Moderation of the Carry-over Effect of Self-Presentation: The Role of Thought Suppression

2001 ◽  
Author(s):  
Camille S. Johnson ◽  
Robert M. Arkin ◽  
Anthony D. Hermann
Keyword(s):  
Thought Suppression ◽  
Self Presentation ◽  
Carry Over ◽  
Carry Over Effect

scholarly journals Curiosity carry-over effect

2018 ◽  
Author(s):  
Greta M. Fastrich ◽  
Kou Murayama
Keyword(s):  
Positive Emotions ◽  
Theoretical Implication ◽  
Behavioral Task ◽  
Independent Information ◽  
Self Reports ◽  
Specific Object ◽  
Trial Basis ◽  
Carry Over ◽  
Carry Over Effect

Curiosity is a powerful source of motivation and allows us to explore and acquire knowledge without relying on extrinsic incentives. So far, studies have mostly focused on the curiosity felt towards a specific object. Using a paradigm that sequentially activates curiosity on a trial-by-trial basis with trivia questions, we showed that the curiosity of one trial carries over to the next trial, even if each trial presents completely independent information. This carry-over effect was observed both when curiosity was measured through self-reports and a behavioral task (i.e. willingness-to-pay task). The results were also replicated when participants’ curiosity was not resolved, eliminating the role of general positive emotions. Theoretical implication of this carry-over effect was discussed.

Gender differences in distributive justice: The role of self-presentation revisited

Sex Roles ◽  
1994 ◽  
Vol 30 (5-6) ◽  
pp. 303-318 ◽  
Author(s):  
Nancy L. Asdigian ◽  
Ellen S. Cohn ◽  
Mary Hennessey Blum
Keyword(s):  
Gender Differences ◽  
Distributive Justice ◽  
Self Presentation

From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram

2021 ◽  
Vol 36 (1) ◽  
pp. 155-185
Author(s):  
Matt St. John
Keyword(s):  
Social Media ◽  
Press Coverage ◽  
Traditional Methods ◽  
Self Presentation ◽  
Academy Awards ◽  
Special Events ◽  
Online Presence ◽  
Academy Award ◽  
Award Nomination

Abstract This article explores the Instagram activities of Agnès Varda and her Visages Villages (Faces Places, France, 2017) codirector JR to consider the role of social media in the film's theatrical release and awards campaign, which led to the film's nomination for Best Documentary Feature—Varda's first and only Academy Award nomination. Through analysis of Varda's posts and her appearances on JR's Instagram, the author argues that social media complemented the film's conventional promotion while extending Varda's aesthetic practices and interests, offering one of the final examples of her consistent, enthusiastic experiments with new forms of media. On Instagram, Varda recycled and recontextualized the strategies of self-presentation and formal play seen in her documentaries for a different format, as she posted images and videos involving premieres, special events, and press coverage from her perspective. Throughout the film's release and awards campaign, social media began to function as an atypical way to draw attention to the film and its directors, especially for a low-budget documentary. The Visages Villages team merged traditional methods of achieving visibility with an unusual and intentional online presence, culminating in substantial coverage from new types of outlets when JR traveled to the Academy Awards luncheon with cardboard cutouts of Varda.

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