"There Is No (Where a) <i>Face</i> Like Home": Recognition and Appraisal Responses to Masked Facial <i>Dialects</i> of Emotion in Four Different National Cultures

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dc.contributor.authorTsikandilakis, Myron
dc.contributor.authorYu, Zhaoliang
dc.contributor.authorKausel, Leonie
dc.contributor.authorBoncompte, Gonzalo
dc.contributor.authorLanfranco, Renzo C.
dc.contributor.authorOxner, Matt
dc.contributor.authorBali, Persefoni
dc.contributor.authorUrale Leong, Poutasi
dc.contributor.authorQing, Man
dc.contributor.authorPaterakis, George
dc.contributor.authorCaci, Salvatore
dc.contributor.authorMilbank, Alison
dc.contributor.authorMevel, Pierre-Alexis
dc.contributor.authorCarmel, David
dc.contributor.authorMadan, Christopher
dc.contributor.authorDerrfuss, Jan
dc.contributor.authorChapman, Peter
dc.date.accessioned2025-01-20T22:04:35Z
dc.date.available2025-01-20T22:04:35Z
dc.date.issued2021
dc.description.abstractThe theory of universal emotions suggests that certain emotions such as fear, anger, disgust, sadness, surprise and happiness can be encountered cross-culturally. These emotions are expressed using specific facial movements that enable human communication. More recently, theoretical and empirical models have been used to propose that universal emotions could be expressed via discretely different facial movements in different cultures due to the non-convergent social evolution that takes place in different geographical areas. This has prompted the consideration that own-culture emotional faces have distinct evolutionary important sociobiological value and can be processed automatically, and without conscious awareness. In this paper, we tested this hypothesis using backward masking. We showed, in two different experiments per country of origin, to participants in Britain, Chile, New Zealand and Singapore, backward masked own and other-culture emotional faces. We assessed detection and recognition performance, and self-reports for emotionality and familiarity. We presented thorough cross-cultural experimental evidence that when using Bayesian assessment of non-parametric receiver operating characteristics and hit-versus-miss detection and recognition response analyses, masked faces showing own cultural dialects of emotion were rated higher for emotionality and familiarity compared to other-culture emotional faces and that this effect involved conscious awareness.
dc.description.funderU21 grant
dc.fuente.origenWOS
dc.identifier.doi10.1177/03010066211055983
dc.identifier.eissn1468-4233
dc.identifier.issn0301-0066
dc.identifier.urihttps://doi.org/10.1177/03010066211055983
dc.identifier.urihttps://repositorio.uc.cl/handle/11534/94099
dc.identifier.wosidWOS:000724997000003
dc.issue.numero12
dc.language.isoen
dc.pagina.final1055
dc.pagina.inicio1027
dc.revistaPerception
dc.rightsacceso restringido
dc.subjectculture
dc.subjectemotion
dc.subjectdialects
dc.subjectmasking
dc.subjectconscious
dc.subjectunconscious
dc.title"There Is No (Where a) <i>Face</i> Like Home": Recognition and Appraisal Responses to Masked Facial <i>Dialects</i> of Emotion in Four Different National Cultures
dc.typeartículo
dc.volumen50
sipa.indexWOS
sipa.trazabilidadWOS;2025-01-12
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