The parasocial contact between ingroup viewer and outgroup character does not have to be direct, as we saw in the example of Africa with Ade Adepitan. This works particularly well when there is an intimate and positive relationship between an outgroup character and an ingroup character on screen. For example, Once Upon a Time in Uganda tells the story of Alan, an American, who joins Isaac, a Ugandan film director, in Kampala to make films with him.

If we assume the viewer to be a white American, Isaac represents a double outgroup configuration (see image below). He is thus prone to being perceived with prejudice. However, Alan matches the two ingroup identities of the viewer, and he becomes a supporter, collaborator and close friend with Isaac.

The viewer is also prompted to like him through a variety of perspective-taking techniques. The intimate and positive on-screen relationship between Alan and Isaac thus enables the viewer to extend their positive attitude toward Alan to Isaac.

This also works with other types of intimate relationships, such as kinship, romantic relationships and marriage.

Read more about extended intimacy in Chapter 9.

In the next section we discuss the strategy of common identity, which can maximise the sense of inclusion for viewers towards characters.