David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Consciousness and Cognition 8 (1):114-122 (1999)
This study tested the hypothesis that overt rehearsal is sufficient to explain enhanced memory associated with emotion by experimentally manipulating rehearsal of emotional material. Participants viewed two sets of film clips, one set of emotional films and one set of relatively neutral films. One set of films was viewed in each of two sessions, with approximately 1 week between the sessions. Participants were given a free recall test of all of films viewed approximately 1 week after the second session. Rehearsal was manipulated by instructing one group of participants not to discuss the films with anyone (no talkgroup) and instructing a second group to discuss both sets of films with at least three people (forced talkgroup). A third group consisted of participants instructed not to discuss the films with anyone, but who did not comply with these instructions (talkersgroup). All groups recalled significantly more of the emotional films than the neutral films. Furthermore, the relative number of emotional and neutral films recalled did not differ significantly among the three groups. The results indicate that overt rehearsal is insufficient to explain the enhancing effects of emotion on memory.
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
Nikole K. Ferree & Larry Cahill (2009). Post-Event Spontaneous Intrusive Recollections and Strength of Memory for Emotional Events in Men and Women. Consciousness and Cognition 18 (1):126-134.
Linda J. Levine & Robin S. Edelstein (2009). Emotion and Memory Narrowing: A Review and Goal-Relevance Approach. Cognition and Emotion 23 (5):833-875.
Similar books and articles
Jason Berger & Cornelius B. Pratt (1998). Teaching Business-Communication Ethics with Controversial Films. Journal of Business Ethics 17 (16):1817-1823.
Jim Hillier (ed.) (1986). Cahiers Du Cinéma: 1960-1968--New Wave, New Cinema, Reevaluating Hollywood. Harvard University Press.
Mario Beauregard, Johanne Lévesque & Pierre Bourgouin (2001). Neural Correlates of Conscious Self-Regulation of Emotion. Journal of Neuroscience 21 (18):6993-7000.
Warren Buckland (ed.) (2009). Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell.
Jenifer Meynell (1978). Values and Violence: A Study of the Films of Clint Eastwood. Journal of Moral Education 7 (2):109-113.
Robert Hopkins (2008). What Do We See in Film? Journal of Aesthetics and Art Criticism 66 (2):149–159.
Sander H. Lee (1985). Existential Themes in the Films of Alfred Hitchcock. Philosophy Research Archives 11:225-244.
Jim Hillier (ed.) (1985). Cahiers Du Cinéma, the 1950s: Neo-Realism, Hollywood, New Wave. Harvard University Press.
James Harold (2010). Mixed Feelings: Conflicts in Emotional Responses to Film. Midwest Studies in Philosophy 34 (1):280-294.
John Dilworth (2003). Ariadne at the Movies. Contemporary Aesthetics 1 (1).
Added to index2009-01-28
Total downloads7 ( #192,693 of 1,100,089 )
Recent downloads (6 months)2 ( #190,060 of 1,100,089 )
How can I increase my downloads?