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All lectures Media Entertainment
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- Vrije Universiteit Amsterdam (VU)
All lectures Media Entertainment
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MEDIA ENTERTAINMENTLiteratuur
1. Introduction to media entertainment: What is entertainment?
Oliver, M. B. (2009). Entertainment. In R. Nabi & M. B. Oliver (Eds.) The Sage handbook of
media processes and effects (pp. 161-177). Thousand Oaks, CA, USA: Sage.
2. Media entertainment as culture: An ideological perspective
Barker, C., & Jane, E. A. (2016). Questions of culture and ideology. In C. Barker & E. Jane
(Eds.), Cultural studies: Theory and practice (pp. 44-84). Thousand Oaks, CA: Sage.
3. Entertainment selection: Uses and gratifications
Rubin, A. M. (2009). Uses and gratifications: An evolving perspective on media effects.
In R. L. Nabi & M. B. Oliver (Eds.). The Sage handbook of media processes and effects (pp.
147-159). Thousand Oaks, CA, USA: Sage.
4. Entertainment selection: Mood management
Robinson, M. J., & Knobloch-Westerwick, S. (2017). Mood management through selective
media use for health and well-being. In L. Reinecke & M. B. Oliver (Eds.), The Routledge
handbook of media use and well-being (pp. 65-79). New York, NY, USA: Routledge.
5. Entertainment selection: News and advertisements as entertainment
Stroud, N. J., & Muddiman, A. (2013). Selective exposure, tolerance, and satirical news.
International Journal of Public Opinion Research, 25, 271-290. doi:10.1093/ijpor/edt013
Gillespie, B., & Joireman, J. (2016). The role of consumer narrative enjoyment and
persuasion awareness in product placement advertising. American Behavioral Scientist, 60,
1510-1528. doi:10.1177/0002764216660136
6. Entertainment effects: Disposition theory and humor
Zillmann, D., & Bryant, J. (1991). Responding to comedy: The sense and nonsense of humor.
In B. Jennings & D. Zillmann (Eds.), Responding to the screen: Reception and reaction
processes (pp. 261-279). Mahwah, NJ, USA: Lawrence Erlbaum Associates.
McGraw, A. P., & Warren, C. (2014). Benign violation theory. In. S. Attardo (Ed.),
Encyclopedia of humor studies (pp. 75-77). Thousand Oaks, CA, USA: Sage.
7. Entertainment effects: Suspense, horror, drama
Hoffner, C. A., & Levine, K. J. (2005). Enjoyment of mediated fright and violence: A meta-
analysis. Media Psychology, 7, 207-237. doi:10.1207/S1532785XMEP0702_5
Knobloch-Westerwick, S., & Keplinger, C. (2006). Mystery appeal: Effects of uncertainty and
resolution on the enjoyment of mystery. Media Psychology, 8, 193-212.
doi:10.1207/s1532785xmep0803_01
8. Entertainment effects: Social media as entertainment
Quan-Haase, A., & Young, A. L. (2010). Uses and gratifications of social media: A comparison
of Facebook and instant messaging. Bulletin of Science, Technology, & Society, 30, 350-361.
doi: 10.1177/0270467610380009
,Alhabash, S., & Ma, M. (2017). A tale of four platforms: Motivations and uses of Facebook,
Twitter, Instagram, and Snapchat among college students? Social Media + Society, 3(January-
March), 1-13. doi:10.1177/2056305117691544
9. Entertainment effects: Gaming, aggression, and addiction
Prot, S., Anderson, C. A., Gentile, D. A., Brown, S. C., & Swing, E. L. (2014). The positive and
negative effects of video game play. In A. Jordan & D. Romer (Eds.), Media and the well-
being of children and adolescents (109-128). New York, NY, USA: Oxford University Press.
Leung, L., Liang, J., & Zhang, Y. (2017). Media addiction. In P. Rössler, C. A. Hoffner, & L. van
Zoonen (Eds.), The international encyclopedia of media effects. New York, NY, USA: John
Wiley & Sons. doi:10.1002/9781118783764.wbieme0173
10. Entertainment effects: Eudaimonic appreciation and existential insight
Oliver, M. B., Bartsch, A., & Hartmann, T. (2014). Negative emotions and the meaningful
sides of media entertainment. In W. G. Parrott (Ed.), The positive side of negative emotions
(pp. 224-246). New York, NY, USA: Guilford Press.
11. Entertainment and identity: Individual differences
Kilian, T., Hennigs, N., & Langner, S. (2012). Do Millennials read books or blogs? Introducing
a media usage typology of the internet generation. Journal of Consumer Marketing, 29, 114-
124. doi:10.1108/07363761211206366
Zayer, L. T., Sredl, K., Parmentier, M. A., & Coleman, C. (2012). Consumption and gender
identity in popular media: Discourses of domesticity, authenticity, and sexuality.
Consumption, Markets & Culture, 15, 333-357. doi:10.1080/10253866.2012.659437
12. Entertainment and identity: Making friends with the screen
Woods, K., Slater, M. D., Cohen, J., Johnson, B. K., & Ewoldsen, D. R. (2018). The experience
of narrative in the permanently online, permanently connected environment: Multitasking,
self-expansion, and entertainment effects. In P. Vorderer, D. Hefner, L. Reinecke, & C.
Klimmt (Ed.), Permanently online, permanently connected: Living and communicating in a
POPC world (pp. 116-128). New York, NY, USA: Routledge.
13. Entertainment and Identity: Music as need satisfaction
Johnson, B. K., & Ranzini, G. (2018). Click here to look clever: Self-presentation via selective
sharing of music and film on social media. Computers in Human Behavior, 82, 148-158.
14. Entertainment and identity: Social identity and fandom
Click, M. A., Lee, H., & Holladay, H. W. (2013). Making monsters: Lady Gaga, fan
identification, and social media. Popular Music and Society, 36(3), 360-379.
15. Entertainment and identity: User-generated entertainment
Kim, J. (2012). The institutionalization of YouTube: From user-generated content to
professionally generated content. Media, Culture, & Society, 34, 53-67.
doi:10.1177/0163443711427199
,van Dijk, J. (2009). Users like you? Theorizing agency in user-generated content. Media,
Culture, & Society, 31, 41-58. doi:10.1177/0163443708098245
Lecture 1: Introduction to Media Entertainment
What is media entertainment?
Defining entertainment
“Any activity to delight and to a smaller degree enlighten through the exhibition of the
fortunes or misfortunes of others, but also through the display of special skills by other
and/or self”
- Zillmann & Bryant (1994)
- People better than us motivate us.
• “Any kind of game or play”
• Role of fiction
• Play as simulation
Defining media
• History of media technologies
• Print, film & recorded music, broadcast, digital media, interactive media, social
media
• Entertainment is a large part of all of these media
• Technologies, channels, genres, and messages designed to entertain
• People are entertained by much of the mediated communication they consume
Media entertainment is...
“media content designed to be consumed for purposes of leisure (rather than specifically for
information gain, learning, or persuasion)” (Oliver, 2009, p. 162)
Defining media entertainment
• “to identify the self with fictional persons or actions” - Bosshart & Macconi (1998)
• Physiological, affective, cognitive dimensions including suspension of disbelief,
exhilaration, fear and relief, sadness or melancholy, sensory delight, achievement -
Vorderer, Klimmt, & Ritterfeld (2004)
è Suspension of disbelief: If you constantly think this can’t happen in real life, you
won’t enjoy the show.
Lecture 2: Media entertainment as culture: an ideological perspective
Easy things to say what’s culture: what can be seen, but there
are a lot of things you can’t see.
Culturedef = the arts, science and any other manifestations of
human intellectual achievement regarded collectively; the
ideas, customs, and social behaviour of a particular group of
people or society.
, - About: tradition and social reproduction (past), but also looking at the future
(creativity and change).
4 basic criteria for cumulative culture teaching, imitation, language, and perspective-taking
So, what is culture?
• origins – roots – language
• meaning
• interpretation
Anthropologically speaking...
> Meaning is not generated by individuals but by collectives of people.
> Individuals who have the same culture roughly interpret the world in a similar way and
can express in a way that they both understand
Mannelijke walvissen maken verschillende geluiden, maar wel gebaseerd op 1 deun.
è Animals got cultures. You have to be critical to answers.
Sociobiologically,
> no reason to assume that cumulative culture depends critically on human skill
> animals are being judged according to stricter criteria than humans.
è Hard to assert that animals don’t have culture.
freedom + free time = culture
So, what is not culture?
• material vs non-material
• high vs low
• technology vs arts
o Instagram for example is a collective thing
Socio-economically speaking...
- culture is political because (i.) it represents relations of power; (ii.) it neutralizes
social order as an inevitable “fact”; (iii.) it obscures underlying relations of
exploitation (Karl Marx)
- As such, culture is driven by profit’; and is mostly produced by elites.
Socio-economically speaking...
- Distance from profit makes culture more independent (but not necessarily less
ideological). (Raymond Williams)
- E.g. TV production is backed by large companies, driven by profit. Independent
artists are far from capitalist production.
This leads to the idea that there might be two types of culture:
- A high culture that is independent from commercial needs
- A low culture that appeals to what is popular because it wants to be profitable
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