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Which clippings match 'Changing Our Relation' keyword pg.1 of 1
31 OCTOBER 2013

Thai Health Promotion Foundation: Smoking Kid campaign

"The Thai Health Promotion Foundation (THPF) used child actors to get adult smokers to think seriously about taking their own advice on the effects of smoking. In the Thai cultural context, adults naturally take action to educate children whenever they misbehave. However, when adults themselves repeat the children's action, they overlook that misbehavior. Children carrying cigarettes approached adults in smoking areas outside busy buildings, asking for a light. Adults commonly refused and warned the children not to smoke. The children asked the adults why they themselves were smoking and gave them a 'quit smoking' brochure. The campaign won a Bronze Outdoor Lion at Cannes in 2012, Gold Special Event and Silver Online awards at the 2013 Clio AWards, Gold for Special Service at the One Show Awards, a Silver Film Lotus at the 2013 Adfest Awards."

(Duncan Macleod, 4 June 2013, The Inspiration Room)

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TAGS

2012 • Adfest Awards • advertising campaignaltruismappealbrochureCannes Film Festivalchanging our relation • child actor • childrencigarettes • Clio Awards • co-suffering • cognitive dissonancecompassion • concern for others • desire to help • distanced viewpoint • duty of care • emotive manipulationempathetic consciousnessharmhealthheld in abeyanceInspiration Room • kid • pathospersuasively suggestivepsychical distancepublic health campaign • quit smoking • self-harm • smoking area • smoking cigarettes • Smoking Kid (campaign) • Thai Health Promotion Foundation • Thailand • The One Club • THPF

CONTRIBUTOR

Simon Perkins
29 NOVEMBER 2012

Psychical Distance: characters and situations in drama are unreal

"One of the best known examples is to be found in our attitude towards the events and characters of the drama; they appeal to us like persons and incidents of normal experience, except that that side of their appeal, which would usually affect us in a directly personal manner, is held in abeyance. This difference, so well known as to be almost trivial, is generally explained by reference to the knowledge that the characters and situations are 'unreal,' imaginary. In this sense Witasek, oeprating with Meinong's theory of Annahem, has described the emotions involved in witnessing a drama as Scheingefuhle, a term which has so frequently been misunderstood in discussions of his theories. But, as a matter of fact, the 'assumption' upon which the imaginative emotional reaction is based is not necessarily the condition, but often the consequence, of distance; that is to say, the converse of the reason usually stated would then be true: viz. That distance, by changing our relation to the characters, renders them seemingly fictitious, not that the fictitiousness of the characters alters our feelings toward them. It is, of course, to be granted that the actual and admitted unreality of the dramatic action reinforces the effect of Distance. But surely the proverbial unsophisticated yokel whose chivalrous interference in the play on behalf of the hapless heroine can only be prevented by impressing upon him that 'they are only pretending,' is not the ideal type of theatrical audience. The proof of the seeming paradox that it is Distance which primarily gives to dramatic action the appearance of unreliability and not vice versa, is the observation that the same filtration of our sentiments and the same seeming 'unreality' of actual men and things occur, when at times, by a sudden change of inward perspective, we are overcome by the feeling that 'all the world's a stage.'"

(Edward Bullough, 1912)

Edward Bullough (1912). "Psychical Distance" British Journal of Psychology, Vol. 5, pp. 87–117 (excerpt cited by Julie Van Camp, 22 November 2006).

Fig.1 Patricia Piccinini/Drome Pty Ltd. (2010) [http://leecasey.carbonmade.com/projects/2594595#9]

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1912aesthetics • Alexius Meinong • all the worlds a stage • Annahem • appeal • appearance of unreliability • audiencebelievabilitybreaking the fourth wallchanging our relationcharactersdirect experience • distance • distanced viewpointdrama • dramatic action • dramatic space • Edward Bullough • emotionemotional immersionemotional involvementempathyfeelings • fictitious • fictitiousnessheld in abeyanceimaginary • imaginative emotional reaction • normal experience • only pretending • our sentiments • pathospersonalpropinquitypsychical distancepsychological closeness • psychological proximity • Scheingefuhle • Stephan Witasek • suspension of disbelief • theatrical audience • unreal • unreal characters • unreal situations • unreality • verisimilitude • witnessing • yoke

CONTRIBUTOR

Simon Perkins
10 MARCH 2009

Ad for Lifeline New Zealand: putting things in perspective

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1990s • affective disorder • anxietyAotearoa New Zealandbringing into relationchanging our relationcommunity services • counselling agency • counselling service • counselling services • crisis support • email counselling • hand-drawn animationhealth care • help service • in perspective • Lifeline New Zealand • magnitudesmental healthmental health disordersmental wellbeingpersonal challenges • personal crisis • personal perspective • personal wellbeingproblem-solving • psychological disorder • psychological perceptionpsychology • put in perspective • put it into perspective • put life in perspective • scalesnowballstresssupport agenciessupport services • telephone counselling service • tv adwellbeingworry

CONTRIBUTOR

Simon Perkins
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