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The emotional and cognitive effect of immersion in film viewing
Cognition and Emotion 24 (8):1439-1445 (2010)
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Citations of this work
The Distancing-Embracing model of the enjoyment of negative emotions in art reception.Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Thomas Jacobsen & Stefan Koelsch - 2017 - Behavioral and Brain Sciences 40:e347.
Virtual reality, real emotions: a novel analogue for the assessment of risk factors of post-traumatic stress disorder.Pauline Dibbets & Michel A. Schulte-Ostermann - 2015 - Frontiers in Psychology 6.
An Ambiguous World of Film: Cinematic Immersion beyond Early Heidegger.Ludo de Roo - 2024 - Film-Philosophy 28 (1):11-30.
Negative emotions in art reception: Refining theoretical assumptions and adding variables to the Distancing-Embracing model.Winfried Menninghaus, Valentin Wagner, Julian Hanich, Eugen Wassiliwizky, Thomas Jacobsen & Stefan Koelsch - 2017 - Behavioral and Brain Sciences 40.
References found in this work
The psychology of emotion regulation: An integrative review.Sander L. Koole - 2009 - Cognition and Emotion 23 (1):4-41.
Emotion elicitation using films.James J. Gross & Robert W. Levenson - 1995 - Cognition and Emotion 9 (1):87-108.
That's disgusting!…, but very amusing: Mixed feelings of amusement and disgust.Scott H. Hemenover & Ulrich Schimmack - 2007 - Cognition and Emotion 21 (5):1102-1113.
Categorizing moving objects into film genres: The effect of animacy attribution, emotional response, and the deviation from non-fiction.Valentijn T. Visch & Ed S. Tan - 2009 - Cognition 110 (2):265-272.
The significance of Kant's pure aesthetic judgement.Paul Crowther - 1996 - British Journal of Aesthetics 36 (2):109-121.
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