Role of motives and attributes in consumer motion picture choice

The study focuses on consumer motion picture motives and choice criteria. Its purpose can be specified into the following objectives: (1) to examine the motivational basis of cinema attending. (2) to examine the predictive ability of movie motives and consumers' attribute importances in preference regressions of four types of movie, (3) to carry out a motion picture choice analysis by predicting audience membership with discriminant analysis. The data is based on a convinience sample of Finnish consumers (N = 228) attending one of the following types of movie: adventures/ thrillers, human/ social dramas, sex movies, entertainment movies.The results of a group of multivariate analyses (factor analysis, canonical correlation, preference regression, and discriminant analysis) indicate that consumers attending different types of films have distinctly separate motivation bases, as well as attribute importance profiles, underlying their movie choices. Each movie type had a specific preference structure, expressed by the regression coefficients. Finally, the discriminant analysis suggests that the general motive and attribute variables are effective also in predicting motion picture choice. On balance, the results were mutually supportive and exemplify the managerial usefulness of quantitative consumer analysis also in the case of such abstract leisure products as motion pictures.     

Factors affecting the sexual arousal value of pictures

This study examines factors that contribute to the sexual arousal value of pictures of a nude model. One male and one female model were photographed separately in an indoor setting. The following dimensions were factorially manipulated across pictures: male or female model, front or back view, standing or reclining position, semi‐nude or nude. Male and female subjects viewed slides of these pictures one at a time and rated the degree of sexual arousal value of each picture. Significant main effects of position, view, and clothing resulted, as well as a significant interaction of sex of subject x sex of model x position x clothing. These results suggest that with so many uncontrolled, extraneous factors in this type of research, studies in which global aspects of erotic stimuli are manipulated should be evaluated with caution. More systematic consideration of the micro‐variables that change from picture to picture is advisable to evaluate clearly what factors truly contribute to changes in sexual arousal value of erotic pictures.     

Consumer behavior and superstradom

In this paper, we view the superstar phenomenon as an implication of probabilistic mechanisms by which individuals are selected for the production of artistic products (e.g., motion pictures and operas). Specifically, this study employs a stochastic model of G. Udny Yule and Herbert A. Simon as probability mechanisms through which individuals are chosen by casting directors for their appearance in motion pictures, and predicts that movie appearances will be concentrated among a few lucky individuals. We find that empirical data shows remarkable conformity to the prediction of our model. In all genres of motion pictures, we find that the probability distribution implied by the stochastic model explains more tha 97% of the cross-sectional distribution of movie appearances by individuals. Our results support the notion that consumers (i.e., casting directors) minimize search cost by choosing the most popular movie stars.     

Under Erasure: William Kentridge,Derrida, and Post-Apartheid South Africa

This article aims to read the work of South African artist William Kentridge through the prism of Jacques Derrida’s notion of trace. Kentridge utilizes a unique style of filmic animation: charcoal pictures drawn on a single piece of paper, where the animation is achieved by erasing and re-drawing parts of the picture, and then filming the image again. I will argue that this technique, as well as Kentridge’s focus on deferral, memory, and identity, share an affinity with the philosophical, aesthetic, ethical, and political aspects of Derrida’s trace. Drawing attention to the trace—a paradox of presence, where motion is achieved precisely by the deferred nonpresence in each drawing—Kentridge acknowledges, in a similar way to Derrida, the impossibility of ontological thought and knowing. In post-apartheid South Africa, this is not only an aesthetic statement but a political one as well. By maintaining the traces, Kentridge concedes that knowing should be deferred, acknowledging that what we know about the other is limited, if not impossible, and that the apartheid regime’s attempt to master the other was violent and erroneous.     

Pornographic Picture Processing Interferes with Working Memory Performance

Some individuals report problems during and after Internet sex engagement, such as missing sleep and forgetting appointments, which are associated with negative life consequences. One mechanism potentially leading to these kinds of problems is that sexual arousal during Internet sex might interfere with working memory (WM) capacity, resulting in a neglect of relevant environmental information and therefore disadvantageous decision making. In this study, 28 healthy individuals performed 4 experimental manipulations of a pictorial 4-back WM task with neutral, negative, positive, or pornographic stimuli. Participants also rated 100 pornographic pictures with respect to sexual arousal and indicated masturbation urges previous to and following pornographic picture presentation. Results revealed worse WM performance in the pornographic picture condition of the 4-back task compared with the three remaining picture conditions. Furthermore, hierarchical regression analysis indicated an explanation of variance of the sensitivity in the pornographic picture condition by the subjective rating of the pornographic pictures as well as by a moderation effect of masturbation urges. Results contribute to the view that indicators of sexual arousal due to pornographic picture processing interfere with WM performance. Findings are discussed with respect to Internet sex addiction because WM interference by addiction-related cues is well known from substance dependencies.     

Spatiotemporal Regularity and Interevent Contingencies as Information for Infants' Visual Expectations

This study examined infants' use of picture‐location contingencies and spatiotemporal regularity in forming visual expectations. Ninety‐six 3‐month‐olds watched an event sequence in which pictures appeared at 3 locations, either in regular left‐center‐right alternation or in a random center‐side pattern. For half of the infants, the content of the central picture was predictive of the location of the upcoming peripheral event. Analyses of anticipations and interpicture fixation shifts revealed that both spatiotemporal regularity and consistent interevent contingencies fostered increased anticipation of peripheral pictures. The type of spatiotemporal sequence that infants observed also differentially biased their responses to test trials that followed the picture sequence: Infants who experienced regular alternation sequences continued the side‐to‐side pattern during the 2‐choice test trials, whereas infants who experienced irregular sequences looked back to the location of the previous picture. Stable interevent contingencies, in contrast, did not bias infants' responses toward the contingent side during the choice test trials.     

The Emergence of the Listener to Speaker Component of Naming in Children as a Function of Multiple Exemplar Instruction

We tested the effect of multiple exemplar instruction on the transfer of stimulus function for unfamiliar pictures across listener responses (i.e., matching and pointing) and speaker responses (i.e., pure tacts and impure tacts). Three preschool students, who were 3- and 4-year-old males and did not have the listener to speaker component of the naming repertoire, participated in the experiment. The dependent variable was numbers of correct responses to probe trials of both untaught listener responses (“point to__”) and speaker responses (tact and impure tacts) following mastery of matching responses for two sets of five unfamiliar pictures (Set 1 and Set 3). After each participant mastered matching (e.g., “match Labrador”) for Set 1 pictures they were probed on the three untaught responses to Set 1 words. That is, they were asked to point to Labrador, tact the picture of Labrador, and respond to the picture of a Labrador and the question “What is this?” Next, the participants were taught mastery of all four types of responses using MEI for a second set of five pictures (Set 2) and probed again on the 3 untaught Set 1 responses. Finally, matching responses were taught to mastery for a novel set of pictures (Set 3) and then probed on the three untaught responses. The results showed that untaught speaker responses emerged at 60% to 85% for two participants, and 40%–70% for one participant. We discuss the role of instructional history in the development of the listener to speaker component of naming.     

Behavioral and Cortical Measures of Infants' Visual Expectations

Features of the habituation paradigm were combined with the visual expectation paradigm to examine behavioral and cortical indexes of infants' visual expectations. Eight 3‐month‐old infants watched an alternating picture sequence while their eye movements were videotaped and their cortical electrophysiological activity (event‐related potential [ERP]) was recorded. Two ERP epochs were examined: a 3,000‐msec stimulus‐locked epoch included 1,000 msec before stimulus onset through 1,000 msec after stimulus offset; and a 1,200‐msec response‐locked epoch included 700 msec before saccade onset through 500 msec after the saccade. All infants anticipated upcoming pictures, and eye movement latencies for pictures that were not anticipated were comparable to saccade latencies reported in other visual expectation studies of infants at this age. Three components were identified in the stimulus‐locked ERP waveform: a slowly developing negativity prior to picture onset, a postonset negative slow wave, and a late negative deflection that peaked about 750 msec after picture onset. All stimulus‐locked components were larger for familiar than for unfamiliar pictures; prestimulus negativity was also greater before anticipated pictures. The response‐locked waveform contained 2 prominent features: a slowly increasing negative shift (NS) that began about 500 msec before saccade onset and a positive presaccadic potential that occurred about 30 to 90 msec before the saccade. Response‐locked components were larger for anticipatory saccades at the frontal scalp site; for reactive saccades, response‐locked components were larger at the vertex. Results are informative about ERPs in infants, cortical control of eye movements, and the development of visual expectations.     

Human Personality Behavior Based on Family Structure Using a Thematic Apperception Test

This study focuses on analyzing the relationship between the ways an individual projects a story from a picture shown to him or her with the past and the family background of the individual. We have taken the sample of 30 students heterogeneous with respect to gender and age. Each respondent was shown three pictures and wrote one story per picture; the stories were then analyzed on the basis of a thematic apperception test (TAT). A human personality has many aspects and dimensions. We will be trying to throw some light on the impact that the family structure and the bringing up of an individual has on the development of his or her personality.     

EARLY CINEMA'S HEYDAY OF COPYING

Between 1895 and 1909, new American film entrepreneurs complained that ‘copying’ was out of control. Although ‘copying’ may have been widespread, and sometimes referred to as ‘theft’, it was more a worldwide industry practice than an extralegal operation. Before the 1909 US court case that decided the question of copyright in the motion picture, movie producers copied in an attempt to meet the demand for product. My discussion of the notion of ‘copying’, however, is somewhat ambiguous in that I need to make the term cover motion picture print duplication (‘duping’) as well as remaking. Framed by Lawrence Lessig's statement about the contemporary period, ‘copyright is out of control’, I wonder here if today's excessive use of copyright could be foretold in the way in which early cinema pioneers talked about the order that regulation would bring to the new industry. I ask, more specifically, if this early period of unfettered reproduction can tell us anything about contemporary conditions in which the technological capacity to duplicate has outstripped the state's capacity to regulate duplication.     

Changing Facebook profile pictures as part of a campaign: who does it and why?

People changing their Facebook profile picture in support of social and political campaigns has recently become relatively common, particularly among young people. The current study presents an analysis of young people who change their profile picture and their motivations to do so. Using original data collected among less than 35 years old Facebook users (N?=?267), we find that besides the intensity of Facebook use, offline engagement in protest and boycotts has a significant and positive effect on the likelihood to change one's profile picture as part of a campaign. Hence, the opportunity for Facebook users to engage in politics by changing a profile picture to support a campaign seems to be seized more often by young people who are politically engaged offline than by those who are not. Among those who change their profile picture, raising awareness seems to be the primary motivation to do so. Identity formation is also a crucial motivation, in particular for profile pictures changes to support a political party and the marriage equality campaign.     

The Family Picture

In the family picture the camera records during the first and last session how each family member arranges other members in a tableau or family sculpture. The picture offers the therapist and family a quick opportunity to learn about each other. It visually depicts the coalitions, the separation or togetherness of family members, which help the therapist formulate therapeutic goals. When the pictures taken during the first session are compared with those taken during the last session, they can be a validation of the positive family changes .     

Videodisc Development for Human Service Professions

Summary

Videodiscs have excellent capacity for storing slides, motion pictures, graphics, or text. Through advanced laser applications, videodisc information and motion pictures can simulate human interaction, allowing the viewer to “interact” in human crisis situations simulated in video. Video presentations can be stopped by the viewer, who can select among alternatives the outcome of actions on the screen. A video screen “teacher” can be programmed to discuss simulations with the viewer. The benefit of this “human dimension” possibility in computer-assisted instruction is the critical ingredient which can be of major interest to human service professionals. Appropriate learning programs need to be made available on videodisc equipment to make a major improvement in the education and continuing education for both human service professionals and their clients. In universities with a spirit of interdepartmental cooperation, there is potential for faculty in social work, education, and psychology to bring together their resources to produce quality videodiscs for use in preservice and inservice programs. Videodiscs for human service professions have been successfully produced by the Colle e of Education and Human Service Professions at the Unlversity o lb' Minnesota, Duluth. Suggestions are reported in this article on how videodiscs can be produced for use in human services.     

What's an Oscar worth?

This article examines the impact of an Academy Award nomination and award for best picture, best actor/actress, and best supporting actor/actress on a film's (i) market share of theaters, (ii) average revenue per screen, and (iii) its probability of survival. The model is estimated using weekly box-office data for a matched sample of nominated and non-nominated films. The results indicate substantial financial benefits for a nomination and award for best picture and best actor/actress. The structure of rewards is consistent with that found in two-stage, single-elimination tournaments.     

Nonconscious processing of sexual information: a generalization to women

Sexually competent stimuli may nonconsciously activate sexual memory and set up sexual responding. In men, subliminally presented sexual pictures facilitated recognition of sexual information. The goal of the two experiments reported here was to investigate to what extent this result can be generalized to women. A direct replication in women failed in Experiment 1. In Experiment 2, besides the male-oriented sexual picture set, pictures of two other sets were presented: female-oriented sexual pictures and baby pictures. Effects of the menstrual cycle were also examined. In Experiment 2 only male-oriented pictures showed a facilitation effect. Sensitivity for reproductive stimuli was enhanced during the midluteal phase. Like men, women may nonconsciously recognize a stimulus as sexual. This recognition process seems unrelated to the potential of the stimulus to elicit subjective arousal.     

Nonconscious processing of sexual information: A generalization to women

Sexually competent stimuli may nonconsciously activate sexual memory and set up sexual responding. In men, subliminally presented sexual pictures facilitated recognition of sexual information (Spiering, Everaerd, & Janssen, 2003). The goal of the two experiments reported here was to investigate to what extent this result can be generalized to women. A direct replication in women failed in Experiment 1. In Experiment 2, besides the male‐oriented sexual picture set, pictures of two other sets were presented: female‐oriented sexual pictures and baby pictures. Effects of the menstrual cycle were also examined. In Experiment 2, only male‐oriented pictures showed a facilitation effect. Sensitivity for reproductive stimuli was enhanced during the midluteal phase. Like men, women may nonconsciously recognize a stimulus as sexual. This recognition process seems unrelated to the potential of the stimulus to elicit subjective arousal.     

Visual Context Effects in Web Surveys

There are many examples of context effects in survey measurement.Responses to survey questions can be shaped by the order ofquestions, the format of response options, the broader surveyenvironment, and so on. For Web surveys, the inclusion of visualimages is a trivial design issue, but may have consequencesfor the responses obtained because they change the visual context.We report a series of experiments examining how responses maybe affected by the use of images in Web surveys. Specifically,we examine the effect that pictures of a healthy woman exercisingversus a sick woman in a hospital bed have on self-rated health.We replicated the experiments in three different surveys, varyingsuch factors as the size and placement of the image and thelocation of the question within the questionnaire. In general,we find that when exposed to a picture of a fit woman, respondentsconsistently rate their own health lower than when exposed toa picture of a sick woman.     

Editor's introduction: ethics in visual research

This essay addresses a group of contemporary artworks which qualify as photography and painting at the same time. Because these works lack medium-specificity, several theorists refer to them as ‘pictures’. Analysis of this concept's etymological origin and of the art-historical context in which it appeared indeed reveals the concept's usefulness for discussing this particular group of artworks. However, merely defining them as ‘pictures’ would imply that important and interesting effects of the combination of photography and painting in these works are ignored, if not negated. This is why the authors coin the term ‘multi-mediating picture’ as a preferable concept in this context. As such it not only refers to the clearly discernible multiplication of media in these works, but it also indicates the layered and delayed perception that results from this multiplication. The authors demonstrate the suitability of their concept through a case-study of two photographs by Louise Lawler. Their analysis is geared to processes of appropriation involving both other media and images made by other artists.     

Mining photographs: David Goldblatt’s On the Mines

David Goldblatt’s photographs in On the Mines create a narrative of the mining industry. They can be read individually as fragmented emblems of the ways that mining has shaped both the city of Johannesburg and its people, and they can also be read in relation to our present perspective as testaments of history. Even in the most seemingly straightforward photographic image, photographs can offer vital metaphors that enhance our understanding of a place. As in the case of Goldblatt’s photographs, these pictures show Johannesburg’s mining-town beginnings, which transcend the specifics of the moment they were taken. They depict the economy and process of extracting gold from the earth, and likewise utilise an exacting economy of vision. His photographs include only essentials, but these photographs go beyond abstract economics to show the humanitarianism of the photographer too. Many of David Goldblatt’s photographs focus on the built environment, the structures of mining, housing and religious buildings. However, Goldblatt is not an architectural photographer. As such, we may speak, as Philip Ursprung evocatively put it, of both “pictures of architecture and the architecture of pictures.” Viewed from the perspective of “the architecture of the picture,” his images speak about Johannesburg’s social, economic and political context. Taken almost 50?years ago, these images have endured because they go beyond documentation. Goldblatt’s incisive vision is mute testimony to the deep critical thinking that he brings to bear in the making of images. As the citation for the 2006 Hasselblad Foundation Award asserts, “almost all of Goldblatt’s photographs have different layers of interpretation through which viewers, according to their experience and previous knowledge, unravel a tale.” This paper will begin by examining the tradition of documenting architectural structures, situating Goldblatt’s work in relation to the techniques and approaches adopted by photographers of architecture in the twentieth century and the meanings that their images convey. Thereafter, a discussion of the layers of interpretation that some of Goldblatt’s images yield will follow.