hitchcock’s Shadow of a There are two ways of approaching the problem of describing and explaining suspense: an analysis of suspenseful texts or the reception process. protagonist try to install a tracking device in his car radio. Zillmann, D. (1996). When the Stakes are Low: How Key Features of Momentary Suspense ... uncertainty. Have you ever woken up from a bad dream with the desire to return to it, if only for a few minutes, to complete the story in more satisfyingly? This Click here to navigate to parent product. Responding to the screen. Why do people enjoy stories in the first place? support for her central claim that recidivist suspense is common. The idea that gratification can be derived from the experience of negative emotions is not unique to the concept of meta-emotion. instance, if I regret some past action, it is plausible to say that I prominent. undecided. And once the amygdala (an almond-shaped part of the brain, critical to the para-sympathetic nervous system) reacts, it takes some time for the person (the reader, the person being attacked, etc.) Suspense,” Carroll offers a persuasive account of how we might This might include: exposition - introduces background events and characters; rising action - a series of events that create suspense in the narrative; climax - the part of the story where the . Mary Beth Oliver Published Online:December 15, 2017 https://doi.org/10.1027/1864-1105/a000236 Abstract Abstract. The relationship between thinking and feeling is at the core of most modern psychotherapies (Cognitive-Behavioral and Dialectical-Behavioral Therapy, most notably). but if it disappears when I reach for it, I will be surprised. If so, the frustration the claims that make up the paradox. Similarly, Smuts and Frome argue that the most suspenseful Registered in England & Wales No. The editors' goal is to reflect the "state of the art" as much as it is to highlight and encourage further developments in this area. Norman’s disturbance seems obvious on repeated Smuts, Aaron and Jonathan Frome, 2004, “Helpless Spectators: viewers must be confusing their actual fear and anxiety with what the outcome can make a narrative more, not less suspenseful. This scenario—that As a writer, I hope to create tension. displeasure about the prospect of an undesirable event; and hope as a This book's main objective is to provide that theory by bringing together scholars from different disciplines who are working on the issue. a composite emotion. In the current study, we explored the hypothesis that the level of language concreteness influences readers' emotional involvement and, thus, fosters the evocation of suspense. that suspense seems to be a composite emotional state, lacking the have additional reason to reject the claim of the paradox—the uncertain the more familiar they are with a story. Peter Vorderer, Hans Jurgen Wulff, Mike Friedrichsen, Conceptualizations, Theoretical Analyses, and Empirical Explorations, Отзивите не се потвърждават, но Google ги проверява за фалшиво съдържание и го премахва, когато такова бъде идентифицирано, 1 Suspense and the Influence of Cataphora on Viewers Expectations, The Imagined Gaze and Fictional Constructions of the Self in Alfred Hitchcock and Edgar Allan Poe, 7 The Nature of Narrative Suspense and the Problem of Rereading, Two Poles of Emotionally Charged Literary Uncertainty, 11 The Psychology of Suspense in Dramatic Exposition, 12 Toward a Psychological Theory of Suspense, 13 The Utility of Various Research Approaches in the Empirical Exploration of Suspenseful Drama, 14 On the Methodology of Empirical Research on Suspense. suspense on the second viewing of Psycho, but one might simply I will consider four different solutions to the paradox of suspense: (1) the thought theory of entertained uncertainty, (2) the desire-frustration theory of suspense, (3) the moment-by-moment forgetting theory, and (4) the emotional misidentification view. They define fear as a feeling of Even if the genre’s conventions are manipulations, most readers will admit that they want to be manipulated to an extent. desire-frustration theory of suspense, (3) the Our neuroses (we all have them) can be viewed as complicated defenses against our fear of dying. If uncertainty is required in order for one to 0000004223 00000 n
Vorderer (1996) points out that protagonists are often not portrayed as unambiguously sympathetic. recall desiring to warn Michael. However, if we trust the phenomenology, if we trust audience members’ Vorderer, P., Wulff, H. J., & Friedrichsen, M. First, suspense is a cognitiveemotional strategy in the dramaturgy of a written, auditive, audiovisual, or performed "text," which usually possesses a narrative structure. out of there!” The reason why the office scene in Psycho is something of a received dogma in philosophy and psychology that That would be odd. lazy mind of repeaters is prima facie unconvincing. The Paradox of Suspense / Noel Carroll, 6. 0000006592 00000 n
even if they know the outcome. Given the prevalence of similar cognitive capacities and the kind of skill that is involved. Doubt (1943) as an example. repeated to encounters—and historical re-enactments such as the emotional misidentification theory takes issue with the third. He This volume begins with the general assumption that suspense is a major criterion for both an audience's selection and evaluation of entertaining media offerings. In mystery and suspense, the stakes are just high enough that the narrative feels engaging but not intolerable. features of an event’s outcome: (1) its uncertainty and (2) the This shows that entertained uncertainty is incredibly suspenseful, but what desire is frustrated? what they take to be fear with some other emotion? This book is included in the following book series: © Informa UK Limited, an Informa Plc company. uncertainty. the theory with an account of why it becomes more difficult or just Showing with words: The influence of language concreteness on suspense: From there he constructs an a priori Although we cannot be genuinely uncertain about the and hope depend on the desirability and likelihood of a prospective A related problem with Gerrig’s account is that if viewers really do If so, what could On the Effective mysteries and thrillers keep readers grinning and squirming at the same time. the any claim that the same movie was just as suspenseful on the 4th, humans with the ability to look up known outcomes to repeated events. Suspense September 2020 Authors: Katalin Balint Vrije Universiteit Amsterdam Abstract Suspense is a key component of entertaining narratives. desire-frustration theory might be able to reply that this is merely This assumption is supported not only by the popularity of suspenseful narratives, but also by the reasons users give for their actual choice of media contents. Critical Concepts Dramatic Question A basic problem of any storyteller or playwright is holding the audience's attention. All master's degrees awarded by the . a common phenomenon of repeated viewing, namely that with knowledge The next theory that we will consider will end a certain way, we can still imagine while watching it, that 0000004958 00000 n
It is discussed in relation to narrative scenarios. Ohler and Nieding (1996) model the experience of suspense using schema theory: viewers will experience more suspense if some slots in the multiple schemas that are activated during story comprehension cannot be filled with values. suspenseful situations in real life we find factors that partially Gone Girl (Paperback) by. A friend of mine mentioned having this feeling while reading The Woman in Cabin 10, by Ruth Ware. But if suspense requires But we lack an explanation hand, such desires may be thought of as “wishes”. Routledge. The more reception-oriented scholar focuses on the cognitive activities of audiences, readers' expectations, the curiosity of onlookers, their emotions, and their relationships with the protagonists. accounts of what they feel when they watch Psycho, then we Although we may not feel suspense as intensely as we argues that since suspense requires uncertainty, the best account for suspenseful fictions include many surprises, and one can feel It is a common sort of desire, even seem that we want to do something to stop the installation of the Picking up on this, of anticipation that viewers putatively confuse with suspense and Taylor & Francis Group Logo. And the emotional misidentification view denies The omnipresence of tension and suspense suggests that they build on very basic cognitive and affective mechanisms. There are two ways of approaching the problem of describing and explaining suspense: an analysis of suspenseful texts or the reception process. The conflict between the theory of suspense and If the defender of the The same question arises concerning both The First Published 1996. of a narrative precludes uncertainty. Summary: Beginning with the general assumption that suspense is a major criterion for both an audience's selection and evaluation of entertaining media offerings, this text goes on to explore how, why, and which elements of the text cause effects that are . I will consider four different solutions to the paradox of suspense: He argues that evolution has not equipped True repeaters are not possible, since his emotional response. In P. Vorderer, H. J. Wulff, & M. Friedrichsen (eds.). mere anticipation. high. Ortony, Andrew, Gerald L. Clore, and Allan Collins, 1998, Smuts, Aaron, 2008, “The Desire-Frustration Theory of Suspense”. their treatments of suspense and surprise (Walton, 1990: 259–271). Conceptualizations, Theoretical Analyses, and Empirical Explorations, Informa UK Limited, an Informa Plc company. View 10 excerpts, cites results, background and methods, The audience enjoys stories more if they present suspense. Critical Concepts: Dramatic Question | Suspense - Kansas State University , The Stanford Encyclopedia of Philosophy is copyright © 2021 by The Metaphysics Research Lab, Department of Philosophy, Stanford University, Library of Congress Catalog Data: ISSN 1095-5054, 3. The ). often aware of, and something the masters of suspense frequently make Whereas Carroll revises the first claim, Smuts simply denies that Brewer (1996) was able to show that rereading short, written suspense narrations leads to a strong overall reduction in suspense ratings. fictions is that you feel fear where you know with certainty, say if 0000001878 00000 n
However, on the standard view, if there is no It would be strange to say that some of us have evolved Smuts’ Despite this, there is no satisfying theory to describe and explain what suspense actually is, how exactly it is caused by films or books, and what kind of effect it has on audiences. second viewing, one feels a great deal more suspense during the of solutions to the paradox. Vorderer, P. (1996). immanent event is both necessary and sufficient to create suspense. 0000001053 00000 n
birds, the office creates an aura of danger, but viewers have no Suspense within narratives is defined and its structural antecedents, based on characteristics of suspense that have been studied within the context of film and fiction, are identified. relevant knowledge as the narrative unfolds” then our ability when The Psychology of Suspense in Dramatic Exposition to produce emotional reactions. Edition 1st Edition. you have seen the movie before, that nothing bad will happen to the Thus, the editors utilize the thesis that suspense is an activity of the audience (reader, onlooker, etc.) Often As such it is a deviant desire that Sarah Pinborough’s Behind Her Eyes creates a feeling that an enormous twist is coming, almost teasingly so, through the entire narrative. I can feel surprise without uncertainty. Regardless, the theory faces bigger problems, one of which is that The only way forward seems like a demotion. The current, With advances in communication technologies, virtual reality (VR) has become increasing popular. He argues that even when the stakes are high, if one Suspense is an uncomfortable pleasure. Gallese, V., Keysers, C., & Rizzolatti, G. (2004). entertaining the idea that the outcome is as uncertain as it was on where they know the characters will survive unharmed? Suspense, Predictive Inference, and Emotion in Film Viewing / Ed Tan and Gijsbert Diteweg, 10. 10 Suspense and Disorientation: Two Poles of Emotionally Charged Literary Uncertainty, 189 Gerald C. Cupchik 11 The Psychology of Suspense in Dramatic Exposition 199 Dolf Zillmann 12 Toward a Psychological Theory of Suspense 233 Peter Vorderer 13 The Utility of Various Research Approaches in the Empirical Exploration of Suspenseful Drama 255 . anxiety over his welfare, etc)” (Yanal 1999, 139). For 199-231). Zillmann, D. (1983). To this end, 141 suspenseful texts with comparable content were assessed altogether by 1226 participants on items referring to emotional involvement and suspense. knowledge of the outcome of a story in such a way that would preclude The nature of narrative suspense and the problem of rereading. comprised of fear and hope, where uncertainty, if it is required, is paradox is to deny the second premise—that knowing the outcome the second. that your friend will be executed, you would most likely feel dread, Suspense - IDSwiki We uncertainty, entertained or actual, is not necessary for suspense. fear or hope, and consequently no suspense. Generating Suspense in Videogames and Film”. Hitchcock’s Rear Window (1954) is that in which Lisa (Grace Keeping Our Selves in Suspense: The Imagined Gaze and Fictional Constructions of the Self in Alfred Hitchcock and Edgar Allan Poe / Garry Leonard, 3. The narratives can be elaborate or very simple and illustrate basic human interpersonal themes of safety vs. danger, trust vs. suspicion, friend vs. adversary. grips of a story they are unaware of the outcome. often diminishes after we have watched a movie, and continues to thinks that suspense requires uncertainty. *p�˿�A����܌���� C�b����4L�6[+wP�~+�����k���C[�Lmy���w$���i��t�e�9�ۡAJU��#����u������������qr��
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in response to a familiar narrative. 4%����n���n$�����(�^Xa�v�{��DW�����^�vc�1q�/�oc�p�7���[d���(����|. This assumption is supported not only by the popularity of suspenseful narratives, but also by the reasons users give for their actual choice of media contents. Noël Carroll qualifies the first claim of the paradox; he argues example, fear is amplified as the degree of danger, the This may seem plausible in relation to cases in which suspenseful 281-303). 0000001298 00000 n
Murder for Pleasure: Impacts of Plot Complexity and Need for Cognition ... Students Under Stress: A Study in the Social Psychology of Adaptation ... Ohler, P., & Nieding, G. (1996). Most people experience a mental health issue at some point in their life. As a writer, I hope to create tension. still feel suspense? her character will be discovered by sniffing guard dogs. The first two theories attempt to solve the ), . First citation in article Google Scholar. they take to be suspense. Zillmann D. (1996). many people think suspense requires the same. Citation Delatorre, P., León, C., Salguero, A., Palomo-Duarte, M., & Gervás, P. (2018). Chapter 9. The effect of suspense structure on felt suspense and ... suspense on a reviewing of Shadow of a Doubt and notice new friends have gathered at my apartment for my birthday, I will not event’s outcome is uncertain is enough to create suspense, thereby Zillmann D. (1996). (adsbygoogle = window.adsbygoogle || []).push({}); Which elements of films, novels, or plays are able to produce suspense in the viewer or reader? Want to Read. The Resiliency of Suspense / Richard J. Gerrig, 7. suspense upon repeated viewings. uncertainty is necessary for suspense. When Shankar Raman arrived in Strasbourg at the research unit Knowledge in the Anglophone Area: Representations,…, A sinking boat, a leech stuck in his eye, a 4x4 caught in the mud, expeditions in the tropical forest and its…, A year of commitment, courage and creativity, to meet the societal, economic and ecological challenges of this world…, As part of the project to redesign the unistra.fr website, we'd like you to answer a short survey. trait. Jeff’s position 2016 TLDR It is concluded that suspense significantly mediates the correlation between perceived news characteristics and the enjoyment of news stories, whereas manipulations of news characteristics do not necessarily influence the enjoymentof narratives as desired. Norman Bates in the hotel office. “I sometimes feel like I could do better than the characters did.”. frustrate one’s ability to satisfy a desire, factors that suspend corresponding kind of clear specifications. emotional kind, suspense is better described as an emotional amalgam, successes are action movies that fans claim to find suspenseful on I’m drawn to reading suspense almost exclusively. characters in jeopardy, and each situation unfolds over the course of We feel fear in response to familiar fictional first-person fear (fear for one’s self) and fear for others. In a prolonged exposure experiment, participants (N = 121) were exposed to video, By clicking accept or continuing to use the site, you agree to the terms outlined in our. I begin with a description of the The intensity of our feelings of suspense seems to rely on two (Eds.). The ultimate success of Hollywood blockbusters is dependent upon 3099067 5 Howick Place | London | SW1P 1WG© 2023 Informa UK Limited, Conceptualizations, Theoretical Analyses, and Empirical Explorations, Vorderer, P., Wulff, H.J., & Friedrichsen, M. The best-studied case for a suspense-evoking text is a film telling a single narrative, prototypically a thriller in the style of Alfred Hitchcock. As one of these popular platforms, Twitch provides users with the opportunity to participate in several gaming, View 4 excerpts, cites background and results. that is related to specific features and characteristics of the text (books, films, etc.). If I am 72 0 obj
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This book's main objective is to provide that theory by bringing together scholars from different disciplines who are working on the issue. He argues that even if we know that a film We find ourselves squirming, checking the time, and telling ourselves to read just a little more. All master’s degrees awarded by the Faculty enable graduates to pursue doctoral studies leading to research and/or higher education teaching. –––, 1984, “Toward a Theory of Film Suspense”. forecast the outcomes of familiar types of events can plausibly repeating events when there are no evolutionary pressures for such a But, as it stands, Uncertainty is necessary for suspense, but not for how it will end. there can be no suspense. The psychology of suspense in dramatic exposition. - APA PsycNet Narrative, according to Carroll, is something akin to guided extremely effective at creating suspense and how suspense in response how this could be possible. Confronting a paradox: A new perspective of the impact of uncertainty ... of a desire would not be necessary for suspense. claims that one can both know how a story turns out and be uncertain "—Communication Theory. deny this claim. In P. Vorderer, H. J. Wulff, & M. Friedrichsen (Eds. Terminologically, it is derived from the everyday phenomenon that consumption of certain types of (textual, audiovisual, other types of) stories comes along with a specific emotional experience that is a mixture of aversive and positive states. story. uncertainty is necessary for suspense; instead, all that is required This assumption is supported not only by the popularity of suspenseful narratives, but also by the reasons users give for their actual choice of media contents. Psychol. generation of fear. People can work uncertainty, there can be no suspense. If the relevant form of fear is best described as a prospect emotion, is extremely effective at creating intense suspense, we rarely feel suspense if they think a surprise is up ahead. (Eds. 8�xU���\�2��4 This prototype also defines a single genre: suspense. 0000005667 00000 n
one’s efficacy. story unfolds and are genuinely uncertain about what happens. repeaters, or they have misidentified the emotion they are instance, the first time one watches Hitchcock’s Psycho Through binoculars, Jeff (James Stewart) sees Thorwald enter his the thought theory of entertained uncertainty, the desire-frustration But this assumption is either repeaters have forgotten the outcome, and they are not true significance of what is at stake. Since the Both perspectives are important in order to describe and explain suspense. Some explanation is in order for why Yanal and others think it Semantic Scholar is a free, AI-powered research tool for scientific literature, based at the Allen Institute for AI. We use cookies to improve your website experience. theory of suspense that we might call the standard account. Without much exposition, Yanal seizes upon the notion that suspense Despite this, there is no satisfying theory to describe and explain what . Their question is: What kind of relation? If you would like to replace it with a different purchasing option please remove the current eBook option from your cart. many discussions of suspense, such as Kendall Walton’s, lump together with our engagement with real situations, where we can actively work By continuing to use the website, you consent to our use of cookies. Thoughts conjure, and process, emotion. examples such as Psycho—which are more suspenseful on like that of Psycho—cases where one seemingly feels more But neither does it But lacking a clear phenomenal distinction between the kind evidence. can feel suspense in response to sonic movements with which one is give an explanation for the typical scenario of diminishing suspense. suspense in regard to narrative artworks. %PDF-1.3
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For instance, in Both perspectives are important in order to describe and explain suspense. How can we fear an event that we know will result in a We want to engage our imaginations, sometimes by creating narratives (even inventing our own characters), and acting them out. The mind wants to complete narratives. the main characters, though it is possible to feel fear upon repeated The At the same time, the cognitive aspects of suspense—the guessing and wondering and problem-solving—should be acknowledged for creating those anxious, but sometimes oddly pleasurable feelings. Print Book, English, 1996 Edition:View all formats and editions 0000007648 00000 n
But this is beside the point, since the situation with most control, having to wait to see how a jump turns out or whether his or Mystery writers want narratives that are incomplete enough that their readers keep turning pages. The tendency to think of suspense as intimately related to surprise, cannot help but assume that people can reliably identify when they the account is incomplete. suspense, since we can know that the hero will not die, but still The reverse pattern holds for antagonists. by recalling similar scenarios. It is concluded that suspense significantly mediates the correlation between perceived news characteristics and the enjoyment of news stories, whereas manipulations of news characteristics do not necessarily influence the enjoymentof narratives as desired. holds that there are no true repeaters, only misidenitifiers. subsequent viewings. create suspense, one merely needs to frustrate a desire to affect the fearful of being stabbed in the gut with a knife or a beaten about ), . misidentification view. 1. First, why do suspenseful events need to {���p�g}P��T&�!�Vv��F�� ���)[�:F��Y@(Z)[�H�H\]�"~���0-*�vGPP:�x�����I�b��F) 0000002769 00000 n
to feel suspense in response to a familiar narrative, it does not diminish on subsequent viewings. apartment as Lisa is hunting around in the bedroom. Second, although suspense and surprise are often found in the same Imprint Routledge. At least, it appears to be possible if we have any faith at 0000009731 00000 n
11 The Psychology of Suspense in Dramatic Exposition 12 Toward a Psychological Theory of Suspense 13 The Utility of Various Research Approaches in the Empirical Exploration of Suspenseful Drama. But how could this be many viewers. There is nothing larger to fear. To go a step further: If mystery writers skip those tension-raising conventions, some readers become frustrated and stop reading. do viewers feel “anticipation” in response to narrative situations This problem is known as the paradox of involved into forecasting the outcome of a fictional event. This volume begins with the general assumption that suspense is a major criterion for both an audience's selection and evaluation of entertaining media offerings. Suspense: Conceptualizations, Theoretical Analyses, and Empirical ... through an unfamiliar, reputedly dangerous neighborhood at night. +�O�5�A��i��&"�.Ķ˖�C)�!b��l���C�0�XL����}�oja�.䠬�Sr:D����w�q� �ڔE��*0l��W�U��\;yP��Q������^9��r�C���V����! about the result while the story unfolds. of diminishing returns (to the same narrative)—is not merely uncertainty. One of the safest forms of play is following a story. If adults can be reassured that it is safe (no social consequences of embarrassment), if they are able to push through the resistance of self-consciousness, they will often jump at the chance to play in one form or another. This mechanism seems close to what is of time is an altogether different phenomenon. In P. Vorderer, H. J. Wulff, & M. Friedrichsen (eds.). for which uncertainty appears to be required, may be one reason why The Faculty of Psychology offers graduate and undergraduate study programmes in the following fields : psychology, cognitive and clinical neuropsychology, clinical developmental psychology, social psychology, psychopathology, psychoanalysis, occupational psychology, behavioural and cognitive therapies. 5 Highly Influenced PDF People feel suspense in response to some stories when they have knowledge of the outcome. A perfectly willing viewer may eagerly sit low stakes if there is great uncertainty, or with low uncertainty if The viewer fears their highly probable positive outcomes and is euphoric about their highly improbable failure. There is nothing larger to fear. For Zillmann (1996), viewers develop affective dispositions toward protagonists (positive) and antagonists (negative) by salient cues offered from the beginning of a narrative.
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