The analysis identifies the four socio-psychological constructs identification with a media character, schadenfreude, social comparison, and vicarious embarrassment, as important responses in the context of reality TV. Besides numerous determinants, these constructs are also linked to consequences. In particular, Eva Katharina Hammes identifies schadenfreude and identification as positive responses for the viewer. Vicarious embarrassment is found to be a rather complex response that elicits diverse consequences. Social comparison with its upward and downward forms was found to be very important during the consumption of reality TV programs and also serves as a moderator for the relationship between the identified determinants and associated socio-psychological constructs.

In the 1930s and ’40s, Japanese rulers in Manchukuo enlisted writers and artists to promote imperial Japan’s modernization program. Ironically, the cultural producers chosen to spread the imperialist message were once left-wing politically in Japan, where their work strongly favoured modernist, even avant-garde, styles of expression. In Glorify the Empire, Annika A. Culver explores how these once anti-imperialist intellectuals produced avant-garde works celebrating the modernity of a fascist state and reflecting a complicated picture of complicity with, and ambivalence toward, Japan’s utopian project. Manchurian-themed cultural representations accelerated during the eruption of conflict with China, and later during the Second World War, when Manchukuo served as a template for Japanese-occupied areas in Southeast Asia. A groundbreaking work, Glorify the Empire magnifies the intersection between politics and art in a rarely examined period of Japanese history.

Melnyk argues passionately that Canadian cinema has never been a singular entity, but has continued to speak in the languages and in the voices of Canada's diverse population.

Individuals trying to understand their alienation and to think about how to overcome it are ill served by such abstract discussions because the connection to their particular specific experience is often difficult to draw.