The effect of left and right poses on the expression of facial emotion
Introduction
Over the past quarter of a century, a large body of research has been accumulated, which demonstrates that the left hemiface is more emotionally expressive than the right hemiface [1]. For example, Sackheim and Gur [14] investigated facial asymmetries in emotional expression using composite photographs. They divided photographs of faces into left and right halves; mirror reversed half of them, and then rejoined them at their mid-sagittal axes to form left–left and right–right composites. When participants were asked to select the image that appeared more emotional, they selected the left–left composite more often than the right–right composite. Borod and coworkers [2] suggested that the preference for left hemiface composites was more consistent for negative emotions and stronger for male faces. The observer’s preference for left hemiface composites, presumably, reflects the fact that the left inferior portion of the model’s face is innervated by the right cerebral hemisphere, which is dominant for the expression of emotion [13].
The present study sought to determine whether the asymmetries in expression observed for relatively artificial composite photographs could be observed in normal portraits. An impetus for this study comes from investigations of lateral biases in portraiture. In a survey of 1474 painted portraits from Western Europe dating from the 16th to the 20th Centuries, McManus and Humphrey [9] found that 68% of female and 56% of male portraits featured the left side of the face. Nicholls et al. [12] suggested that this leftward bias reflects a desire to emphasise the emotional qualities of the left hemiface. In support of this proposition, they demonstrated that models, when instructed to adopt an ‘emotional’ role, intuitively knew to turn their left cheek towards the camera. Conversely, when models were asked to conceal their emotion, they tended to turn the right cheek. In a follow up study, Nicholls et al. [11] demonstrated that individuals who rated high on an emotional expressivity scale [7] were more likely to turn their left hemiface toward the camera than were individuals with lower emotional expressivity scores.
Bearing in mind the research demonstrating that models turn the left hemiface when expressing emotion, the present study tested whether an observer’s impression of a model’s emotionality is affected by the hemiface which the model turns. Models were photographed as they: (a) turned the left cheek, (b) faced directly toward the camera or (c) turned the right cheek. We predicted that left hemiface and midline portraits (which feature the left, emotional side of the face) would be judged as more emotionally expressive than right hemiface portraits (which partly conceal the left hemiface). It is possible, however, that differences between the posing conditions could be generated by an aesthetic/perceptual asymmetry on behalf of the observer that is independent of asymmetries in the model’s expression. That is, certain posing arrangements may be preferable to others. Observer’s perceptual asymmetries could be generated by a leftward bias (from the viewpoint of the observer) in attention that occurs when viewing faces (e.g. [8], [10]). Alternatively, an asymmetry could be generated by an aesthetic preference for certain poses [6]. To investigate the relative effects of observer’s perceptual/aesthetic asymmetries and facial asymmetries in expression, we included mirror-reversed versions of the three posing conditions (see Fig. 1a). If perceived emotionality is affected by the cheek the model turns, but not by an aesthetic/perceptual asymmetry on behalf of the observer, no effect of orientation (normal/mirror-reversed) should be observed.
Section snippets
Subjects
Three hundred and eighty-four university students (modal age=18 years, m=74, f=274) participated in this study as part of their course requirements. Participants were naı̈ve in relation to aims and expected outcomes of the study.
Stimuli
Six models (m=f) with a mean age of 26 years were photographed. Images were taken professionally using a Kodak DCS460 digital camera, which created 2048×3072 pixel colour images. Models were asked to pose in three conditions. In the midline condition, the model’s body
Results
A score of emotional expressivity was gained by averaging responses across the four questions. Scores could range from one to six, with higher scores indicating higher levels of perceived emotional expressivity.
Table 1 shows the data obtained for each model across the six-posing/orientation conditions. An ANOVA with model, as a within participants factor revealed significant differences between the models in the ratings of emotional expressivity they received [F(5,1735)=161.6, P<0.001, η2
Discussion
The data show a clear effect of posing condition. Left hemiface and midline portraits were judged to be more emotionally expressive than were portraits that featured the right hemiface. The effect presumably reflects the fact that the left hemiface, which is dominant for the expression of emotion [1], was less prominent for right poses than for left or midline poses. One potential problem with the current study is that left, right and midline images were taken separately. It could therefore be
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