Dit is een collectie van hoorcolleges, video lectures, literatuur, werkcollege informatie, foto's van modellen, extra informatie. Heb hier zelf een 7,9 mee gehaald, het document omvat alles wat er in 2022 besproken en gelezen is.
w e e k o n e - media entertainment
- Vorderer, P., Klimmt, C., & Ritterfeld, U. (2004). Enjoyment: At the heart of media
entertainment. Communication Theory, 14, 388–408.
- Oliver, M.B. & Raney, A.A. (2011). Entertainment as pleasurable and meaningful:
Identifying hedonic and eudaimonic motivations for entertainment communication. Journal
of Communication, 61, 984-1004.
- video lecture 1.1, what is entertainment
- video lecture 1.2, media entertainment model(s)
- video lecture 1.3, users of entertainment, preference, motivations
- video lecture 1.4, entertainment products
- video lecture 1.5, entertainment experience and responses
- video lecture 1.6, media entertainment model
- slides video lectures
- campus lecture week one
- tutorial one week one
WEEK ONE
Video lecture 1.1, what is entertainment
> What is entertainment?
- no easy boundaries
- from Latin, inter (among) and tenere (hold/keep) that what holds you here
- means providing amusement, diversion or enjoyment
- keeping/holding attention is different for everyone, eg information/high-speed chase
- journalism tries to hold attention
- blurring boundaries between politics and entertainment
- vorderer, 2001 definition entertainment; entertainment is a complex, dynamic and multi-
faceted experience one goes through while being exposed to this type of media
- zillman & bryant, 1994, definition entertainment; entertainment has been understood not
so much as a product (movie, game or tv show) or as a feature of such product (action,
comedy), but rather as a response to it
- vorderer, klimmt, retterfeld, 2004, definition entertainment; at the heart of the
entertainment experience lies enjoyment, a product of numerous interactions between
conditions on both the user’s and the media’s side
- henning-thurau, Houston, 2019, other field than communication with definition for
entertainment; any market offering whose main purpose is to provide pleasure to
consumers, vs offering primarily functional utility
,- boring = not entertaining, but who decides what is boring?
- the attributes of experience dominate consumers quality judgement
- when does something start/stop to be entertaining? where is the line drawn?
conclusion, entertainment is: any mediated product for the purpose of entertainment
Video lecture 1.2, media entertainment model
Inspired from:
> Laswell’s linear model of communication 1948, process
+ includes the right questions
- no room audiences to choose a
message
- how is the effect achieved?
> Valkenburg & Peter, model of DSMM, different susceptibility to media effects model, 2013
- not aimed at
entertainment
= development use,
only children/adults
- three factors predict media use: preference, development, social environment
- media effects are transnational, meaning effects of media use also influence media use
> Vordereer, Klimmt & Ritterfeld, enjoyment at heart of entertainment, 2004
- enjoyment not only
outcome
- messy and confusing
+ acknowledges
complexity
+ represents circular
process
,> media entertainment model
- boxes =
theoretical
- arrows =
processes
- entertainment products: label and design
- users: preference and performance
- circular process, infancy, start using and experiencing media and entertainment, over time
knowledge/attitudes beliefs are formed
- you select media based on the medium, title, genre, brand (label)
- design, is how to
- you then experience it
- you respond, did you like it or not?
- what you like gets a preference
- which makes you decide/select the next thing
- response is not an effect, unless it affects your entertainment preference in a meaningful
way
Video lecture 1.3, users of entertainment + preference + motivations
> You as a person
- traits, characteristics, what you like (as part of a group)
- 4 overlapping identifiable characteristics to categorize groups of entertainment users, they
shape the preference
1. Demographic
- gender, age, income, education, location, ethnicity
2. Social
- culture, family, friends, peers, society
3. Trait and state
- psychological traits, cognitive capabilities, attitudes/values/beliefs, state, mood
4. Media entertainment
, - experience, knowledge
> popular culture
; most prevalent set of preferences within society
; popular culture (pop culture) is the domain of entertainment products created in mass
quantities for a mass audience, generally recognized as a constantly evolving set of practices,
beliefs, values that are dominant or ubiquitous in a society at a given point in time
- Deshpande & Webster, 1989,
- group culture provides you in the norms and attitudes for behaviour
> definition; set of practices/beliefs and values around entertainment that is dominant in a
society at any point in time
- current entertainment culture, constantly evolving
- created in mass quantities for enormous audience
- influential, economically and culturally, globally
> cultural congruence
‘’a nation transmits the values of what is to be appreciated and what is not, to its members,
as a part of continuous and often lifelong socialization process’’
- schäfer and sedlmeiser, 2009, say: consumers entertainment choices show their personal
values, ambitions and beliefs, and perceptions of the world and themselves
- song et al, 2018, say: cultural congruence between a movie and audience influences how
much consumers like the product.
> preference, zeitgeist
- cultural trends can make consumers ripe for a product. The fit of any entertainments
product genres and themes with people’s interests and desires may be high or low during
certain periods
- entertainment can become an embodiment of a certain cultural zeitgeist, capturing and
reflecting the lifestyle of a certain period.
- entertainment products are more attractive in bleaker economic times, despite consumers
having less money at their disposal.
> why people select entertainment
- escapism; tendency to seek distraction and relief from unpleasant realities, especially by
seeking entertainment or engaging in fantasy’, --> transiel mental relief
- mood management theory; use of entertainment serves the regulation of positive mood
states
- individuals tend to select entertainment in order to maximize or maintain a good mood,
and/or diminish or alleviate a bad mood
- music consumption, tv viewing patterns, and movie patterns
- only for light-hearted entertainment
The benefits of buying summaries with Stuvia:
Guaranteed quality through customer reviews
Stuvia customers have reviewed more than 700,000 summaries. This how you know that you are buying the best documents.
Quick and easy check-out
You can quickly pay through credit card or Stuvia-credit for the summaries. There is no membership needed.
Focus on what matters
Your fellow students write the study notes themselves, which is why the documents are always reliable and up-to-date. This ensures you quickly get to the core!
Frequently asked questions
What do I get when I buy this document?
You get a PDF, available immediately after your purchase. The purchased document is accessible anytime, anywhere and indefinitely through your profile.
Satisfaction guarantee: how does it work?
Our satisfaction guarantee ensures that you always find a study document that suits you well. You fill out a form, and our customer service team takes care of the rest.
Who am I buying these notes from?
Stuvia is a marketplace, so you are not buying this document from us, but from seller chimnegommans. Stuvia facilitates payment to the seller.
Will I be stuck with a subscription?
No, you only buy these notes for $7.06. You're not tied to anything after your purchase.
