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Entertainment Communication Summary
- Instelling
- Universiteit Van Amsterdam (UvA)
Weeks 1-2 readings summarised with all the important theories
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Voorbeeld 2 van de 15 pagina's
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Entertainment Communication SummaryWeek 1
1. Enjoyment: At the Heart of Media Entertainment
Vorderer, P., Klimmt, C., & Ritterfeld, U. (2004)
A conceptual model that is centered around enjoyment as the core of entertainment, and that ad-
dresses prerequisites of enjoyment which have to be met by the individual media user and by the
given media product.
- The motivational basis of human activity relies on two rather independent systems: a so-called
approach system and an avoidance system. Activation of the approach system results in
pleasure, whereas activation of the avoidance system leads to pain.
- Pleasure was de ned merely as an a ective response to given stimuli.
- Researchers should view enjoyment as a phenomenon that consists of more than a ective
components alone.
- Enjoyment as the core of media entertainment.
- The mass media o er a broad variety of entertainment opportunities.
- Over the past few decades, the demand for such opportunities, at least in the United States,
Western Europe, Australia, and increasingly also in Asian countries, has increased for various
reasons.
- First, there has been a steady improvement of the economic situation in many households,
allowing for more frequent and more expensive investments in media (entertainment) products,
both in terms of hardware (e.g., wide-screen TV sets) and software (e.g., video games).
- Second, the mass media in general have penetrated more and more domains of daily life in the
“information society.”
- As di erent media are used in more varied situations and contexts, their utilization for
increasingly entertaining purposes is a logical consequence.
- And media entertainment still seems to be on the rise
- “Infotainment,” “Edutainment,” and “Entertainment Education” are keywords used by current
research to describe this process, in which the integration of entertainment and learning
rea rms the role of communication as an enabler of social change, as well as emphasizes its
task of serving the greater public good
The Complexity of the Entertainment Experience
- From the user’s point of view, entertainment has been understood as a response to a product
as the experience one goes through while being exposed to the media
- Researchers have located certain characteristics that are usually linked to positive terms such
as pleasure, enjoyment, and even delight
- wide array of di erent experiential responses and expressions:
Negative aspects:
- Reading a novel can be delightful and enjoyable but also depressing shortly thereafter
- Playing a computer game is usually challenging and rewarding but may also be frustrating and
humbling
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, - extreme and/or oppositional sensations such as joy and melancholy. In fact, most
entertainment experiences in which we engage so often and deliberately seem to o er
complex, dynamic, and even multi- faceted experiences.
- mood management theory explains the selection of entertainment vis-à-vis the users’ constant
desire for mood regulation.
- The same holds true for a ective disposition theory which illustrates the overall experiential
response of viewers throughout the duration of being exposed to a media product.
- The theory precisely di erentiates between various steps media users go through while
engaging with the media, for example, while watching a movie.
- ADT focuses on the audience’s observation of characters in action, which leads to an
assessment of the morality of the characters’ actions and to the development of a ective
dispositions toward these characters.
- entertainment users are basically driven by a de- sire for cheerfulness or fun in their media
usage, thus also neglecting the complexity of possible and di erent experiences that stem from
and accompany any exposure to an entertainment product.
- Another example is the notion of escapism that attempts to explicate how media, particularly
narratives presented through media, may pro- vide some sort of transient mental retreat for
users who feel uncomfortable in their actual lives and social worlds
- Likewise, this research does not explain what those users who escape through exposure to a
narrative get in exchange for this.
- Presence: Research on this so-called sense of being there describes in great detail what
happens in the mind of media users, particularly users of new media, when they are “ab-
sorbed” by some interesting content, “transported” to a ctional place and time, and feel as if
they interact with individuals who don’t really exist outside the mind of the user.
Negative Aspects:
- That is Oliver’s observation that some (primarily female) TV users prefer sad movies over those
that promise to cheer them up.
- Interestingly enough, this notion that TV users may seek what is usually considered to be a
negative mood is very much in line with ndings about the selection of music.
- some users, at least in certain situations, seek a more complex experience
A Model of Complex Entertainment Experiences
The Core of the Entertainment Experience
Negative Aspects:
- In contrast to his notion, we suggest that the enjoyment the audience feels may also, but
certainly doesn’t have to, be based on what can be termed “negative emotions” such as
sadness felt when watch- ing a tearjerker, feelings of melancholy while listening to music, or
being anxious while watching a TV show.
- In these cases, the fact that these responses are still broadly de ned as enjoyment can be
explained by the notion of “meta-emotions” or “metamoods”
- They do so, however, because such a metaresponse may be useful in achieving other goals,
appropriate for a particular situation
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