Entertainment = Emotion
2009, Nov 15 -- Nov 21
Organizers:
M. T. Soto (U. Autònoma Barcelona), P. Vorderer (CameRa, Amsterdam)
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Monday, November 16
Tuesday, November 17
Wednesday, November 18
Thursday, November 19
Friday, November 20
| Reception | |
| Inauguration | |
| J.I. Latorre (Director of the Centro de Ciencias de Benasque Pedro Pascual), Maite Soto and Peter Vorderer (Scientific organizers). | |
| Keynote: The role of feeling in the Entertainment = Emotion formula | |
| By Gerald C. Cupchik | |
| Responding to Keynotes: Making Sense of Entertainment. On the Interplay of Emotion and Cognition in Entertainment Experience | |
| (authors: Anne Bartsch and Mary Beth Oliver), by Anne Bartsch | |
| Chaired discussion | |
| Conducted by Art Raney | |
| Communications | |
| Ambiguously Moral Characters | |
| (authors: Allison Eden, Matthew Grizzard and Robert Lewis), by Allison Eden | |
| In pursuit of Optimal Gaming Experience: Challenges and difficulty levels | |
| By Barbaros Bostan and Sertac Ögüt | |
| Spectator’s perception in multimedia theatre | |
| By Itziar Zorita Aguirre | |
| The impact of perceived character similarity in identification on moral disengagement | |
| (authors: Maja Krakoviac and Mina Tsay), by Mina Tsay and Maja Krakoviac | |
| Workshop: Assigning topics to work... | |
| Workshop: Working on ideas | |
| Workshop: Presentation and discussion | |
| Communications | |
| The role of moral disengagement in the enjoyment of real and fictional characters | |
| (authors: Maja Krakoviac and Minta Tsay), by Maja Krakoviac and Mina Tsay | |
| Identification with an animated object and its rrelationship to emotions in a virtual environment | |
| By Laura Aymerich | |
| Infotainment: emotion is news | |
| By Miguel López Calzada |
Tuesday, November 17
| Keynote: Moral intuition and media entertainment | |
| By Ron Tamborini | |
| Respondent | |
| By Helena Bilandzic | |
| Chaired discussion | |
| Anne Bartsh | |
| Communications | |
| Sexist humor in adbertising: just a joke or marketing strategy? | |
| By Nicoleta Groza | |
| Reading experiences: A matter of bilogical sex alone? | |
| By Ozen Odag | |
| Neo-creative advertising: from emotive narrative to electronic entertainment | |
| By Paloma Garíca | |
| Workshop: Assigning topics to work... | |
| Workshop: Working on topics. All assistants in groups | |
| Workshop: Presentation and discussion | |
| Communications | |
| Educational yet entertaining: Designing oxymoronic experiences in a children’s cross media television show | |
| By Susanne Sperring | |
| Darwinian perspectives | |
| By Clemens Schwender | |
| Management of emotions in american fiction series: When being (and feeling like woman sells) | |
| (authors: Sue Arán, Pilar Medina, Miquel Rodrigo), by Sue Aran | |
| Cine Forum: “My other self” (Documentary) | |
| Presented by Alodia Quesada (its Director) |
Wednesday, November 18
| The role of morality in emotional reactions to media entertainment | |
| By Art Raney | |
| Respondent: Reply to Art Raney's "The role of morality in emotional reactions to media entertainment | |
| By Tilo Hartmann | |
| Chaired discussion | |
| Conducted by Mary Beth Oliver | |
| Communications (ALL ASSISTANTS) | |
| Afective states, familiarity, and music selection: power of familiarity | |
| By Jiyoun Kim | |
| Individual differences in Emotion and Entertainmen Preferences | |
| By Matthias R. Hastall | |
| Disposition Theory in Popular films | |
| By Mattew Grizzard | |
| Digital finger paint. Mobile phone painting. Altamira revisited? | |
| (Authors: Miguel Angel Martín and Celia Andreu), by Miguel Ángel Martín | |
| Opera and emotion | |
| By Mercè Saumell |
Thursday, November 19
| Keynote: Appreciation of Entertainment: The Importance of Meaningfulness via Virtue and Wisdom | |
| By Mary Beth Oliver | |
| Respondent | |
| Christopher Klimmt | |
| Chaired discussion | |
| Conducted by Ron Tamborini | |
| Communications | |
| Emotional involvement in digital games | |
| By Gordon Calleja | |
| Morality in virtual worlds | |
| (authors: Katleen Gabriels and Karolien Poels), by Karoline Poels | |
| Applkication of emotional engineering techniques in the gastronomy sector | |
| (authors: N. Campos, R. Marzo, C. Soriano, S. Santiago, and M.J. Such), by Nadia Campos | |
| Special Session (Workshop): A qualitative exploration of media experiences | |
| (authors: Michelle C. Hilscher and Gerald Cupchik), by G. Cupchick | |
| Communications | |
| Exploring relationships between interactive media, emotional and social intelligence (ESI) and peace education to develop an ESI enriched interactive media work for peace education | |
| By Mousomi De | |
| Intellectual entertainment. | |
| (authors: J.I. Latorre y Ma. Teresa Soto), by J.I. Latorre | |
| Entertainment = Intertextuality = Memory=Emotion | |
| (Authors: Celia Andreu and Miguel Angel Martín), by Celia Andreu | |
| Image-Emotion: the representation of violence in Colombian cinema | |
| By Ana Cecilia Sampayo | |
| Posters sessions at Lobby | |
| Exploring relationships between interactive media, emotional and social intelligence (ESI) and peace education to develop an ESI enriched interactive media work for peace education | |
| By Mousumi De | |
| Co-viewing and entertainment. Effects of social cues on (meta-) emotions | |
| (authors: Lisa Aelker, Gary Bente and Diana Rieger), by Lisa Aelker and Diana Rieger | |
| Emotional theory of rationality | |
| By Mario Garcés | |
| “THE SHIP” | |
| (authors: Maria Forga and Toni Casassas), By Maria Forga | |
| Experimental activity: Odors and emotions | |
| Conducted by Pere Navalles | |
| Cine Forum: Docu-fiction Emotion and identification in the documentary-fiction “Banished 1609: The Moorish Tragedy” | |
| (authors: Josep Ma. Percebal and Maria Forga). Presented by Maria Forga |
Friday, November 20
| Developing ideas - Building networks - Next steps… | |
| International senior teams, 1 project for keynote | |
| Keynote Final Speech: State of Entertainment | |
| By Peter Vorderer | |
| Farewell | |
| J.I. Latorre, Peter Vorderer and Maite Soto | |
| CLICK TO PRINT A COPY OF THE PROGRAM | |
This session has received financial support from the following institutions:
