Abstract

The ability to recognize emotions is necessary for the normal childs adjustment to the social and educational environment, and to identify disorders including autism, anxiety and depression in the early stages of development. An experiment was performed to understanding this process. The participants were 47 children distributed in three groups (6-7, 8-9. 10-11 years). Children had to see pictures of facial and corporal expressions of happiness, sadness, anger and fear. Participants were than asked to say if they recognized the facial and corporal expressed emotion, from a labels related to these basic emotions and represented by emoticons. The results showed enhanced recognition of facial and corporal expressions of fear in children of 8- 11 years olds compared to those of 6-7 years olds (p < .01, r > .50). On the other hand, the result showed significant differences (p < .01, r > .50), between children of 6-7 and 8-11 years olds, in the recognition of facial expressions of anger than the corporal expressions of anger. Children of 6-7 years olds showed enhanced recognition of facial expression of anger than corporal expression of anger. These differences were reversed in children of 8-11 years olds. One may conclude that anger and fear facial expressions recognition is an important indicator of the proper development of children. Emotional learning from 7 years olds, will ensure better emotional regulation, and a beneficial effect on the childs performance in school .

Abstract

Emotions have become increasingly important in our time, in all realms of social reality. This revaluation of the affective dimension of the person is revealed in its common presence as subject of research in many fields of knowledge. Also in Media and Communications studies, and specifically in relation to the use of digital technology, there is an academic interest in emotions. This paper maps the field of study where emotions and digital technology converge, specifically in the use of the Internet. There appears a vibrant, wide and complex field of study in which come together approaches of different types, both on the theoretical plane and on the methodological one. The article provides an overview of research carried out in this subject, which includes the study of social media as spaces of interaction where emotions are displayed, the massivescale emotional contagion or the sentiment analysis in the digital platforms, among other topics. We conclude that the Net not only arouses emotions in users and serves as a channel for the expression of affection, but also influences the way in which this affection is modulated and displayed, as well as the configuration of the personal identity of the users of the Internet.

Abstract

Cognitive neuroscience has provided a better understanding of the impact of media stimuli on cognitive and emotional processing. This article offers an exploratory bibliographic review on the contribution of neuroscience in the design of audiovisual content (N=57). This review was carried out in three stages: a) review of unstructured information; b) analysis, organization, and synthesis of content; c) conclusions. Likewise, interviews with experts in the television field, neuromarketing consultants, and neuroscientists (N=10), support the conclusions from the bibliographic review. Subsequently, the paper provides a set of scientifically endorsed guidelines for the efficient design of TV content for entertainment, education, and information, based on storytelling, edition, and the creation of new platforms. The bibliographic research reveals that emotion and attention are the key indicators of effectiveness for the design of television products.

Abstract

Through practical experience, virtues can be turned into second nature. While intellectual knowledge can be acquired through instruction, moral virtues can not be gained without practical experience. Philosophically, this is proven by Plato, Aristotle, Augustine, Thomas Aquinas, Ignatius Loyola and Vives. Further examples for this can be found in the Bible, as well as in Montaigne, Pascal, Gracián and Mateo Alemán. In Calderon’s La vida es sueño, the lack of practical experience initially leads Segismundo to inappropriate behaviour, which can only be changed by making experiences at court.

Abstract

Since the last century, we have witnessed a steady evolution of advertising techniques in an effort to adapt to the new social context in the market. As a strategic resource, Neuroscience brings a new perspective by allowing you to explore those difficult or verbally unconscious motives behind consumer behaviours. The present work aims to discover the relationship between the emotions induced in audiovisual advertising messages and their impact on the memory of the subjects. To achieve this goal, an experiment was carried out with eight audiovisual advertising messages (six representatives of the basic emotions: joy, surprise, anger, disgust, fear and sadness, and two rational ones that show the technical specifications of the product). Neuromarketing techniques such as the electrical activity of the heart (ECG) and the electrodermal activity (EDA) of the subjects are used, on one hand; and, on the other, a conventional research technique, a questionnaire applied to the subjects that participated in the research. The results show variations in the measures performed in the commercials corresponding to joy, surprise and anger, while for both, remembrance of the message transmitted and activity of the advertiser, the commercial with the best results has been the one regarding sadness, advertisement that has also been considered the most attractive for participating subjects.

Abstract

This work is part of an I+D project involving thirteen Spanish universities in which needs and wants in the field of media education in higher education are studied in the areas of Communication (Communication Studies, Journalism and Advertising) and Education (Teaching, Pedagogy, Psychology and Social Education). The objective of this study focuses on analysing the college textbooks directly related to Media Education most used in Education and Communication,. The report has been developed based on six educational competence dimensions: language, technology, interaction processes, production and distribution processes, ideology and values and aesthetics. Using each of these parameters the scope of the analysis and the scope of the expression were taken into account, based on guidelines set by Ferrés and Piscitelli in their well-known proposal of indicators for defining new media competence and which is structured around two areas of work: the production of own messages and interaction with others. The results were obtained by applying a quantitative methodology through a content analysis of semantic fields. The main conclusions point to a greater presence of the «Ideology and Values» dimension, and almost non-existent representation of the «Aesthetics» indicator.

Abstract

Parents usually think they and their children are victims of TV. This thought usually involves that they think they can not be guilty. Parents are responsible for the quality of TV programmes that their children see as viewers. TV can not be understood without understanding the emotion power in the construction of personality, mainly in value transferring to the reality, through neurological state.

Abstract

The television modifies our relationship with the environment and shows realities instead of simple images, managing the impact as a way to catch the attention of the viewers. Watching television requires effort, time and preparation and accordingly we need methodologies that integrate emotions and reflection. Thus, the GIAD Group provides a triple proposal: (1) Learning to see images as an interesting communication tool for students and teachers; (2) To though how to combine pleasure and education, (3) Apply the assumed purposes to our daily routine.

Abstract

This author deals with the attraction of that feeling of terror generated in the media, especially in cinema, and from the perspective of the controlled emotion behind that fear, pleasure and pain. What is the nature of the fear and pleasure the spectator feels? Why is it important for educators to take account of this connection between the viewer and the film? This subject is treated from film culture as experiecned by young Britons, with an analysis of the influence of cinema on the cultural lives of young people and the lessons that can be drawn. The author takes two young girls as an example, identifying their social identity and later outlining the state of education in cinema and the media. He presents two projects developed by young Britons on Psychosis and the creation of videogames. The author concludes that the fascinating world of moving images is open to us via films and videogames, by examining ludic structures and narratives and teaching students how these are interrelated and exploring their creative processes of production.