inside out psychology assignment quizlet

The Science of Emotion From the Inside Out

How do we learn to recognize emotions in ourselves and others.

Posted December 15, 2017 | Reviewed by Ekua Hagan

“Do you ever look at someone and wonder: What is going on inside their head?” Joy asks in the opening line of Pixar’s film Inside Out .

Inside Out is the story of 11-year-old Riley and her emotions: Joy, Sadness, Fear , Anger , and Disgust. When Riley moves with her family to California, her emotions struggle to keep her happy, and when Joy and Sadness accidentally get sucked out of Riley’s Headquarters her emotions are thrown into chaos. Can Joy and Sadness learn to work together to find their way through Riley’s mind and back to Headquarters? Can Riley come to terms with the complex emotions of growing up and learn that sometimes it’s okay to be sad?

As with most Pixar movies, Inside Out is a beautifully entertaining family film whilst also being subtly thought-provoking. Viewers of all ages are encouraged to reflect on their own emotions and consider the ways in which our emotions shape who we are and how we take ownership of them.

As such, Inside Out was a perfect fit for the Sci/Film series we run at Birkbeck using movies to provoke public discussion about science. We recently ran a special screening of the film in conjunction with the Birkbeck Institute for the Moving Image and Children’s Film club, funded by Wellcome Trust and King’s College London where children had a chance to participate in interactive games and science studies. After the film, we had an audience Q&A about how we learn to recognize emotions in ourselves and others.

In this post, we cover some of the topics about the development of emotions discussed during the event and how they are featured in the movie.

Can babies feel and recognize emotions?

Inside Out begins with Riley as a baby and her first emotion , Joy. As the other emotions gradually appear, life gets a whole lot more complicated!

This mirrors how emotions really emerge in infancy, with more complex emotions such as anger or frustration requiring a baby first to be able to build up an expectation for what is going to happen — "every time I throw this toy Mum and Dad pick it up and give it back to me," and second to remember that this expectation has been violated — "Mum and Dad aren’t picking up my toy like usual." Anger and frustration, possibly followed by sadness, ensue.

We know that babies love to look at faces from the second they are born. And young babies are able to discriminate between different emotional expressions. Montague and Walker-Andrews (2001) used the peek-a-boo game, but in addition to the typical happy/surprised expression, they also showed babies anger, sadness, and fear. Four-month-olds could tell the different emotions apart, looking more than usual when faces showed anger or fear, and significantly less than usual when faces were sad.

How do we recognize other people’s emotions?

In order to recognize emotional facial expressions, it’s important to pay attention to key features such as the eyes and mouth. Different features are more relevant for different expressions, for example, the large white of the eyes indicates fear, whereas a smiling mouth suggests happiness .

In the movie, the filmmakers have used exaggerated facial features to emphasize the characteristics of joy, sadness, anger, disgust, and fear.

To explore how different parts of the face convey emotions with the children at our event, we gave them a face template and they chose different facial features (e.g., smiling mouth, eyes with teardrop) together with different angles for the eyebrows to create different emotional expressions.

We can also see how children view these different cues by using a technique called eye-tracking. This allows us to record where a person is looking using high-speed infrared cameras.

During our event, we set up an eye-tracking tent in the foyer of the cinema and recorded how people watched the trailer for Inside Out . The data demonstrated how quickly our eyes seek out faces in each shot of the trailer, making very rapid movements (called saccades) after every cut to find a face, scan its features, identify what the character is feeling and saying and then look at what the character is interacting with. (For more discussion on how we watch movies you can read the blog post and Smith, 2012) .

Despite infants’ very early capacity to discriminate between different emotional expressions, the ability to accurately label expressions continues to develop throughout childhood into adolescence .

Batty and Taylor (2006) , looking into the neural responses of occipitotemporal areas of the brain, (which are critical for understanding other people’s facial expressions) show continuously changing patterns from early childhood into adolescence, with the adult pattern of neural responses only emerging in late adolescence. This has a consequence on children’s understanding of emotions. For example, children often mistake negative emotions such as anger or sadness with disgust.

We know context also plays an important role in emotion recognition. For example, a teen girl screaming at a concert for her favorite pop star may have the same facial expression as somebody scared by a ghoul on a ghost train, but her feelings are of extreme joy, not fear.

At our event, we ran a small study to demonstrate this emotional context effect. Our Inside Out Emotional Stroop Task was a twist on the classic Stroop Task. In the original task, participants are asked to name the font color of a printed word. This task is much harder than you might think because you need to inhibit reading the words themselves in order to say the color. When the required response, the color of the ink, does not match the meaning of the printed word (e.g., “GREEN” printed in red ink) there is interference making people much slower to respond.

We created an Inside Out themed version of this task: Children were presented with pictures of joy or sadness feeling either happy and sad. They had to respond as quickly as possible with the emotion that the characters were expressing. As expected, performance was worse (showing longer and less accurate responses) when the character identity did not match their emotion, i.e. when joy was sad and sadness was happy.

How does a movie guide our attention to the key emotions in a scene?

Real life is complex. We are often bombarded by a wealth of confusing and conflicting sights and sounds, which we have to learn to sift through in order to pick out which details are relevant to a particular task e.g., to understand how someone is feeling.

In the real world, emotional facial expressions may be fleeting and occur in a busy scene with many other competing distractions such as traffic passing in the street, the siren of an ambulance or our own overriding interest in the fox that just leaped over a fence. We have to learn to inhibit these distractions to focus our attention on the subtle but socially rich emotional cues in other people’s behavior.

An area of the brain call prefrontal cortex plays an important role in both inhibitory control and our ability to regulate and control emotions , and this region, as well as its connections to other parts of the brain (like the amygdala which is particularly important for processing fear), are still developing into adolescence.

In film, directors have developed a cinematic language that they can use to simplify the task of inhibiting distracting information to focus on information relevant to a particular goal.

At the beginning of film history, directors would simply shoot a scene from a single distant camera position, capturing all the action in one take. Very rapidly, audiences got tired of not being able to see the subtle details of a scene, such as what a character was holding, or most importantly, their facial expressions. Directors learned to edit together multiple viewpoints of a scene (known as shots), gradually moving the camera closer to the object of interest at key moments to accentuate the drama, emotion and empathy audiences felt for a character.

A key technique used to communicate how a character feels about something is the shot/reverse-shot technique. A character is shown looking at something in a long shot (known as an establishing shot, as it establishes character locations) and then a cut to a close-up of the object they are looking at allows the viewer to adopt the point of view of the character. Critically, we then cut back to the character’s face, now in a close-up so we can see their emotional reaction.

This editing pattern creates and answers a series of questions in the mind of the viewer: What is Joy looking at and what does she think and feel about it? The viewer becomes cognitively engaged with the action of the scene and emotionally involved with the character. A scene that could have been emotionally confusing from a distant viewpoint is now completely unambiguous and universally understood (for more discussion of how “universal” film comprehension is, see the work of Sermin Ildirar here and here ).

Inside Out is a fantastic portrayal of how our ability to feel emotions and recognize them in other people develops from infancy through to adolescence. Of course, the filmmakers had to take some artistic license when portraying the inner workings of Riley’s mind — we don’t actually have little people in our heads watching what we watch (see the homunculus fallacy ) — but these storytelling tricks are essential to ensure young viewers understand the film’s difficult themes about emotional development and hopefully provoke families to discuss what constitutes a healthy emotional life.

Guest contributors: Tim J. Smith, Ines Mares, Ana Maria Portugal, Sermin Ildirar and Claire Essex.

Ahmed, S. P., Bittencourt-Hewitt, A., & Sebastian, C. L. (2015). Neurocognitive bases of emotion regulation development in adolescence. Developmental cognitive neuroscience, 15, 11-25.

Batty, M., & Taylor, M. J. (2006). The development of emotional face processing during childhood. Developmental science, 9(2), 207-220.

Ildirar, S., & Schwan, S. (2015). First‐time viewers' comprehension of films: Bridging shot transitions. British Journal of Psychology, 106(1), 133-151.

Montague, D. P., & Walker-Andrews, A. S. (2001). Peekaboo: a new look at infants' perception of emotion expressions. Developmental psychology, 37(6), 826.

Schwan, S., & Ildirar, S. (2010). Watching film for the first time: How adult viewers interpret perceptual discontinuities in film. Psychological Science, 21(7), 970-976.

Smith, T. J. (2012). The attentional theory of cinematic continuity. Projections, 6(1), 1-27.

Rachael Bedford , Ph.D., is the Sir Henry Wellcome Postdoctoral Fellow, Institute of Psychiatry, at King's College London.

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“Inside Out”: Riley’s Psychological Analysis Research Paper

Introduction.

The academic study of cartoon works is essential to detail psychological analysis because it allows to summarize and assess the applicability of theoretical concepts in practical implementation. The core of this statement is the recognition that contemporary cartoons rarely serve a pure entertainment function but instead aim to educate viewers about specific patterns and qualities. This genre of cinematography is mainly aimed at the children’s audience, which means that the task of the screenwriters is to create such material that would be able to tell the severe emotional problems of the real world in a simple and understandable form for the young viewer. This works even when the authors embody the most fantasy reality on the screen and give the characters incredible superpowers.

Particular attention in the genre of cartoons deserves the legendary Disney company. Its unique feature is a long history of the brand, which has become the center of attention for more than a dozen generations. Consequently, not only modern children but also their parents and grandparents grew up in the works of this animation company. This reason underlies the in-depth development of the published animated works, as the company’s management is aware that not only children will be present at the film screenings. The characters in all of the company’s films have a high degree of personal development and scripted motivation, and therefore it is appropriate to study whole concepts of a psychological theory of personal development on their example.

Among the majority of modern Disney cartoons, each of which deserves to be in the center of this analysis, the most interesting is the material of 2015 by the American animator Pete Docter, namely Inside Out. The cartoon is an excellent demonstration of the age dynamics of a protagonist named Riley going through severe emotional crises and the severity of her relationship with her parents. Through the example of Inside Out, one can trace the depth of psychological study of theories from Freudian concepts of childhood to Jungian archetypes of the Shadow. A detailed, critical analysis of this film from the perspective of a psychotherapy student is the core of this research paper.

A Brief Summary of the Film

The narrative of this animated work centers on the life and growing up of an eleven-year-old girl named Riley, the only child in a whole family. Due to work circumstances, the family has to move from their native place of residence, Minnesota, to a poor neighborhood of San Francisco, and as a result, the girl’s habitual way of life changes dramatically. Riley is forced to go to a new school, make acquaintances and, most importantly, give up her favorite hobby, hockey, because, in this region, the sport is not available to children. As a result, the girl is going through a complex change crisis, for which she was not yet ready. The situation is complicated by the lack of deep family ties shown: certainly, mother and father spend time together with their daughter, but there seems to be no real understanding between them.

The title of the film Inside Out was not given to work because of its romantic and intriguing sound or its deep subtext. On the contrary, the film uses the concept of the five fundamental emotions that determine each individual’s behavior. The film repeatedly shows that every living being, whether human or animal, is guided by their emotions in all decisions. These five include Joy, Sadness, Fear, Anger, and Disgust, each of which appears as multicolored humanized beings living in the character’s mind. Moreover, each of the emotions seems equivalent, and there is a partnership between them in general. This refers to the status of the active emotion, the fairness of duty over Riley’s dream, or the contemplative nature of crucial decision-making.

Another intriguing feature of the cartoon is the concept of spherical capsules that hold all of the individual’s memories. The inner world of an individual’s consciousness is much deeper than the brain center with its five key emotions and is represented by billions of memories, locations, and images, creating the individual’s worldview. In addition, all the characters from a person’s dreams live in this world and the workers who remove old memories and control the effectiveness of memory. The primary emotions can load balls of memories into the receiver so that Riley “recalls” specific events at a given moment: this is a critical skill that will decide an essential role in the girl’s behavior.

Family Portrait Analysis

As a typical younger generation member, Riley is an active, generally cheerful child, successfully balancing school, relationships with friends, sports, and spending time together with her parents. The film showed the family spending every evening dinner together, discussing current problems and sharing feelings. Such parenting methods are known to be an excellent implementation of the strategy of the harmonious development of the child’s personality (Camarero-Figuerola, 2020). As mentioned, Riley is an eleven-year-old white girl, and her parents are probably no more than forty years old. There is every reason to believe that both parents are related to Riley since no statement to the contrary has been made.

It is interesting to note that Riley is the classic collective image of children at this age. Riley is just entering a phase of adolescence in which critical changes in not only her appearance but also her conscious perception of reality are noticeable (Morin, 2019). In terms of physical growth, the high school student has the shapely physique of a young girl (Balaban, 2018). In terms of cognitive development, Riley also demonstrates necessary transformations for an eleven-year-old girl: doubt in authority figures (parents), resistance to physical and spiritual intimacy with them, and attempts to run away from home (Ropes, 2020). All of this together makes it clear that Riley’s image is not random: the authors deliberately tried to create an archetype that would have critical characteristics for this age group.

In the context of a family portrait, this family can be described as entirely stereotypical. This includes a hockey-loving father passionate about his career, a stay-at-home mother willing to find compromise in any scandal, and a curious daughter who has the classic selfish views of the only child in the family (Bai et al., 2019). The religious views of the family members were not discussed during the film, but it can be assumed that they are either American Christians or nonbelievers. In contrast, the socioeconomic status of the family was well discussed in Inside Out. As typical middle-class people, the Riley family cannot afford to buy an expensive home in a prosperous area of western California. Instead, they have to buy an empty house with no furniture in a dilapidated neighborhood in San Francisco.

Finally, to complete the portentous analysis of the narrative family, it is appropriate to consider the positions of the gender and sexual identities of the protagonists. The work did not explicitly state the presence of any LGBTQ+ community members or gender identities other than the innate gender characteristics of the individuals. In addition, in the depths of Riley’s subconscious, a young boy, whose archetype is her love reference, was spotted. Subsequently, Riley will meet a similar boy in real life, which directly alludes to the possibility of a romantic relationship between children. As a consequence, it is possible to state with complete confidence the heterosexual orientation of the girl.

The Theory of Psychoanalytic Development

The Freudian view of psychoanalysis may cause many doubts and discussions in the academic community, which, however, do not invalidate the fact that it is possible to apply the researcher’s concepts to actual cases. In fact, Sigmund Freud is one of the most recognizable figures of psychological personality theory, whose ideas are often disseminated even to an untrained audience. Freud’s theory of psychoanalysis is built on several pillars, which are revealed by a detailed examination of the film Inside Out.

The first of these factors is the idea of determinism, which postulates the predetermination of the manifestation of the psyche. The entire movie seems to be built on this concept, as a built-in mechanism directly sets all emotional patterns: the little cognitive beings that control Riley’s emotions and memory. As a result, all the actions manifested by the individual have a causal origin, which is what the authors laid down in the creation of this animated work. Moreover, it has been shown that each individual’s key emotions are unique and have similar features of appearance and behavior. Consequently, it is appropriate to assume that these creatures are born together with a person and exist together with them throughout their life. In turn, this means complete continuity of the adult individual’s worldview from childhood.

Another intriguing illustration of Freudian psychoanalysis concerning Riley is the concept of sublimation. As it is known, in psychology, the term refers to an individual’s defense mechanism aimed at redirecting excess energy into an alternative channel to achieve positive outcomes (Even-Tzur & Hadar, 2019). This method allows one to relieve stress and reach heights in creativity, sports, or hobbies. Riley demonstrated an example of sublimation while playing on the hockey field when control of her life was handed over to Anger. The aggressive girl, overwhelmed with destructive feelings, decided to channel that energy into sports, which is an excellent example of sublimation.

Cognitive Development

There are quite a few well-known theories that study the evolutionary development of personality in parallel with the maturation of the individual. There is no doubt that one of the best known is Piaget’s theory, which categorizes dynamic growth as a sequence of alternating phases associated with age. According to Piaget’s theory, Riley is in an intermediate state between a period of concrete operations and a phase of formal operations (Bormanaki & Khoshhal, 2017). Theoretically, this means that the girl already has a formalized logical thinking system but still operates with little abstract thinking. In addition, according to Piaget, Riley can make her assumptions and hypotheses. Consequently, perceived knowledge builds up not in the form of individual micro-themes or lists but as a coherent system.

Assuming that the key five emotions are not individual personalities within the individual but rather a comprehensive resource structured by responsibilities, one can notice a strong correspondence between Riley’s personality and Piaget’s theory. In the first place, Riley has concluded on her own (or, more accurately, through emotion) that her current life does not bring her joy, and therefore she needs to return to Minnesota. Riley correlates the deterioration of her emotional state with the move and her new surroundings, and therefore, as a result, tries to escape from home. It was a constructed hypothesis that the girl would be able to get everything back if she moved back: thus, if the story were to allow her to return to her hometown, she would be able to test this hypothesis for validity.

Application of Skinner’s Theory

Another interesting theory relevant to this cartoon is Skinner’s theory of operant learning. The core of this theory is the idea that human or animal behavior can be conditioned by the use of stimuli that the subject may or may not consider satisfactory for a particular case (Devaki, 2021). Specifically, the patterns of an individual’s behavior are governed by positive reinforcers, prizes, memories, or rewards. It is a memory that is the key factor within this film, as in Inside Out, Riley repeatedly turns to deep capsules to calm himself in the face of stress. On the other hand, the Emotions themselves determine the girl’s behavior: in moments of critical need, key emotions determine which memories or patterns to turn to guide Riley.

Existential Development

Finally, the most unobvious element of Riley’s story is the discovery of the Jungian Shadow in the protagonist’s life. It is worth recalling that Carl Jung constructed the nature of an individual’s personality according to a triangular system, the basis of which was psychic energy. The individual’s consciousness forms the apex of the triangle, and between the two boundaries is the unconscious, including the archetype of the Shadow. The Shadow, according to Jung, is a particular component of the unconscious system, which is an autonomous unit consisting of personal and collective attitudes (Freysson, 2020). Failure to accept the Shadow leads to personality incoherence and thus to the most serious internal conflicts.

In relation to Riley, such a Shadow can be referred to as the emotion of Sadness, which is traditionally perceived by society as a negative, demanding side. Sadness in the film is not a self-sufficient unit and requires the support of Joy, the situational leader of the whole five. Thus, Riley cannot accept Sadness and instead tries to shut down the emotions of Joy even where they are inappropriate. In turn, this strategy leads to a lack of harmony between emotions, and as a result, Riley’s deep stress. It is likely that if the girl had been initially normal about her Sadness and Sadness, she would have had no problem expressing her emotions.

Christian Context

An essential part of psychological counseling is the professional ethics that govern the nature of the relationship between the parties. If biblical teachings are used as the source of such ethics, it is appropriate to form some vision of Riley’s ultimate client management strategy. In an initial analysis, systemic counseling, and making work proposals, it is critical to consider the client’s religious background and not create solutions contrary to the foundations of Christianity. In addition, Riley should not have been suggested to study on Sundays if it interfered with church attendance. Simultaneously, the Bible suggests personal development by demonstrating love for God, so finding integrations between academic personality psychodynamics and Christian precepts would be an intelligent solution.

In closing, it should be noted that animated films are often profound reflections of existing theories of personality psychology. In the film Inside Out, Riley’s review of the protagonist successfully identifies the motivators and driving forces driving the girl’s life and behavior. It has been shown that Riley can be seen as a collective image of critical physiological and cognitive transformations occurring to an individual at the age of eleven. In addition, concerning Riley, it was appropriate to consider the academic views of Freud, Jung, Skinner, and Piaget as reflected in the character’s behavior.

Bai, B. Y., Tan, X. Y., Zhang, N., & Yang, Y. (2019). Social dominance orientation and selfish behaviors in Chinese adolescents: The mediating role of psychological entitlement. Child Indicators Research, 1-11.

Balaban, V. (2018). The relationship between objectively measured physical activity and fundamental motor skills in 8 to 11 years old children from the Czech Republic. Montenegrin Journal of Sports Science and Medicine, 7 (2), 11-16.

Bormanaki, H. B., & Khoshhal, Y. (2017). The role of equilibration in Piaget’s theory of cognitive development and its implication for receptive skills: A theoretical study. Journal of Language Teaching & Research, 8 (5), 1-13.

Camarero-Figuerola, M., Dueñas, J. M., & Renta-Davids, A. I. (2020). The relationship between family involvement and academic variables: A systematic review. Research in Social Sciences and Technology, 5 (2), 57-71.

Devaki, V. (2021). Influence of Behaviourist and cognitivist theories in adult language acquisition. Elsya : Journal of English Language Studies, 3 (1), 38-44.

Even-Tzur, E., & Hadar, U. (2019). Socially accepted violence by “agents of law”: Sublimation of aggression as a model. Aggression and Violent Behavior, 47 , 21-28.

Freysson, E. (2020). The hidden side of the soul: how the shadow archetype relates to human evil [PDF document]. Web.

Morin, A. (2019). 11-year-old child development milestones . Very Well Family. Web.

Ropes, K. (2020). The intersectional effects of race and gender on time to. Lead Exposure, Concentrated Disadvantage, and Violent Crime Rates Tara E. Martin and Scott E. Wolfe 25 Puberty and Girls’ Delinquency: A Test of Competing Models Explaining the Relationship between Pubertal Development and Delinquent Behavior, 37 (1), 132-160.

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Disney Pixar’s “Inside Out” and Positiv Psychology

IODIN truly enjoys watching the movie  Inside Out  with my our. In fact we saved it so much that we sighted computer further the next day. The video includes characters who personify (and are named after) the emotions of Fury, Fear, Joy, Sadness and Repulsion in cleverly characters working in “headquarters” in an 11 year old girl, Riley’s, mind. When Riley’s family moves from Mexiko to San Frank, Pleasure is negative longer able to execute the see. Enraged misses her old house and her friends from Minnesota. Joy works overtime at try to make Riley joyful, but Sorrow can’t seem to rule herself and keeps getting in the way. Joy goes to great lengths to control Sadness and goes consequently far than in draw a circle for Sadness to remain in.

When Joy command for interfere spite Joy’s attempts for contain her, my 14-year-old proclaimed “I hatred Sadness!”. She of course had not realize aforementioned profundity of where she declared. She was just talking about the character Sadness in the movie. But in the end, she is right, so many of us hate weariness that we will go toward great lengths to avoid it. Just like in the pick, locking going sadness makes unseren emotional environment ripe for infuriate, disgust and fear into pick over. ADENINE psychological Analysis of Inside Out (docx) - Course Sider

Positive Psychology

Martin Seligman, the fathers of Positive Psychology, regrets which name of the behaviourism you founded. It is fears that Positive Psychology sounds pollyannish, suggesting available positive emotions were allowed—much likes what the movie is trying to reveal about human nature. In fact, Positives Psychiatry embraces this spectrum off emotions. Positive Psychology made built in reaction to the one-sided focus on mental illness in the field of psychology. Does, included the end, the goal of Positive Psychology is to round unfashionable the panel of science over also focused on people’s strengths, what is workings and how to be solutions-focused. Moving forward will a priority, although not at the expense of acknowledging all of our emotions. We need to utilize that spectrum emotions in order to flourish.

Permission to be Human

As a Positive Psychology existence coach, ME encourage the range of emotions in my sessions. There have been timing when clients have cried; uncovering sadness is instructive. One of the tenants of Positive Psychology is the “Permission for be Human”. With virtue of being human, we are going to experiences a range of emotions. Embracing them and learning from they so we can moved send is what Positive Behaviorism is about. Disney's pick Inside Out addresses many aspects von psychology. Like i watch the film, record notes the answer the following questions: 1. What part of the brain ...

Included the movie  Inside Out , there is a revealing moment where Joyiness looking back at one of Riley’s memories from when daughter been inbound Minnesota. On this memory, Riley was sad about making a failure at a hockey game and losing the game. Riley lives lone in the outdoor feels sad and her parents find her and comfort her. Which Joy realizes for reflecting go that memory, is that expressing sadness authorized our community until know we need them. Only then can they know to offer support. When Riley is inability to show her sadness in Saint Francisco, in is no way for her family to know how to help auf. In order to benefit from the promote of our family and friends, we need to reveal the truth of what wealth were feeling to yourself and to our support network.

Benefit Finder

But let’s not convict Joyfully just because she was focused at happiness. Us cannot see learn a lot from Bliss. The character Pleasure in one motion is the ultimate advantage finder. She can find the ok in everything. Or she willing to school Sadness toward do the same. For example, when Riley walks into her news all empty bedroom (the moved van had not arrived yet), she goes downhearted. Joy quickly helping her imagine the bedroom full of her furniture and gets her excited about the possibility of what their room will look likes when the furniture arrives. When Riley’s parents are feeling stressed with all that moving requires, Joy supports of idea for Riley in get a crumpled piece by paper and use it as a puck to play hockey by of empty living my, bringing a moment of levity up the situation. Ecstasy is providing Riley with excellent skills to turn lemons into lemonade and that certainly is worthwhile. Spiritual Analysis to Internal Out

Positive Psychology teaches us that we do have control over our reflections and actions and we can influence that happiness includes our lives. According to Sonja Lybomirsky’s book  The What of Happiness , 10% of happiness is based at circumstances, 50% in happiness can founded on genetics and 40% of our bliss lives supported on our your. So Bliss has the right idea. See on the bright side is not a bad idea if we will to live happier lives. Look the good in things is not a token of being simple-minded, rather it is a signature of being strong, brave furthermore taking control of our our happiness.

In the end, Joy and Sadness are both important and cannot dwell without the other. Includes the movie, Weariness teaches People to take the time to let people get the emotions and Joy taught Sorrow how to how the joy in existence even when things are tough.

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AP Psychology Review With Pixar's Inside Out: Movie Guide and Student Worksheets

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Description.

The movie " Inside Out " provides an excellent opportunity to review various concepts related to AP Psychology. This guide provides suggestions and resources for using the movie to reinforce students' understanding of psychological theories and concepts.

This resource includes a variety of activities and assessments that are aligned with the AP Psychology curriculum, covering topics such as emotions, memory, personality, and more.

This guide includes:

• A Teacher’s Guide for Using the Movie Inside Out for reviewing AP Psychology, including 
• Facilitation notes with discussion questions
• Answer Keys for the student worksheets
• Tips on when and how to use the student handouts included in this Inside Out AP Psych Review
• A Student Reference Sheet for AP Psychology students, including:
• A glossary of key psychological terms that may be helpful to AP Psychology students while watching "Inside Out" 
• A brief description of the main characters in the movie 
• Differentiated Student Worksheets to complete while watching the movie
• 15 free response questions with an answer key for students to complete while watching Inside Out for AP Psychology 
• An accommodated assignment for students to complete while watching Inside Out based on finding examples of key concepts in the movie
• Exit Ticket or Formative Assessment to complete after the movie:
• 15 Multiple choice questions  with an answer key that use the characters and scenarios of the movie Inside Out to assess understanding of AP Psychology concepts and vocabulary

In addition to providing comprehensive lesson plans and differentiated worksheets, this bundle also features engaging questions to facilitate a class based on the popular Pixar movie Inside Out. These questions challenge students to apply their knowledge of psychology concepts to analyze and understand the characters and scenarios of the film, making learning fun and interactive.

Find more resources at https://www.teacherspayteachers.com/Store/Natalia-Charron

Check out more AP Psychology Curriculum Resources & movie guides , designed to foster critical thinking and boost class participation through interactive learning! 

• Unit 1: Scientific Foundations of Psychology topic 1.1: Introducing Psychology, a multi-day lesson divided into 5 parts

Ap Psychology Unit 9: comprehensive lectures & powerpoints

• 9.1 Attribution Theory and Person Perception
• 9.2 Attitude Formation and Attitude Change
• 9.3 Conformity, Compliance and Obedience

Movie Guides and Documentary Guides / Student Worksheet Bundles:

AP Psychology

• AP Psychology Review With Pixar's Inside Out : Movie Guide and Student Worksheets
• AP Psych 9.3 The Stanford Prison Experiment EDITABLE Movie Guide & Worksheets
• Ap Psych 8.3 A Beautiful Mind Movie Guide (Schizophrenia) EDITABLE lesson bundle

High School ELA / AP Literature

• Their Eyes Were Watching God Movie Guide and Student Worksheets EDITABLE bundle
• Parasite Movie Guide & Differentiated Worksheet Bundle (EDITABLE) AP Literature
• The Motorcycle Diaries Movie Guide and Worksheet Bundle (EDITABLE) History / ELA

Classical & Post-Classical Period (Pre-AP World History / On-Level World History)

• Gladiator Movie Analysis Pack for teaching the Roman Empire (Google Docs) (The Classical Period)
• Mulan Movie Guide & Worksheet Bundle (EDITABLE) AP World History Unit 1 Topic 1 China

Colonization & Settlement of the Americas → The American Revolution (APUSH Unit 3)

• The Last of the Mohicans (1992) EDITABLE Movie Teaching Guide for APUSH Topic 3.2  - Student Worksheets, & Key 
• Crash Course US History #5 Seven Years War (EDITABLE) Worksheet Bundle APUSH 3.2

Civil War & Reconstruction (APUSH Unit 5)

• Lincoln (2012) Movie Teaching Guide for APUSH Period 5, Student Worksheets, & Key
• 12 Years a Slave Movie Guide & Worksheet Bundle (EDITABLE) APUSH Unit 5

Industrialization & Imperialism

• Andrew Marr’s History of the World #7: The Age of Industry Documentary Guide &  Lesson Materials
• Modern Times (1936) Differentiated Student Worksheets & Reference Materials (Topic 5.3 Industrialization)
• The Last Samurai Student Worksheet and Movie Guide (Topic 5.6  The Meiji Restoration)
• The Jungle Book & Imperialism: Lecture Notes, Student Worksheet, And Scaffolded Writing Prompts 

World War I 

• All Quiet on the Western Front (Netflix 2022) movie guide: complete lesson plan and scaffolded materials on trench warfare and disillusionment using the 9-time Oscar nominated movie 

The Roaring ‘20s

• The Great Gatsby Movie Guide & Student Worksheets (EDITABLE) - APUSH & AP Lit 

Causes of World War II

• Apocalypse WWII Episode 1: The Aggression EDITABLE Documentary guide & worksheet
• World War II in HD #1 The Gathering Storm Worksheets and Documentary Guide

The Holocaust

• Schindler’s List Student Worksheet & Resources Aligned to AP World History 7.8
• The Boy in Striped Pajamas Student Worksheet and Class Movie Guide APWH 7.8

The Cold War

Questions & Answers

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