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Affect and cognition have traditionally been considered mutually exclusive domains and their study has evolved into two separate research fields. In recent years, however, there is increasing evidence of affective modulations of cognitive processes and interest in the study of affective cognition has grown. This thesis presents analyses of data collected in four mixed-design experiments between 2009 and 2011, which were designed to investigate affective memory and its electrophysiological correlates, individual differences in said affective memory and electrophysiological correlates, the time-course of affective memory and attentional disengagement from affective stimuli respectively. The first aim of the research presented here was to further understanding of how affective content influences picture processing and memory. Event-related potentials (ERPs) provide a valuable tool for the investigation of modulations of cognitive processes, as their excellent temporal resolution allows for the dissociation between different processes contributing to behavioural outcomes. Several important results for the study of affective cognition are reported: The late positive potential (LPP) was shown to be modulated differentially by affective content when compared to a behavioural attentional disengagement task. While the behavioural measure of attention replicated findings from participants’ self-report of arousal, LPP enhancement did not. This novel finding demonstrates that the affective modulation of the LPP cannot be used as an electrophysiological marker of slowed attentional disengagement as is common in the literature. In the domain of recognition memory, affective modulation of performance was shown to be time-sensitive, with effects developing faster for negative than for positive picture content. Affective pictures were associated with a less conservative response bias than neutral pictures but only negative pictures elicited better discrimination performance, driven by an increased in the rate of “remembered” as compared to merely familiar pictures. This was reflected in an increase of the ERP old/new effect for negative pictures in the 500 to 800ms time window, the purported correlate of recollection. The late right-frontal old/new effect between 800 and 1500 ms post stimulus onset was shown to be attenuated by affective content, supporting the interpretation of the late right-frontal effect as a correlate of relevance detection over a retrieval success interpretation. In combination, the findings add weight to the conclusion that affective content enhances memory through selective memory sparing for affective stimuli. Novel evidence for gender differences in affective cognition was found. Comparisons between female and male participants revealed that the affective modulation of the late right-frontal effect differs between the genders, underlining the importance of assessing and understanding gender differences as part of the study of affective cognition. Brain-derived neurotrophic factor (BDNF) gene val66met single nucleotide polymorphism (SNP), a small genetic change that affects the functioning of BDNF, a protein that plays an important role in neuron growth, differentiation and survival, is shown here to also affect the interaction of affect and cognition. BDNF val66met genotype modulated the early “familiarity” old/new effect selectively in response to positive pictures. The present study clearly demonstrates the value of the ERP technique in the investigation of individual differences in affective and cognitive processing and the need to take such individual differences into account as part of the endeavour to fully understand the mechanisms of affective processing, cognition and affective cognition. A better understanding of the role of gender and genetic differences in the affective modulation of affective processing and memory will have important practical implications in fields where affect and cognition interact.

This thesis focuses on the challenges in production to create a live-action cinematic virtual reality film that aims to trigger a certain emotional response in the viewer. Cinematic virtual reality (CVR) is the term referred to throughout this thesis that has been used by Mateer (2017) in his paper. However, the definition of CVR will differ to some extent from Mateers ́ (2017) and reasons for it will be provided. Firstly, the techniques employed in the production of the cinematic virtual reality film that may elicit an emotional response and character engagement are taken from the theory of cognition and emotion in film by Smith, M. (1995) Engaging Characters: Fiction, Emotion and Cinema and David Bordwell ́s Narration and the Fiction Film (1985). The theoretical framework has been applied to an analysis of a Pixar-style animated CVR film called Invasion! (2016) in order to extract guiding principles that have informed the making of my own CVR film. The importance of creating presence through immersion is highlighted as necessary in sustaining engagement and evoking emotions (Ding et al., 2018). An emotional response of entrapment, fear, insecurity and wonder is desired to be elicited by watching my CVR film. As well, emotional engagement with the character in the CVR film is aimed for to enhance the emotional response. Sound and visual cues are used that may serve to facilitate directing the viewer through the story as mentioned by Mateer (2017). Techniques identified that may create an emotional response are direct address, spatial proximity and orientation. The production of my CVR film has been informed by these techniques, however, challenges in production may have weakened the outcome such as the difficulties in monitoring the shoot resulting in problems adjusting lighting, directing the actress and avoiding object distortion on stitching lines. Furthermore, on set sound recording has been a major challenge. My CVR film is evaluated according to these challenges and possible solutions for improvement are offered. Cinematic Virtual Reality is a medium that offers new ways for storytelling and experiences. My CVR film places the viewer in the imaginary position of a fairy thus offering a perspective of the world and connected emotions that go beyond the possible experiences in everyday life. The aim is to contribute to a deepened understanding of cinematic virtual reality filmmaking by presenting some of the techniques and production challenges of creating an emotionally compelling CVR film experience.

This study provides a precise definition of the term 'Kafkaesque' by enriching literary criticism with scientific theory and practice, including an experiment on readers' responses to Kafka. Dictionary definitions justify taking the term back to its textual origins in Kafka's works, and the works can fruitfully be analysed by investigating how readers engage with them through cognitive processes of imagination. Modern scientific developments posit that vision, imagination, and consciousness should be conceived of not in terms of static pictorialism – reducible to the notion of 'pictures in the head' – but in terms of enaction, i.e. as an ongoing interaction with the external world around us. Most traditional nineteenth-century Realist texts are based on pictorialist assumptions, while Kafka's texts evoke perception non-pictorially and are therefore more cognitively realistic. In his personal writings, Kafka wrestles with problems entailed by pictorialist conceptions of vision, imagination, and the function of language, and comes to enactivist solutions: evocation of perception that does not result in painting static tableaux with words. In his fictional works, Kafka correspondingly evolves a cognitively realistic way of writing to evoke fictional worlds that directly engage the cognitive processes of their readers; Der Proceß is a prime example of the 'Kafkaesque' text and reading experience, defined by being compelling yet simultaneously unsettling. Modulations in narrative perspective and evocation of emotion as enactive also contribute to the experience of the 'Kafkaesque' as compelling; yet Kafka's texts simultaneously unsettle by preventing straightforward emotional identification with the protagonists, and destabilising deep-rooted concepts of selfhood as singular and unified. The theoretical discussion of the 'Kafkaesque' experience as compelling yet unsettling is complemented and refined by an experiment testing readers' responses to a short story by Kafka. The term 'Kafkaesque realism' denotes Kafka's compelling yet unsettling non-pictorial evocation of perception of the fictional world. Kafkaesque realism falls into the broader category of 'cognitive realism', which provides a framework for analysing fictional texts more generally.