Paul Comisky’s research while affiliated with University of Massachusetts Amherst and other places

The effect on message recall of placing a message within differentially cognitively-involving portions of a complex audiovisual program was examined. In an experimental design that controlled for time of total exposure to stimulus material and for the time interval between exposure to a test message and later recall and interest tests, subjects viewed a program package consisting of a commercial, a pretested segment of an action-adventure program, and an especially created control in one of four conditions of commercial placement: (1) the commercial was placed between two moderately involving portions of the program which occurred a few minutes prior to both the action-climax and the resolution of the suspense, (2) the commercial was placed immediately subsequent to the highly involving climax and immediately prior to the moderately involving resolution, (3) the commercial was placed subsequent to the climax and immediately subsequent to the resolution, or (4) the commercial was placed between two minimally involving portions of the control communication. Assessments of message recall were taken on one-half of the subjects shortly after they had completed viewing the experimental materials. In order to assess for long-term effects, the remainder of the subjects received a similar recall test and a test of interest in the product depicted in the commercial message one month after the experimental viewing session had been completed. The findings supported the proposition that recall of message content is inversely related to the cognitive involvement potential of the program material presented immediately before and after the critical message.

Two factors said to produce varying levels of dramatic suspense are examined: degree of perceived outcome-uncertainty and audience disposition toward the hero-protagonist. In spite of the general consensus that these two factors affect suspense, there is wide disagreement as to the optimal level of viewer uncertainty regarding the hero's fate, and there is some question as to whether it is necessary for the viewer to be positively disposed toward the hero to produce a maximal level of suspense. To test competing claims, different versions of an audio-visually presented chase sequence were produced. Experimental materials were varied in a factorial design featuring the five levels of perceived outcome-uncertainty (hero's chances of success/survival = 0/100, 1/100, 25/100, 50/100, 100/100) and three levels of disposition toward the protagonist (neutral, mildly positive, strongly positive). Sex of viewer was included as a third factor. Degree of experienced suspense was assessed in viewer ratings. Both perceived outcome-uncertainty and viewer disposition variables yielded strong effects, though no significant sex differences were found. Rated suspense was at a maximum when the hero's chances of success/survival were perceived to be about one in 100 and minimal when either success or failure seemed absolutely certain. Further, suspense increased with increasingly positive dispositions toward the protagonist. Practical and theoretical implications of these results are considered.

In a factorial design varying (1) the degree of roughness/violence of a play (low, intermediate, and high), (2) several particular plays within this classification, and (3) sex of viewer, the enjoyment of televised plays of professional football was investigated. The plays were taken from a large pool of plays drawn from numerous games and involving numerous teams. In a pretest, a strong differentiation in the selection plays' degree of roughness/violence was secured. At the same time, the plays were matched on several other, potentially contaminating stimulus dimensions. The enjoyment of plays was found to increase with the degree of their apparent roughness/violence. However, this relationship was significant for male viewers only. It was not reliable for females. There were no appreciable sex differences in the enjoyment of plays featuring low and intermediate levels of roughness. Highly violent plays, in contrast, were significantly more enjoyed by males than by females. The findings suggest that, at least for male viewers, a high degree of aggressiveness is a critical ingredient of the enjoyment of watching sports contests.

The excitatory potential (low, high), the hedonic valence (negative, positive), and the type of content (erotic, non-erotic) of visual stimuli were varied in a factorial design. Male subjects were provoked by a same-sex peer, exposed to communication or, in a no-exposure control, made to wait for a period of time equal to that of communication exposure, and then provided with an opportunity to retaliate against their annoyer. High excitatory potential and negative hedonic valence were found to combine additively in a facilitative effect on retaliatory aggression. No appreciable differences were found in the effect of excitationally and hedonically matched erotica and non-erotica. Exposure to either arousing and displeasing erotica or non-erotica produced levels of aggression significantly above the level associated with the no-exposure control. Exposure to comparatively non-arousing and pleasing erotica or non-erotica failed to reduce aggression, however. The findings were considered to support a model that projects the effect of erotica on retaliatory aggression as a joint function of their excitatory potential and their hedonic valence.

In a field study, 70 college students unobtrusively tape-recorded 1 class presentation and evaluated the teacher as to appeal, competence, delivery, and teaching effectiveness. The presentations were content analyzed to identify key features relating to humor usage. Following a factor analysis of aspects of evaluation, correlation coefficients were computed between the teachers' frequency of use of the various types of humor and students' evaluations of their professors. Results indicate that for male teachers, usage of humor was generally positively related to appeal, delivery, and teaching effectiveness. For female teachers, only the use of hostile humor was associated with enhanced appeal. In contrast, female teachers' usage of some nonhostile forms of humor was associated with loss of appeal. (36 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)

The use of humor by teachers in the college classroom was examined through a systematic content analysis of sample presentations from university classes. In addition to an assessment of the frequency with which humor was employed, characteristics of the type of humor used by college teachers were examined. It was determined that a substantial proportion of college teachers employ humor in presenting educational material. Moreover, several patterns of humor usage were discovered.