Media and Emotions

Abstract

“Powered by emotions” – this was the slogan used by a well-known German television station to advertise its programming. “Feeling the news” is the title of a news podcast today. As these examples show, emotions are explicitly associated with the presentation and reception of media. In the digital communication of social media, algorithmically based selection and distribution of contributions generate, amplify, and circulate emotions: Feelings of excitement, curiosity, anger, empathy, or disgust extend the time spent on TikTok, Instagram, or YouTube. Films on Netflix allow us to empathize with mediated characters. Immersive VR and AR technology enable to feel with avatars. Emotions are essential, in media content and in the reception experience. In media and communication studies, emotions have long been studied primarily in the areas of media psychological analysis of entertainment experiences and this field of study has evolved considerably in recent years (Döveling et al., 2025). As the above examples demonstrate, understanding emotions in the context of media education is of central importance in today’s digitalized world, to enable young media users to act critically, reflectively, and responsibly in their use of media. Emotions are not side effects, but rather driving forces in media use and impact, significantly shaping users’ behavior, attitudes, and learning processes (Döveling & Konijn, 2021). Emotions are significantly influencing factors in the perception and processing of media content. In this sense, media education has begun in recent years to view emotions not as a byproduct, but as central to media use and impact. Current analyses emphasize an “emotional/affective turn” (Alba-Juez & Larina, 2018, p. 11) and recognize emotions as a central component of mediated experiences. To further gain insights in media education, it is important to analyze emotions in an interdisciplinary manner and to consider key findings from sociology, psychology, and media and communication studies (Döveling & Konijn, 2021, p. 3). Within this complex spectrum, the use of digital media is of particular importance (Livingstone & Helsper, 2008). In dealing with digital media, socio-emotional competence is particularly essential for children and adolescents, to ensure a healthy balance between emotional participation and critical reflection. Yet: Although emotions are extensively studied in media psychology, according to Knaus and Bohnet (2022), gaps still exist in media education. This particularly concerns the use and impact of digital media. Social networks, video games, and immersive VR technologies enable affective experiences that have far-reaching consequences for adolescents. VR formats can also promote empathy (Bowman, 2021), while social networks can lead to hate speech, cyberbullying, stress and social isolation.  An interdisciplinary understanding of emotions is essential, especially in the digital age, to understand the constant availability, ­permanent online-connectivity, and the resulting stress (Vorderer & Kohring, 2013), as well as challenges such as disinformation, filter bubbles, and cyberbullying. On the other hand, it is equally important to recognize positive emotional usage conditions and effects.Likewise, current perspectives (Sanders, 2021; Raney et al., 2018) indicate that entertainment media can also serve as powerful mechanisms to draw attention to injustices, creating opportunities for empathy and empowering individuals to see themselves as serving a greater whole. Recent analyses highlight that affective reactions are core psychological mechanisms through which recipients can be encouraged to engage socially and act on behalf of others (Sanders, 2021; Oliver & Raney, 2023; Döveling et al., 2025, p. 169).   About the articles This issue explores the complexity of emotions from various perspectives. The first articles address conceptual and theoretical issues. Wendt formulates contemporary demands on media education in the age of artificial intelligence in his analysis on “Digital Moods” (in this issue, p. 17). Leineweber also addresses media literacy as a central concept of media ­education from a ­theoretical and analytical perspective, with the goal of “promoting individual and collective emancipation based on communicative participation in media society” (in this issue, p. 32). He systematically shows that contemporary media publics are increasingly influenced by affective, emotional, and sentiment-laden motives. In the third article, Pfaff-Rüdiger et al. develop a conceptualization of media literacy that explicitly captures the affective dimension in the interaction with AI. They reveal that the users’ ability to reflectively deal with feelings has to be seen as a central component. The article is followed by Gimmler and Welzenbach’s contribution. The authors demonstrate that references to emotions have so far been given too little consideration in media literacy. Their historical reconstruction of concepts of media literacy focuses specifically on the ‘pre-digital era’ and examines the relevance of emotions for theory and practice based on the fundamental concept of media literacy in media education. After these conceptual elaborations, the following articles raise specific questions, addressing different settings, specific emotions and highlight challenges and perspectives.  Kessler and Wyss turn to the field of humor research. The authors argue that humor in the learning process can provide essential cognitive, social, and emotional benefits. Timár develops the concept of “affective-personal literacy” on the basis of theoretical discussions of existing approaches to media literacy as well as her own empirical work with students in the 10th and 11th grades. Schulz and Schmid-Meier reveal the emotional and social dimension in chat messages written by children aged eight to eleven, with a chatbot. Gennat, Ehlers, and Tappe emphasize the value of media in creating social cohesion and Kirschtein points out the importance of emotional understanding for digital learning processes using the example of learning programs for small and medium-­sized enterprises. Biehl highlights emotional processes in identity development such as connection, deconstruction, and reconstruction in her analysis of male-dominated images of leadership in business.  Overall, the contributions demonstrate the relevance and complexity of emotions in media education contexts. In particular, the need for theoretical and conceptual developments of fundamental approaches in media education has become clear, in order to adequately understand the central role of emotions in dealing with different media. Contemporary societies are characterized by a reflexive approach to emotions, by the ability to perceive (one’s own) emotions and reflect on their significance for social interaction. Such reflexivity thus also becomes a central quality criterion for media education and research. Current developments open up potential research perspectives, for example, with regard to the role of artificial intelligence (AI) in the emotional lives of young people. A key aspect is the influence of AI on young people’s opinion formation, a relevant area, especially in current times of crisis. Deepfakes, for ­example, raise questions about the credibility of media and can undermine trust in quality-assured content. This development poses challenges for media education with regard to disinformation, but also the protection of privacy. Central to this are media-ethical issues concerning the scope and limi­tations of AI-usage in our everyday lives. The influence and significance of emotions, especially in relation to artificial intelligence, thus offer an important and promising starting point for further research and analysis.“Powered by emotions” – this was the slogan used by a well-known German television station to advertise its programming. “Feeling the news” is the title of a news podcast today. As these examples show, emotions are explicitly associated with the presentation and reception of media. In the digital communication of social media, algorithmically based selection and distribution of contributions generate, amplify, and circulate emotions: Feelings of excitement, curiosity, anger, empathy, or disgust extend the time spent on TikTok, Instagram, or YouTube. Films on Netflix allow us to empathize with mediated characters. Immersive VR and AR technology enable to feel with avatars. Emotions are essential, in media content and in the reception experience.  In media and communication studies, emotions have long been studied primarily in the areas of media psychological analysis of entertainment experiences and this field of study has evolved considerably in recent years (Döveling et al., 2025). As the above examples demonstrate, understanding emotions in the context of media education is of central importance in today’s digitalized world, to enable young media users to act critically, reflectively, and responsibly in their use of media. Emotions are not side effects, but rather driving forces in media use and impact, significantly shaping users’ behavior, attitudes, and learning processes (Döveling & Konijn, 2021). Emotions are significantly influencing factors in the perception and processing of media content. In this sense, media education has begun in recent years to view emotions not as a byproduct, but as central to media use and impact. Current analyses emphasize an “emotional/affective turn” (Alba-Juez & Larina, 2018, p. 11) and recognize emotions as a central component of mediated experiences. To further gain insights in media education, it is important to analyze emotions in an interdisciplinary manner and to consider key findings from sociology, psychology, and media and communication studies (Döveling & Konijn, 2021, p. 3). Within this complex spectrum, the use of digital media is of particular importance (Livingstone & Helsper, 2008). In dealing with digital media, socio-emotional competence is particularly essential for children and adolescents, to ensure a healthy balance between emotional participation and critical reflection. Yet: Although emotions are extensively studied in media psychology, according to Knaus and Bohnet (2022), gaps still exist in media education. This particularly concerns the use and impact of digital media. Social networks, video games, and immersive VR technologies enable affective experiences that have far-reaching consequences for adolescents. VR formats can also promote empathy (Bowman, 2021), while social networks can lead to hate speech, cyberbullying, stress and social isolation.  An interdisciplinary understanding of emotions is essential, especially in the digital age, to understand the constant availability, ­permanent online-connectivity, and the resulting stress (Vorderer & Kohring, 2013), as well as challenges such as disinformation, filter bubbles, and cyberbullying. On the other hand, it is equally important to recognize positive emotional usage conditions and effects. Likewise, current perspectives (Sanders, 2021; Raney et al., 2018) indicate that entertainment media can also serve as powerful mechanisms to draw attention to injustices, creating opportunities for empathy and empowering individuals to see themselves as serving a greater whole. Recent analyses highlight that affective reactions are core psychological mechanisms through which recipients can be encouraged to engage socially and act on behalf of others (Sanders, 2021; Oliver & Raney, 2023; Döveling et al., 2025, p. 169).   About the articles This issue explores the complexity of emotions from various perspectives. The first articles address conceptual and theoretical issues. Wendt formulates contemporary demands on media education in the age of artificial intelligence in his analysis on “Digital Moods” (in this issue, p. 17). Leineweber also addresses media literacy as a central concept of media ­education from a ­theoretical and analytical perspective, with the goal of “promoting individual and collective emancipation based on communicative participation in media society” (in this issue, p. 32). He systematically shows that contemporary media publics are increasingly influenced by affective, emotional, and sentiment-laden motives. In the third article, Pfaff-Rüdiger et al. develop a conceptualization of media literacy that explicitly captures the affective dimension in the interaction with AI. They reveal that the users’ ability to reflectively deal with feelings has to be seen as a central component. The article is followed by Gimmler and Welzenbach’s contribution. The authors demonstrate that references to emotions have so far been given too little consideration in media literacy. Their historical reconstruction of concepts of media literacy focuses specifically on the ‘pre-digital era’ and examines the relevance of emotions for theory and practice based on the fundamental concept of media literacy in media education. After these conceptual elaborations, the following articles raise specific questions, addressing different settings, specific emotions and highlight challenges and perspectives.  Kessler and Wyss turn to the field of humor research. The authors argue that humor in the learning process can provide essential cognitive, social, and emotional benefits. Timár develops the concept of “affective-personal literacy” on the basis of theoretical discussions of existing approaches to media literacy as well as her own empirical work with students in the 10th and 11th grades. Schulz and Schmid-Meier reveal the emotional and social dimension in chat messages written by children aged eight to eleven, with a chatbot. Gennat, Ehlers, and Tappe emphasize the value of media in creating social cohesion and Kirschtein points out the importance of emotional understanding for digital learning processes using the example of learning programs for small and medium-­sized enterprises. Biehl highlights emotional processes in identity development such as connection, deconstruction, and reconstruction in her analysis of male-dominated images of leadership in business.  Overall, the contributions demonstrate the relevance and complexity of emotions in media education contexts. In particular, the need for theoretical and conceptual developments of fundamental approaches in media education has become clear, in order to adequately understand the central role of emotions in dealing with different media. Contemporary societies are characterized by a reflexive approach to emotions, by the ability to perceive (one’s own) emotions and reflect on their significance for social interaction. Such reflexivity thus also becomes a central quality criterion for media education and research. Current developments open up potential research perspectives, for example, with regard to the role of artificial intelligence (AI) in the emotional lives of young people. A key aspect is the influence of AI on young people’s opinion formation, a relevant area, especially in current times of crisis. Deepfakes, for ­example, raise questions about the credibility of media and can undermine trust in quality-assured content. This development poses challenges for media education with regard to disinformation, but also the protection of privacy. Central to this are media-ethical issues concerning the scope and limi­tations of AI-usage in our everyday lives. The influence and significance of emotions, especially in relation to artificial intelligence, thus offer an important and promising starting point for further research and analysis.