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Summary Entertainment Communication
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Summary Entertainment Communication
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GENERAL ENTERTAINMENT THEORIESEntertainment: the action of providing or being provided with amusement or enjoyment; anything
that holds one’s attention can be considered entertaining
The origin of the word is: Latin inter (among) Tenere (keep)
The opposite of entertainment is boredom; if we are not entertained, we are bored
Can be understood not so much as a product but rather as a response to it
Media entertainment: any mediated product created for the purpose of entertainment
Mediated products: are created for the purpose of entertaining it users
Information goods: their carriers can be material (e.g., DVD), entertainment products themselves
are immaterial and their value lies on the information they carry
Experience goods: the attributes of the experience dominate consumers’ quality judgements
Communication science models
1) Harolds Lasswell’s linear model of communication (1948)
This model covers the basics of mass communication it entails speaker sending a message
though a certain medium to reach an audience with some kind of effect
Main critique: it doesn’t consider the ability of audience to choose specific messages
2)
Differential susceptibility to media effects model (DSMM) by Valkenburg & Peter (2013)
Three factors predict children and adolescents’ media use: disposition, development level and
social environment the response states are occurring during and after the media use and are
the result of the entertainment experience
Main critique: focuses on children and adolescents, not
specifically aimed at entertainment
3) Vorderer, Klimmt & Ritterfeld’s model (2004)
This model places enjoyment at the center of the entertainment
experience enjoyment in influenced by user prerequisites
(voorwaarden), motives and media prerequisites
Main critique: confusing & enjoyment Is not the only outcome from
an entertainment experience
4) Media entertainment model
Entertainment products are experience goods the response
to this experience thus dictates the preference for future,
thereby repeating the cycle notice that response is not the
same as effect; in this model we do not look at the media
effects unless they change your preference
Entertainment users and their preference scan be identified based
on four characteristics: demographic (e.g., gender, age, eduction), social (e.g., family, friends,
culture), trait and state (e.g., values, beliefs, moods) and media entertainment (past experience with
and knowledge about entertainment; most important factor
Popular culture: the most prevalent (heersend) set of preference within a society it is a constantly
evolving set of practices beliefs that are dominant in a society at a given point in time
However, aspects appreciated in some cultures may not be appreciated in others
,The cultural congruence between a movie and the audience influences how much consumers will
select and appreciate the movie
Zeitgeist refers to the temporal aspect of cultural influence, which determines the mood of a
particular period in history, based on the ideas and beliefs of that time
cultural trends can dictate people’s interests and desires during certain time periods
The selection of entertainment products
Escapism: one selects entertainment products to seek distraction and relief from their
unpleasant reality explains how media may provide some sort of mental retreat for users who
feel uncomfortable in their actual lives
Mood management theory: one selects entertainment products to maximize/maintain a good
mood, or to dimmish a bad mood media selection is based on the hedonistic motivation that
individuals are motivated to experience pleasure and avoid pain
Familiarity: one selects entertainment products based on the connection with elements and/or
characters, there are different forms:
- Nostalgia: preferences for experiences that were more common when one was younger
- The reminiscence bump effect: one readily recalls memories from their 16 to 24 because
of its first-time events, which are more vivid (levendig)
- The moderate-discrepancy hypothesis: slightly different products appeal more than those
that are too different from or too similar to what one is familiar with
Social cognitive theory: one learns about entertainment from those in one’s social circles the
selection of entertainment is shaped by watching from others and imitating their behavior
- The band wagon effect: the probability of adopting ideas, attitudes and/or behaviors
increases according to the proportion of those who have already done so influence is
shaped not by one influential other, but by groups of influential others
- The social conformity effect: one conforms to the public opinion to attain social
acceptance and/or avoid social exclusion
Media habits: form of automatic media consumption behavior, which occurs because of
repeating frequent media consumption motivations and social influences are not crucial at all
Media habits can become excessive and problematic and leading to media addiction
Obsessions are thoughts are person cannot stop from having
Compulsions are behaviors a person cannot stop enacting
The labels of entertainment products
Before experiencing the entertainment product, one accesses its labels (collection of objective
information to identify an entertainment product) This could include:
1. Medium: the means by which it is communicated, any means through which sensory impression
are conveyed to an audience (e.g., Netflix on a laptop)
2. Title: name of an entertainment product 4 aspects of names that can help consumers draw
cognitive inferences, which might influence consumer’s attitudes: phonetics (how it sounds),
orthography (how it is spelled), morphology (how it is designed) and semantics (what it means)
3. Category/ genre: describes a certain category of entertainment enables familiarity and quick
judgements & important for the organization of the entertainment industry
4. Brand: semantic network of impression in the consumer’s mind have 2 key functions:
o Awareness function: a brand can generate immediate attention
o Image function: network of associations surrounding a brand, based on one’s
identification with it and differentiation from other brands
A label provides boundaries and guidelines for the design of an entertainment products (e.g., sitcom
must have comedic elements, and thus the design will contain jokes)
The medium is the message (McLuhan, 1964): the medium influences how the message is perceived
, Form excludes the content (Postman, 1985): A particular medium can only sustain a limited level of
ideas
Relationships between entertainment products and users
o Suspension of disbelief explains the use (and enjoyment) of fantastic or non-realistic elements in
fiction essential for engagement with any kind of fictional narrative (automatic process)
o Immersion refers to the extent to which a medium can deliver an inclusive, extensive, and vivid
illusion of a depicted reality (e.g., a cinema is more immersive medium than a smartphone)
related to the medium
o Presence is used to describe the degree in which an individual believes to be present in a virtual
environment related to the user
o Narrative transportation refers to a situation in which viewers are so engrossed in an
experience, they lose track of the real world for a while (related to both medium and user)
Flow refers to the mental state in which one is fully immersed in a feeling of focus,
involvement, and enjoyment, thus losing track of time and space
Responses during and immediately following experience
1) Cognitive response: conscious thoughts, beliefs, and recollection
Verisimilitude: when, within fiction, something is plausible and acceptable it doesn’t have to
be realistic, but believable and consistent
2) Emotional response: entertainment is intentionally used to intensify a negative emotional state,
so that one can work through it
Enjoyment: the positive responses resulting from entertainment
Enjoyment comes from light-hearted entertainment, and stems from
hedonism
Appreciation focuses on the insight, self-flection, and contemplations of
meaningfulness and stems from eudaimonia
3) Physiological response: excitation or physical arousal
Arousal: small, physiological arousal enhances viewers’ attention
Processing fluency refers to the process where entertainment products that are consistent with one’s
expectation and preferences are more easily accepted one’s preference will not be easily changed
with bad experiences, but will be strengthened by good ones
The entertainment industry refers to mass media companies that control the distribution and
production of media entertainment with the intention for profiting from creative products/ services
The enormous amount of entertainment products being released is driven by the short life cycle of
entertainment products & consumers’ need for the continuous creation of new products
Entertainment products are expensive to produce, but inexpensive to reproduce and distribute
The entities providing media are divided into two main groups:
o Majors are record labels, film studios, television networks among others, which are owned by
media conglomerates (The Big Six, e.g., Disney)
o Independent (indie) refers to the source of funding for its products (i.e., independent of the
major studies), or to the product’s characteristics (i.e., product is considered independent
because it ignores commercial, “mainstream” requirements and industry rules/ expectations)
Vertical integration the process whereby a company extends its business from resource (e.g.,
production) to another (e.g., distribution)
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