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This imaginary audience is proposed to account for a variety of adolescent behaviors and experiences, such as heightened self-consciousness, distortions of others' views of the self, and a tendency toward conformity and faddisms. This act stems from the concept of ego-centrism in adolescents.
Also, the results showed that the imaginary audience phenomenon seems to decrease as one ages, more so than personal fable. [6] Furthermore, there was a study conducted to analyze the gender differences with regards to the chronicity (the pattern of the behavior across time) of the personal fable phenomenon across early, middle, and late ...
Elkind also created terms for egocentric behaviors exhibited by adolescents, such as what he calls an imaginary audience, the personal fable and the invincibility fable. An egocentric adolescent experiencing an imaginary audience believes there is an audience captivated and constantly present to an extent of being overly interested about the ...
The imaginary audience, Elkind said, could be regarded as "a series of hypotheses" that an adolescent "tests against reality". Because the imaginary audience is usually constructed based on an adolescent's attention on his own perception, it will be gradually modified through communicating and reacting with real audiences.
The spotlight effect is an extension of several psychological phenomena. Among these is the phenomenon known as anchoring and adjustment, which suggests that individuals will use their own internal feelings of anxiety and the accompanying self-representation as an anchor, then insufficiently correct for the fact that others are less privy to those feelings than they are themselves.
The imaginary (or social imaginary) is the set of values, institutions, laws, and symbols through which people imagine their social whole. It is common to the members of a particular social group and the corresponding society. The concept of the imaginary has attracted attention in anthropology, sociology, psychoanalysis, philosophy, and media ...
The audience can be real or imaginary. IM style norms, part of the mental programming received through socialization, are so fundamental that we usually do not notice our expectations of them. While an actor (speaker) tries to project a desired image, an audience (listener) might attribute a resonant or discordant image.
Anderson analyzes the written word, a tool used by churches, authors, and media companies (notably books, newspapers, and magazines), as well as governmental tools such as the map, the census, and the museum. These tools were all built to target and define a mass audience in the public sphere through dominant images, ideologies, and language.