Unmasking the Face by Paul Ekman

Author:Paul Ekman
Language: eng
Format: epub
Tags: emotions, face, expression, anger, facial expression, deception clues, disgust, distress, emotions in the human face, facial atlas, facial deceipt, facial expressions, facial emotions, facial management techniques, facial punctuators, falsifying facial epressions, fear, flooded affect-expressors, frustration, happiness, location of facial expressions, masking, mico-expressions, mock expressions, neutralizing facial expressions, qualifying facial expressions, rapicfacial signals, sadness, slow facial signals, surprise, static facial signals, timing of facial expressions, universality of facial expressions
Publisher: Institute for the Study of Human Knowledge
Published: 2003-09-14T16:00:00+00:00

intensity of anger

The intensity of the anger expression can be manifest in how much tension there is in the eyelids or how much bulge in the eye. It can also be shown in how tightly the lips are pressed together. In Figure 37 the lip-presses are severe enough to cause a bulge below the lower lip and a wrinkling in the chin. In less intense anger the lip-press would be less severe, the bulge and chin-wrinkling less apparent or not visible. This is shown in Figure 36B. Similarly, how wide open the mouth is in the open-mouth anger expression is also related to intensity. Less intense anger can also be shown in only one part of the face, or in only two parts of the face, as in Figures 33 or 35. But, as we warned earlier, here it is not clear whether the person is just slightly angry, quite angry but controlling the appearance of anger, or not angry but concentrating, determined, or perplexed.

anger blends

The blend expressions shown in previous chapters were accomplished by the two blended emotions registering in different areas of the face. Even though limited to only part of the face, each of the blended emotions was still conveyed in the total message. With anger, however, unless the expression is registered in all three areas of the face, the message becomes ambiguous. One consequence of this is that those anger blends in which one or two facial areas register another emotion usually result in the anger message being overwhelmed by the other emotion in the blend. (Another consequence of this is that anger is easily masked––only one facial area need be controlled or covered to reduce certainty about the anger message.) You will see some examples of these blends in which the anger message is almost lost. There are two exceptions for which the anger message remains salient. First, in disgust-anger blends, the anger part of the message is retained. This may be because disgust and anger blend so frequently, or because of similarities in facial appearance and situational context between these two emotions. The second exception is that the blend may be accomplished by a different technique. A blend need not require that different facial areas show the different emotions. It can also be achieved by blending the appearance of the two emotions within each area of the face. Because the anger message is registered in all three facial areas with this type of blend, the anger message is by no means lost or swamped by the other emotion. Figure 38 shows such a blend.

Probably the most common blend for anger is with disgust. In Figure 38C Patricia shows an anger-disgust blend in which the two emotions are mixed within each facial area. It seems to say, “How dare you show me such a disgusting thing!” This figure also shows an anger expression (38A) and a disgust expression (38B) for comparison. Inspect the mouth in 38C. It is both a lip-press as in anger and an upper-lip raise as in disgust.

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