Åse Innes-Ker

Children's and adults' realism in their event-recall confidence in responses to free recall and focused questions

Abstract Two experiments examined the realism in the confidence of 8–9-year-olds, 12–13-year-olds and adults in their free recall and answers to focused questions after viewing a short video clip. A different video clip was shown in each experiment and the focused questions differed in difficulty. In both experiments the youngest age group, in contrast to the two other age groups, showed no overconfidence in their confidence judgements for the free recall. The free recall results also showed that the youngest group had lower completeness but similar correctness as the adults. There was a tendency, over both experiments, for the participants to show poorer realism for the focused questions than for the free recall, especially when questions with content already mentioned in the free recall were excluded from the analyses of the focused questions in Experiment 1. The study shows the importance of question format when evaluating the credibility of the confidence shown by 8–9-year-old children in their own testimony.

Does the Kuleshov Effect Really Exist? Revisiting a Classic Film Experiment on Facial Expressions and Emotional Contexts:

According to film mythology, the Soviet filmmaker Lev Kuleshov conducted an experiment in which he combined a close-up of an actor’s neutral face with three different emotional contexts: happiness, sadness, and hunger. The viewers of the three film sequences reportedly perceived the actor’s face as expressing an emotion congruent with the given context. It is not clear, however, whether or not the so-called “Kuleshov effect” really exists. The original film footage is lost and recent attempts at replication have produced either conflicting or unreliable results. The current paper describes an attempt to replicate Kuleshov’s original experiment using an improved experimental design. In a behavioral and eye tracking study, 36 participants were each presented with 24 film sequences of neutral faces across six emotional conditions. For each film sequence, the participants were asked to evaluate the emotion of the target person in terms of valence, arousal, and category. The participants’ eye movements were recorded throughout. The results suggest that some sort of Kuleshov effect does in fact exist. For each emotional condition, the participants tended to choose the appropriate category more frequently than the alternative options, while the answers to the valence and arousal questions also went in the expected directions. The eye tracking data showed how the participants attended to different regions of the target person’s face (in light of the intermediate context), but did not reveal the expected differences between the emotional conditions.

The effect of variations of emotional expressions on mnemonic discrimination and traditional recognition memory

ABSTRACT Face recognition occurs when a face is recognised despite changes between learning and test exposures. Yet there has been relatively little research on how variations in emotional expressions influence people’s ability to recognise these changes. We evaluated the ability to discriminate old and similar expressions of emotions (i.e. mnemonic discrimination) of the same face, as well as the discrimination ability between old and dissimilar (new) expressions of the same face, reflecting traditional discrimination. An emotional mnemonic discrimination task with morphed faces that were similar but not identical to the original face was used. Results showed greater mnemonic discrimination for learned neutral expressions that at test became slightly more fearful rather than happy. For traditional discrimination, there was greater accuracy for learned happy faces becoming fearful, rather than those changing from fearful-to-happy. These findings indicate that emotional expressions may have asymmetrical influences on mnemonic and traditional discrimination of the same face.

A Meta-Analysis of the Relation between Creative Self-Efficacy and Different Creativity Measurements

This meta-analysis investigated the relations between creative self-efficacy (CSE) and creativity measures and hypothesized that self-assessed questionnaires would have a different relation to self-efficacy beliefs compared to other creativity tests. The meta-analysis synthesized 60 effect sizes from 41 papers (overall N = 17226). Taken as a whole, the relation between CSE and creativity measures was of medium size (r = .39). Subgroup analyses revealed that self-rated creativity correlated higher with self-efficacy (r = .53). The relation with divergent thinking (DT) tests was weak (r = .23). Creativity scales had a medium size relation (r = .43), and was stronger than the relation to verbal performance tasks (r = .27) and figural performance tasks (r = .19). In a comparison between measures focusing on the creative person (r = .47), the creative product (r = .32), and the creative process (r = .27), the person aspect was most strongly linked to CSE. Thus, the relation between self-efficacy and creativity measures is dependent on the type of measurement used, emphasizing the need for researchers to distinguish between different instruments—not the least between self-report scales and more objective test procedures. Conceptual implications are discussed and critique concerning the creativity concept is brought up.