Measuring Narrative Engagement

“After completing the lab study, participants who used system A (task only, no narrative) read the narrative (which is 1130 words long) and then completed the NES.”

“…some research has already shown positive effects of immersive displays compared with text on empathy, 11 further research should examine with more details which psychological mechanisms ( e.g. , narrative engagement 50 ) may mediate them, and how they operate in VR compared with other media.”

“Similarly, in a study on media engagement, Busselle and Bilandzic (2009) reduces identification to an emotional reaction leading to “a loss of awareness of self” (p. 325).”

“Theoretical constructs such as immersion (Ryan, 2001), transportation (Gerrig, 1993), engagement (Busselle and Bilandzic, 2009), involvement (Klimmt and Vorderer, 2003), flow (Nell, 1988) or absorption (Kuijpers et al., 2014; Tellegen and Atkinson, 1974) are employed to denote the particular sense…”

“Some researchers have argued that the impact of narratives exists independent of the medium (Busselle & Bilandzic, 2009), while others have extensively elaborated on the role played by medium in shaping the impact of narratives (Green & Brock, 2002).”

“To ensure historical accuracy, the script and dialogue were rewritten by using an existing script from a parallel project in the Virtual Journey app [11] in collaboration with a his-torian at the NHCM.”

“Narrative engagement was measured using the scale developed by Busselle and Bilandzic [7].”

“…feeling of absorption in a narrative, including transportation (Green & Brock, 2000; Mazzocco, Green, Sasota, & Jones, 2010), immersion (Neuendorf & Lieberman, 2010; Rose, 2012), engagement (Busselle & Bilandzic, 2008, 2009), flow (Nabi & Green, 2014), and presence (Neuendorf & Lieberman, 2010).”

“In agreement with this interpretation, Cupchik et al.’s (1998) study showed that aesthetic distance is easily manipulated through introducing a particular notion of how, and in what frame of mind, a given story should be read.”

“Both concepts include the understanding of a story, constructing mental models, and building mental imagery (Busselle & Bilandzic, 2009; Gerrig, 1993).”

“Consistent with theory, we anticipate that viewers perceiving WTD as resembling reality will be more likely to adopt conspiratorial beliefs (Busselle & Bilandzic, 2009; Green, 2004; Green et al., 2004).”

“8 In this study, we assessed relevant scale items using questions originally proposed by Busselle and Bi-landzic 53 and made some changes to suit the situation.”

“However, eight questions did not apply to film and television viewing and were replaced with ones concerning narrative engagement [4, 10] in a similar way to Brumby et al.”

“Jin, 2021 [59] Questionnaires 58 Presence Questionnaire [31]; Narrative Engagement Scale [71]”

“They are an effective technique for pedagogy (Busselle and Bilandzic, 2009, 2008; Rapaport et al., 1989).”

“In the opening of this article I already cited one such psychometric item: “my body was in the room, but my mind was inside the world created by the story” (Busselle & Bilandzic, 2009, p. 329; emphasis mine).”

“Fourth, there are several cognitive and affective aspects tied to viewing, such as elaboration (Reynolds, 1997), parasocial interaction (Hoffner, 1996), identification (Cohen, 2001), narrative engagement (Busselle & Bilandzic, 2009), and fandom (Wann, 1995).”

“…films were not of the same length, both were substantially shorter than the ‘‘hour-long’’ (typically 40 to 45 minutes without commercials) TV programs used as stimuli material in many previous studies (e.g., Busselle & Bilandzic, 2009, Studies 1 & 3; Moyer-Gusé & Nabi, 2010; Slater et al., 2006).”

“People lose track of time and fail to observe events going on around them; a loss of selfawareness may take place (Busselle & Bilandzic, 2008, 2009).”

“The process of how readers engage with narratives is a multifaceted phenomenon (Kuijpers, Hakemulder, Tan, & Doicaru, 2014), with our understanding of the underlying dimensions still evolving (Green & Brock, 2000; Busselle & Bilandzic, 2009).”

“Finally, they completed the narrative engagement scale, with four subscales: comprehension (narrative engagement), concentration (attentional focus), immersion (narrative presence), and emotion (emotional engagement) (21).”

“By cognitively processing the unfolding story through the characters’ eyes (Busselle & Bilandzic, 2009), consumers become invested in characters’ storylines, take on their goals and objectives, process their successes or failures as their own, and experience the characters’ emotions directly…”

“Narrative engagement consists of narrative presence (i.e., the feeling of being transported into a text; Oatley, 2002) and emotional engagement with characters (Busselle & Bilandzic, 2009).”

“(2018), Camingue et al. (2020). Specifically, narrative/storytelling is an important element that can be incorporated into educational games in order to maintain and increase students’ motivation Dickey, (2006), Rowe et al. (2011), Padilla-Zea et al. (2014), with some suggesting that integration of a good story into a…”

“The story format may also result in receiver absorption (Green and Brock, 2000), which means that other information than the story itself is likely to receive less attention (Agarwal and Karahanna, 2000; Busselle and Bilandzic, 2009).”

“Narrative presence was defned as “the sensation of being present in a narrative world due to comprehension processes and perspective taking” by Busselle et al. [14, p. 325].”

“Regularly, the emotional component of narrative engagement proves to be the most effective mediator for effects (Busselle & Bilandzic, 2009; de Graaf, Hoeken, Sanders, & Beentjes, 2009).”

“In addition to these considerations of multidimensional audience response, it is theorized that media enjoyment is positively impacted by the extent to which a narrative is absorbing, or “transports” the reader into the story (Busselle & Bilandzic, 2009; Green, Brock, & Kaufman, 2004).”

“Enjoyment has been shown to follow from, or at least co-occur with, transportation (Hall & Zwarun, 2012; Tal-Or & Cohen, 2010), identification (Hefner, Klimmt, & Vorderer, 2007; Igartua, 2010; cf. Tal-Or & Cohen, 2010), and other forms of immersion into a narrative (Busselle & Bilandzic, 2009).”

“Narrative Engagement Scale (NES, [197]) is used [131] to evaluate the narrative engagement difference elicited by an audio description of films in people with low vision.”

“There is currently a fair amount of evidence for the relationship between identification and story-consistent attitudes (e.g., Busselle & Bilandzic, 2009).”

“Furthermore, narrative engagement increases reading enjoyment (Busselle & Bilandzic, 2009), thereby contributing to the development of literacy skills and their associated cognitive competencies (Mol & Bus, 2011).”

“(See https:// www. washi ngton post. com/ techn ology/ 2023/ 05/ 13/ caryn- ai-techn ology-gpt-4/).”

“…transportation (Green, Brock, & Kaufman, 2004; Mazzocco, Green, Sasota, & Jones, 2010), immersion (Neuendorf & Lieberman, 2010; Rose, 2011), engagement (Bilandzic & Busselle, 2008; Busselle & Bilandzic, 2009), flow (Nabi & Green, 2015), and presence (Neuendorf & Lieberman, 2010). it (Cohen, 2006).”

“Indeed, the concept of presence has sometimes become explicitly part of attempts to describe the phenomenology of narrative experiences (Kukkonen, 2014; Kuzmi č ová, 2012), or included as one of the dimensions of the broader concept of narrative engagement (Busselle & Bilandzic, 2009).”

“To measure how much participants were engaged in the stories, we adapted the narrative engagement scale developed by Busselle and Bilandzic (2009), which has been validated and shown to be related to physiological measures (Sukalla et al., 2016).”

“Immersion is a multidimensional experience based on factors, whose contribution to the experience of being immersed varies with the situation (see also discussion in Hartung et al., 2016) and is positively linked to enjoyment (Green, 2004; Busselle and Bilandzic, 2009).”

“In their empirical validation of the NE construct, Busselle and Bilandzic (2008) found that all four subdimensions of NE were significantly and distinctly related to story-consistent attitudes and story enjoyment.”

“The distinctive processing of narrative persuasion lies in the involvement in the story world with heightened emotional, cognitive, and imagery experiences (Busselle & Bilandzic, 2009).”

“Absorption is an umbrella term for all kind of states of immersion into the world of a fictional story accompanied by a reduced awareness of self, surroundings, and the passage of time (Busselle & Bilandzic, 2009; Kuijpers, Hakemulder, Tan & Doicaru, 2014).”

“…ranges from more colloquial uses in fields like education, social media, or rhetoric (e.g., engaging classes, user engagement, or engaging speakers), not discussed here, to scientific constructs like narrative engagement in the communication literature on narratives (Busselle & Bilandzic, 2009).”

“I adapted a six-item scale to measure empathy (Busselle & Bilandzic, 2009).”

“Although the relationship of the influence of identification and transportation on narrative persuasion is not entirely clear, identification may foster transportation and consequently enhance persuasiveness (30, 31).”

“The potency of stories to change a recipient’s worldview and his or her attitudes has been attributed to the situational state of being transported into the story world (transportation; Gerrig, 1993; Green & Brock, 2000; or narrative engagement; Busselle & Bilandzic, 2008, 2009).”

“Although P5 mentioned that they “felt a bit distracted since they had to pay more attention to the right-hand side, which is not the streaming content”, and the Attentional Focus (Mean=8.83, SD=3.87) score related lower in the Narrative Engagement Scale.”

“Enjoyment is a product of engagement, and an important aspect of narrative engagement is the sense that people make of the information presented in the story (Busselle & Bilandzic, 2009).”

“The immersion questionnaire was based on the story world absorption scale (SWAS, [36]), and selected items from the 30-item version of the narrative engagement questionnaire (NEQ) developed by Buselle and Bilandzic [32].”

“The use of stories can increase engagement with health topics (Busselle & Bilandzic, 2009).”

“Busselle and Bilandzic examined dimensions of audience engagement, including narrative understanding, attentional focus, emotional engagement, and narrative presence, and they concluded that engagement and enjoyment affect story-related beliefs and attitudes (18).”

“The concept of Narrative Engagement embellishes this idea of immersion and transportation by identifying that people tend to combine information from the text they are reading with personal experiences and construct a mental model of story events which can have a strong impact on attitude and behaviour [24, 25].”

“While a variety of factor structures have been suggested for transportation—and for media engagement more generally (e.g., Appel et al., 2015; Busselle & Bilandzic, 2009; Kuijpers et al., 2014)—the goal of the current study is not to dismiss alternate conceptualizations, but rather to test a…”

“…Detroit: Become Human) enhances engagementwith these eudaimonic narrative themes, as these facilitate a better understanding of the key narrative themes, a stronger emotional connection with the characters linked to these themes, and transportation into the game world (Busselle & Bilandzic, 2009).”

“Processing conflicting information and different opinions distracted the message receivers from the experience of being absorbed into the story world (Busselle & Bilandzic, 2009).”

“Narrative involvement includes the concept of transportation (Gerrig, 1993; Green & Brock, 2000) as well as related concepts such as narrative engagement (Busselle & Bilandzic, 2009), and flow.”

“Recently, Busselle and Bilandzic [11] developed a scale of narrative engagement that reflects the strength of the cognitive and emotional focus on the story: narrative understanding (ease in comprehending narrative), attentional focus (absence of distraction), emotional engagement (feeling for and with character), and…”

“Two of the features of narrative transportation outlined by Busselle and Bilandzic (2009) fit snugly with this view – attentional focus (lack of mind-wandering) and emotional engagement (our feeling for the characters).”

“Busselle and Bilandzic discuss the distinction between presence that stems from sensory stimulation, such as the visual and audio cues in a 360° immersive environment, and transportation that has more to do with the narrative itself and may refer to, for instance, feeling present in a novel [4].”

“Another crucial dimension of the specific experience with literary texts is emotional involvement in the narrative, which is strongly associated with narrative coherence and absorption, combining affective and cognitive dimensions (Busselle & Bilandzic, 2009).”

“Higher degrees of nar-rativity usually correlate with increased vividness, engagement, and affective reactions (Busselle & Bilandzic, 2009).”

“For the former, emotional demands are often associated with narrative involvement that also requires cognitive engagement to make sense of in-game decisions [9, 42]; for the latter, in-game decision making is usually manifested by one’s physical manipulation of the game controller [39].”

“One promising approach could be to consider processes such as identification (Klimmt, Hefner et al., 2009) or immersion in the game’s story (narrative engagement, see Busselle & Bilandzic, 2009).”

“We selected the Narrative Engagement Scale (Busselle & Bilandzic, 2009) as our self-report measure, as it is widely used, designed for film and television content, and assesses dimensions of immersion that may relate to underlying cognitive and emotional processes (attentional focus, emotional engagement, narrative pr…”

“To process and comprehend a narrative, people must create a mental representation of the portrayed story world (Busselle & Bilandzic, 2009; Roskos-Ewoldsen, Davies, & Roskos-Ewoldsen, 2004; Zwaan, Langston, & Graesser, 1995).”