Narrative Persuasion in a New Media Environment: The Impact of Binge-Watching and Second-Screening

The study explored the role of second-screen use and binge-watching in moderating entertainment education (EE) effects. A pretest/posttest experiment of 273 viewers of East Los High measured the effects of exposure to three subplots, concerning alcohol abuse, abortion, and immigration. The effect of identification with characters on change in attitudes was significantly moderated by second-screen use and binge-watching. In particular, second-screening tended to enhance the positive impact of identification; whereas, among respondents who binge-watched the show, the effects of identification were weaker.     

Reasons for Student Engagement in Extra-Class Communication

This study extends instructional communication research on extra-class communication (ECC) by presenting an integrative analysis comparing the explanatory utility of student- and instructor-oriented reasons for student engagement in frequent ECC. Results from 495 college students suggested that student-oriented reasons, specifically the relational and functional student motives, were the only significant, positive predictors of students’ perceptions of frequent ECC engagement. Other student motives (excuse making, participation, sycophancy) and perceptions of instructor approachability did not significantly predict perceived frequency of ECC engagement.     

It’s More Than Self-Presentation: MUM Effects Can Reflect Private Discomfort and Concern for the Recipient

Is the reluctance to share bad news (i.e., the MUM effect) motivated more by a public display or private concern, and does it benefit mainly the messenger or the recipient? An experiment (N = 309) that crossed good/bad news with three communication channels (face-to-face, text messaging, e-mail) revealed that messenger reluctance was greatest under conditions of bad news and did not vary based on the channel through which the recipient contacted the messenger. In contrast with earlier work, this MUM effect was more consistent with a private fear of distressing the recipient. Theoretical implications and limitations are discussed.     

White lies: a racial history of the (post)truth

In the aftermath of the 2016 election of President Trump, a veritable cottage industry of opinion pieces, blogs, and articles emerged overnight, most of which seemed to agree that only the post-truth could explain how a racist, misogynistic, neo-nationalist member of the economic elite could win a presidential election. This article, in contrast, is inspired by Barbara Christian’s injunction that we question why a given statement, concept, or theory is now acceptable when before it was not. Operating in this spirit, we critique post-truth critics for neglecting the material tradition of ideological criticism in favor of epistemological explanations for understanding post-truth literature; we then offer two case studies—American drug policy and housing policy—to illustrate the racial amnesia required for claiming that only now do we live in a post-truth era.     

“There’s nothing I hate more than a racist:” (Re)centering whiteness in American Horror Story: Coven

This article examines race and racism in the popular cable horror-drama American Horror Story: Coven. Centered around a feud between a white witch coven and a black, voodoo group of witches, Coven overtly deals with the issue of racism, but presents racism as a phenomenon contained in the past; something that does not happen anymore. Using critical post-race theory and scholarship on colorblind racism, whiteness, as well as black feminist theory, I show that although the narrative of Coven explicitly decries racism, it simultaneously invests in colorblind racist narratives and dialogue. Whiteness is central in Coven, operating through discourse that ignores racial difference and contemporary forms of oppression and erasure. Coven uses graphic depictions of violence against black bodies, makes explicit connections between black sexuality and animals, and uses exotic and aggressive stereotypes of black women to tell its story. Thus, Coven’s narrative both condemns racism and relies on it. This article shows that the contemporaneous presentations of explicit anti-racist dialogue and racist imagery work to (re)place whiteness at the center of Coven, a TV show that purports to forward a message of equality and justice for those who are different.