4553 - VIDEO AS A PSYCHOLOGICAL WEAPON: WHY AUDIOVISUAL CONTENT IS THE MOST TRAUMATIC

Session: D03S029 - Trauma and Resilience 4
AUTHORS:
Diatel Nadiia (Kyiv School of Economics ~ Kyiv ~ Ukraine) , Naydonova Lyubov (Institute for social and political psychology of the National Academy of Educational Sciences ~ Kyiv ~ Ukraine) , Hryhorovska Liubov (Institute for social and political psychology of the National Academy of Educational Sciences ~ Kyiv ~ Ukraine) , Hubeladze Iryna (Institute for social and political psychology of the National Academy of Educational Sciences ~ Kyiv ~ Ukraine) , Umerenkova Natalia (Institute for social and political psychology of the National Academy of Educational Sciences ~ Kyiv ~ Ukraine) , Pochwatko Grzegorz (Institute of Psychology of the Polish Academy of Sciences ~ Warsaw ~ Poland) , Naydonov Mykhaylo (Institute of reflective investigations and specialisation ~ Kyiv ~ Ukraine)
Abstract text:
Introduction
During the ongoing war launched by Russia against Ukraine, media exposure has become a daily reality for many Europeans, including vulnerable groups. Across crisis contexts, related audiovisual content is gaining attention, spreading rapidly and being presented extensively to the audience.
Purpose
This study aims to bring attention to audiovisual war materials (video combined with sound) as especially trauma-inducing, and to outline implications for trauma-informed journalism and digital platform design aimed at reducing preventable harm.
Method
The study was based on a qualitative analysis of focus-group data (N=60) collected from vulnerable population groups (e.g adolescents, displaced persons, etc). Discussions explored participants' patterns of war-related media exposure, perceived distress triggers, and self-regulation strategies.
Results
Audiovisual stimuli produce stronger emotional and physiological activation than text because they increase perceived immediacy and realism ("presence"), intensifying fear, grief, anger, and helplessness. Auditory cues (e.g., screams, explosions, panicked speech) add a direct alarm component that heightens arousal and impairs recovery.
A core mechanism is immersive identification: viewers mentally simulate scenarios, imagine themselves or loved ones in danger, and experience intrusive imagery, including distressing dreams and recurrent mental replay. Another mechanism is contrast intensification: "before/after" depictions of destroyed familiar places amplify loss-related reactions and moral outrage. Finally, unpredictability functions as a trigger - sudden exposure to graphic footage undermines perceived control, disrupts sleep, and increases vulnerability to re-experiencing symptoms.
Conclusions
Audiovisual war content can act as a high-potency psychological stressor through multisensory amplification, presence effects, identification, and unpredictability. These mechanisms justify trauma-informed media standards in Europe - clear warnings, reduced autoplay, default blurring of graphic footage, and protective settings for youth and high-risk audiences to safeguard well-being while preserving access to essential information.