The utility of various research approaches in the empirical exploration of suspenseful drama

Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations

Volumn , Issue , 2013, Pages 255-282

  de Wied, Minet ^a   Zillmann, Dolf ^b  

^a NOS Audience Research   (Netherlands)

^b UNIVERSITY OF ALABAMA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85033142478     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (57)

1. Babbie, E. (1989). The practice of social research (5th ed.). Belmont, CA: Wadsworth.
2. Berlyne, D. E. (1960). Conflict, arousal and curiosity. New York: McGraw-Hill.
3. Berlyne, D. E. (1967). Arousal and reinforcement. In D. Levine (Ed.), Nebraska Symposium on Motivation (Vol. 15, pp. 1-110). Lincoln: University of Nebraska Press.
4. Bordwell, D. (1985). Narration in the fiction film. Madison: University of Wisconsin Press.
5. Bozutto, J. C. (1975). Cinematic neurosis following The Exorcist. The Journal of Nervous and Mental Diseases, 161, 43-48.
6. Brewer, W. F., & Lichtenstein, E. H. (1981). Event schemas, story schemas, and story grammars. In J. Long & A. Baddeley (Eds.), Attention and performance IX (pp. 363-379). Hillsdale, NJ: Lawrence Erlbaum Associates.
7. Brewer, W. F., & Lichtenstein, E. H. (1982). Stories are to entertain: A structural-affect theory of stories. Journal of Pragmatics, 6, 473-486.
8. Cantor, J. (1991). Fright responses to mass media productions. In J. Bryant & D. Zillmann (Eds.), Responding to the screen: Reception and reaction processes (pp. 169-197). Hillsdale, NJ: Lawrence Erlbaum Associates.
9. Cantor, J., & Reilly, S. (1982). Adolescents' fright reactions to television and films. Journal of Communication, 32, 87-99.
10. Cantor, J., Ziemke, D., & Sparks, G. G. (1984, Winter). Effect of forewarning on emotional responses to a horror film. Journal of Broadcasting, 28(1), 21-31.
11. Carroll, N. (1984). Toward a theory of film suspense. Persistence of Vision, 1, 65-89.
12. Carruthers, M., & Taggart, P. (1973). Vagotonicity of violence: Biochemical and cardiac responses to violent films and television programmes. British Medical Journal, 3, 384-389.
13. Comisky, P., & Bryant, J. (1982). Factors involved in generating suspense. Human Communication Research, 9(1), 49-58.
14. de Wied, M. (1991). The role of time structures in the experience of film suspense and duration. Unpublished doctoral dissertation, University of Amsterdam.
15. de Wied, M. (1995). The role of temporal expectancies in the production of film suspense. Poetics, 23, 107-123.
16. Eysenck, H. J., & Eysenck, S. B. G. (1976). Psychoticism as a dimension of personality. London: University of London Press.
17. Gerrig, R. J. (1989). Suspense in the absence of uncertainty. Journal of Memory and Language, 28, 633-648.
18. Gow, G. (1968). Suspense in the cinema. New York: Tantivity Press.
19. Graziano, A. M., & Raulin, M. L. (1993). Research methods: A process of inquiry (2nd ed.). New York: FlarperCollins.
20. Hitchcock, A. (1959, July 13). Interview by H. Brean. Life, p. 72.
21. Hoffner, C., & Cantor, J. (1 990). Forewarning of a threat and prior knowledge of outcome: Effects on children's emotional responses to a film sequence. Human Communication Research, 16, 323-354.
22. Hoffner, C., & Cantor, J. (1991). Perceiving and responding to mass media characters. In J. Bryant & D. Zillmann (Eds.), Responding to the screen: Reception and reaction processes (pp. 169-197). Hillsdale, NJ: Lawrence Erlbaum Associates.
23. Johnson, B. R. (1980). General occurrence of stressful reactions to commercial motion pictures and elements in films subjectively identified as stressors. Psychological Records, 47, 775-786.
24. Jose, P. E., & Brewer, W. F. (1 984). Development of story liking: Character identification, suspense, and outcome resolution. Developmental Psychology, 20(5), 911-924.
25. Kraft, R. N. (1986). The role of cutting in the evaluation and retention of film. Journal of Experimental Psychology: Learning, Memory, and Cognition, 72(1), 155-1 63.
26. Kraft, R. N. (1987). Rules and strategies of visual narratives. Perceptual and Motor Skills, 64, 3-14.
27. Krippendorf, K. (1980). Content analysis: An introduction to its methodology. Beverly Hills, CA: Sage.
28. Levi, L. (1965). The urinary output of adrenalin and noradrenalin during pleasant and unpleasant emotional states: A preliminary report. Psychosomatic Medicine, 27, 80-85.
29. Levi, L. (1967). Sympatho-adrenomedullary responses to emotional stimuli: Methodologic, physiologic and pathologic considerations. In E. Bajusz (Ed.), An introduction to clinical neuroendocrin ology (pp. 78-1 05). Basel, Switzerland: Karger.
30. Mascelli, J. V. (1965). The Jive C's of cinematography. Hollywood, CA: Cine/Graphic.
31. Mathai, J. (1 983). An acute anxiety state in an adolescent precipitated by viewing a horror movie. Journal of Adolescence, 6, 197-200.
32. Monaco, J. (1981). How to read a film. New York: Oxford University Press.
33. Nomikos, M. S., Opton, E., Averill, J. R., & Lazarus, R. S. (1968). Surprise versus suspense in the production of stress reaction. Journal of Person ality and Social Psychology, 8, 204-208.
34. Norden, M. (1980). Toward a theory of audience response to suspenseful films. Journal of the University Film Association, 32(1-2), 71-77.
35. Palmgreen, P., & Rayburn, J. D., II. (1985). A comparison of gratification models of media satisfaction. Communication Monographs, 52, 334-346.
36. Rosengren, K. E., Wenner, L. A., & Palmgreen, P. (Eds.). (1985). Media gratifications research: Current perspectives. Beverly Hills, CA: Sage.
37. Rubin, A. M. (1994). Media uses and effects: A uses-and-gratifications perspective. In J. Bryant & D. Zillmann (Eds.), Media effects: Advances in theory and research (pp. 4 1 7-436). Hillsdale, NJ: Lawrence Erlbaum Associates.
38. Sparks, G. G. (1991). The relationship between distress and delight in males' and females' reactions to frightening films. Human Communication Research, 17(A), 625-637.
39. Spielberger, C. D., Gorsuch, R. L., & Lushene, R. E. (1970). Test manual for the state-trait anxiety inventory. Palo Alto, CA: Consulting Psychologists Press.
40. Sternberg, M. (1978). Expositional modes and temporal ordering in fiction. Baltimore, MD: Johns Hopkins University Press.
41. Stocking, S. H., Sapolsky, B. S., & Zillmann, D. (1977). Sex discrimination in prime time humor. Journal of Broadcasting, 21, 447-457.
42. Tamborini, R. (1991). Responses to horror: Determinants of exposure and appeal. In J. Bryant & D. Zillmann (Eds.), Responding to the screen: Reception and reaction processes (pp. 305-328). Hillsdale, NJ: Lawrence Erlbaum Associates.
43. Tamborini, R., & Mettler, J. (1990, November). Emotional reactions to film: A model of empathic processes. Paper presented at the annual conference of the Speech Communication Association, Chicago, IL.
44. Tamborini, R., Stiff, J., & Heidel, C. (1990). Reacting to graphic horror: A model of empathy and emotional behavior. Communication Research, 17(5), 616-640.
45. Tannenbaum, P. H. (1980). Entertainment as vicarious emotional experience. In P. H. Tannenbaum (Ed.), The entertainmentfunctions of television (pp. 107-131). Hillsdale, NJ: Lawrence Erlbaum Associates.
46. Zillmann, D. (1980). Anatomy of suspense. In P. H. Tannenbaum (Ed.), The entertainmentfunctions of television (pp. 1 33-1 63). Hillsdale, NJ: Lawrence Erlbaum Associates.
47. Zillmann, D. (1983). Transfer of excitation in emotional behavior. In J. T. Cacioppo & R. E. Petty (Eds.), Social psychophysiology: A sourcebook (pp. 215-240). New York: Guilford Press.
48. Zillmann, D. (1991a). Empathy: Affect from bearing witness to the emotions of others. In J. Bryant & D. Zillmann (Eds.), Responding to the screen: Reception and reaction processes (pp. 135-167). Hillsdale, NJ: Lawrence Erlbaum Associates.
49. Zillmann, D. (1991b). The logic of suspense and mystery. In J. Bryant & D. Zillmann (Eds.), Responding to the screen: Reception and reaction processes (pp. 281-304). Hillsdale, NJ: Lawrence Erlbaum Associates.
50. Zillmann, D. (1991c). Television viewing and physiological arousal. In J. Bryant & D. Zillmann (Eds.), Responding to the screen: Reception and reaction processes (pp. 1 03-1 33). Hillsdale, NJ: Lawrence Erlbaum Associates.
51. Zillmann, D. (1994). Mechanisms of emotional involvement with drama. Poetics, 23, 33-51.
52. Zillmann, D., & Cantor, J. R. (1977). Affective responses to the emotions of a protagonist. Journal of Experimental Social Psych ology, 13, 155-165.
53. Zillmann, D., Harris, C. R., & Schweitzer, K. (1993). Effects of perspective and angle manipulations in portrait photographs on the attribution of traits to depicted persons. Medienpsychologie: Zeitschrift fUr Individual-und Massenkommunikation, 5(2), 106-123, 154-155.
54. Zillmann, D., Hay, T. A., & Bryant, J. (1 975). The effect of suspense and its resolution on the appreciation of dramatic presentation. Journal of Research in Personality, 9, 307-323.
55. Zillmann, D., Weaver, J. B., Mundorf, N., & Aust, C. F. (1986). Effects of an opposite-gender companion's affect to horror on distress, delight, and attraction. Journal of Personality and Social Psychology, 51, 586-594.
56. Zuckerman, M. (1979). Sensation seeking: Beyond the optimal level of arousal. Hillsdale, NJ: Lawrence Erlbaum Associates.
57. Zuckerman, M., & Litle, P. (1986). Personality and curiosity about morbid and sexual events. Personality and Individual Differences, 7, 49-56.