Measuring Narrative Engagement

“The level of attention or distraction from narratives is typically measured through self-report scales (Busselle & Bilandzic, 2009; Green & Brock, 2000) or response times (Rowe, Hirsh, & Anderson, 2007).”

“The 12-item Narrative Engagement Scale assesses the audience’s mental models, particularly their enjoyment and understanding of a story, using a 5-point Likert scale ranging from “strongly agree” to “strongly disagree” [69].”

“The viewers’ schema anticipate that the story will provide certain details to “complete” their situation model, and the absence of those details can diminish involvement by drawing viewers’ attention to the incomplete elements (Busselle & Bilandzic, 2009).”

“…widely-studied narrative engagement constructs such as transportation (i.e., becoming fully immersed in the narrative; Green & Clark, 2013) and empathy (i.e., understanding and adopting the characters’ emotions; Busselle & Bilandzic, 2009), which might have functioned as mediators or moderators.”

“Studies have shown that visualisation skill, which an individual may use more or less effectively, is a meaningful if not essential part of the reading process depending on the content (Busselle & Bilandzic, 2009), and on how the reader was instructed to approach the material (Mak et al., 2020).”

“…questions: narrative understanding (audience making sense of the narrative), attentional focus (how distracted audience members are when watching the performance), narrative presence (feeling involved in the story), and emotional engagement (emotions toward characters; Busselle & Bilandzic, 2009).”

“The role and function of media narratives have largely been observed in entertainment, as the majority of film, television, and literature within the United States contain a narrative structure (Appel & Richter, 2007; Busselle & Bilandzic, 2009; Slater et al., 2006).”

“Thus, narrative engagement can be hampered when thoughts unrelated to the narrative arise (Busselle and Bilandzic, 2009).”

“…completed the Homophily questionnaire [41], which measures the perceived similarity in values to the main character, and the Narrative Engagement questionnaire [42], which divides narrative experience into narrative understanding, attentional focus, narrative presence, and emotional engagement.”

“Many studies suggest that the more we identify with a film’s characters, the more likely we are to enjoy the film (Busselle & Bilandzic, 2009; de Wied, Zillmann & Ordman, 1994; Igartua & Paez, 1997; cf. Tal-Or & Cohen, 2010) and this effect does not appear to depend on genre.”

“− Similarly to traditional film, video 360-degree creates viewer narrative engagement Source: Adapted from: Busselle & Bilandzic (2009); Jacobsen (2010); Pelowski, Markey, Forster, Gerger, & Leder (2017); Rupp, Kozachuk, Michaelis, Odette, Smither, & McConnell (2016); Steuer (1992); Tang &…”

“Games research shows that narrative is particularly effective in increasing engagement, facilitating perspective-taking, and helping the user feel present in the world of the game [6, 17, 38].”

“tional focus might be related to the content, they are also affected by the way in which information is presented to the viewer [4].”

“Additionally, longer texts generally perform better in both dimensions, whereas shorter texts show lower overall scores, likely due to limitations in content depth and development.”

“It involves focus, attention, and concentration, and can be triggered by strong sensory stimuli and mental energy (Busselle and Bilandzic 2009; Mcmahan 2003).”

“This second mode of reception is crucial for persuasion: the involved mode enables forms of narrative engagement or involvement (e.g., Busselle and Bilandzic 2009 ; Dill-Shackleford et al. 2016 ; Tukachinsky and Tokunaga 2013) that are crucial for changing the beliefs and attitudes of those…”

“…following statements: (i) “I was able to connect myself with the poem” (self-connectedness; Cohen, 2018), (ii) “I was able to imagine diverse situations” (imagination; Green & Brock, 2000), and (iii) “I forgot that I was in the middle of an experiment” (transcendence; Busselle & Bilandzic, 2009).”

“Nine items (adapted from Busselle & Bilandzic, 2009; Green & Brock, 2000) were used to assess the extent to which participants were engaged with the story and transported to the storyworld.”

“For example, Busselle and Bilandzic (2009) suggest that encoding and decoding narrative content often requires viewers to access personal memories and knowledge pertinent to the storylines, characters, and scenes based on previous mental models of narrative consumption (Graesser et al., 2002;…”

“Since reading and viewing content engage different mental faculties, Busselle & Bilandzic [9] suggested perspective taking as a parallel to mental imagery in audiovisual narratives, contributing to sharing characters’ perspectives.”

“Busselle and Bilandzic (2009) highlighted four key elements in their study of narrative engagement and its effect on enjoyment: narrative understanding, attentional focus, narrative presence, and emotional engagement.”

“Compared to third-person perspectives, adopting a first-person perspective often elicits greater narrative engagement [14].”

“Engagement refers to the viewer’s attention to a message (Busselle & Bilandzic, 2009).”

“In relation to the theoretical framework of narrative experience, the dimension of narrative involvement represents conscious engagement with the story at a holistic level (Busselle and Bilandzic, 2009).”

“This difference in controllability could plausibly affect how individuals are impacted by the information (Busselle & Bilandzic, 2009).”

“The narrative transportation process initiates narrative engagement, immersing an individual into a state of enjoying the narrative and influencing the narra-tive’s subsequent story-related attitudes and beliefs (Busselle & Bilandzic, 2009).”

“Alat ukur yang digunakan dalam penelitian ini adalah alat ukur yang telah diadaptasi oleh peneliti ke dalam Bahasa Indonesia dari skala Single-Program Binge watching Scale (SPBWS) yang dikembangkan oleh Viens & Farrar (2021) dan Narrative engagement Scale yang dikembangkan oleh Bilandzic & Busselle (2009).”

“The latter can be distracting or, as Busselle and Bilandzic (2009) explain, lead to greater competition.”

“Emotional engagement (feeling for and with characters) was measured using an adaptation of the three items from Busselle and Bilandzic (2009): (1) “The story affected me emotionally”, (2) “During story reading, when the main character was offered a chance to do something that would make him look…”

“Forthe narrative engagement, we used the Measuring Narrative Engagement Questionnaire (MNEQ) [9].”

“…2016, Schindler et al. 2017, Hosoya et al. 2017, Kuijpers 2014, Dal cin, Zanna & Fong, 2004 (as reported in Kuijpers 2014), Knobloch-Westerwick & Keplinger, 2006 (as reported in Kuijpers 2014), Busselle & Bilandzic, 2009 (as reported in Kuijpers 2014), Appel et al. 2002, Spiteri and Pecoskie 2016).”

“Other scholars emphasized on other measures in defining engagement;involvement (5),immersion (6), arousal (7), interest (8), identification (9), enjoyment (10), involvement (11), effort (8), and flow (12).”

“Thus, cognitive perspective-taking is offered as one of the three dimensions of identification, along with empathy and sympathy (Busselle & Bilandzic, 2009).”

“A number of which will be selected and modified questions chosen from the 12-Item Narrative Engagement Scale proposed by Busselle et al. [4] in their Measuring Narrative Engagement Questionnaire (MNEQ).”

“Busselle and Bilandzic developed a scale for measuring narrative engagement involving four factors: narrative understanding (comprehension), attentional focus (as opposed to the mind not wandering), emotional engagement (feeling for and with characters), and narrative presence (constructing new worlds) [9].”

“A total engagement score was calculated based on items and procedures from the narrative engagement [32] and the user engagement [23].”

“During the “cathection” phase of Carter’s (1960) model of active television viewing, “viewers react on an emotional level to what they are seeing” (as cited in Adams, 2000, p.”

“Items were developed for this program while aligning with narrative engagement, transportation, and interactive storytelling perspectives (Busselle and Bilandzic, 2009; Green and Brock, 2000; Jenkins, 2006; Ryan, 2015).”

“When individuals are transported into a story, they process the message less defensively, identify more closely with its characters, and perceive the information as more relevant and credible (Busselle & Bilandzic, 2009; Moyer-Gusé, 2008).”

“30,31 Accordingly, immersion can be characterized as a multidimensional experiential state encompassing focused attention, embodied perception, emotional engagement, and temporal dissociation, reflecting a holistic integration of cognitive and affective involvement in digital environments.”

“At the same time, the weak correlations between ISC-HR and NES scores underscore that physiological synchrony should be viewed as a complementary index of shared processing rather than a direct proxy for subjective immersion.”

“Whereas state narrative engagement describes the situational experience of immersion during a specific media encounter (e.g., Busselle & Bilandzic, 2008, 2009; Green & Brock, 2000), narrative engageability is theorized to capture traits, or stable individual differences in the general tendency to…”

“Consequently, critical psychological states associated with deep narrative processing, such as Narrative Transportation [9] and Narrative Engagement [4], remain underrepresented in empirical research [5].”

“Busselle and Bilandzic (2009) define narrative engagement as an experience that integrates four interrelated processes: narrative understanding, attentional focus (absence of distraction), emotional engagement (feeling for and with characters), and narrative presence (the sensation of entering the…”

“…that the influence of narrative lies in its ability to draw audiences into the storyworld (transportation), allow them to experience events from a character’s perspective (identification), and persuade through perceived realism (Busselle & Bilandzic, 2009; Green & Brock, 2000; Murphy et al., 2013).”

“Thus, for example, the term ‘narrative engagement’ (Busselle & Bilandzic, 2009; Ham-mack, 2009) refers to the process by which individuals are cognitively and emotionally influenced and become immersed in the narratives they consume.”

“However, factors such as fatigue, anxiety, and personal interest (8, 9, 29) may also play a role.”

“Emotional engagement has also been shown to influence the persuasive outcomes of narratives [140,141], including inspiring pro-environmental beliefs and behaviors following exposure to environmental messages [142].”