Week 1 - introductie
1.1.
Entertainment: amusement of vermaak voorzien door acteurs.
- Anything that keeps you in the moment: verschilt per persoon
- Mix: nieuw, politiek en entertainment
- Entertainment kan ook informatief zijn
- Nieuws, films, blockbusters
Entertainment is a complex, dynamic and multi-faceted experience one goes through
while being exposed to this type of media. Entertainment is entertainment because it
is entertaining. (Vorderer, 2001)
Entertainment has been understood not so much as a product (movie, game or tv
show) or as a feature of such a product (action, comedy) but rather as a response to
it (Zilmann & Bryant, 1994)
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 (Vorderer,
Klimmt & Ritterfeld, 2004)
- Nog steeds te vaag…
Dus>
Entertainment is ‘any market offering whose main purpose is to offer pleasure to
consumers, versus offering primarily functional utility’ (Hennig-Thurau & Houston,
2019, p41.)
- Advertenties kunnen vermakend zijn, maar de primaire focus ligt op het
verkopen van een product. Daarom, worden advertenties niet gezien als
entertaining
1.2.
- Het is een circulair procesmodel
- Voorkeuren zorgen ervoor wat voor entertainment je kiest
- Label: medium, titel, genre, merk/brand
- Design elementen: narratief design, cinematography, game design,
compositie
o Deze elementen zorgen voor een ervaring
o Entertainment producten zijn experience goods, dat wil zeggen dat
onze ervaring de kwaliteit van het product beoordeeld
- Response: angst, vermaak, voldoening?
- Preference: Voor herhaling vatbaar?
,1.3.
Onder media entertainment vallen design en label. Onder gebruikers vallen
response en preference.
4 overlappende karakteristieken die gebruikt kunnen worden om groepen te
categoriseren:
- Demografische gegevens: gender, leeftijd, inkomen, opleidingsniveau,
locatie, etniciteit
- Sociale karakteristieken: cultuur, familie, vrienden, leeftijdsgenoten en
maatschappij
- Trait en state: psychologisch kenmerken, cognitieve vermogen, attitude,
waarden, geloven, status, stemming
- Media entertainment: ervaring en kennis
De meeste voorkomende set van voorkeuren (preferences) binnen een maatschappij
is de Popular Culture.
- The core of any culture is a set of activities, values and beliefs that is
shared by a group of people. Culture provides member of the group the
norms for their behavior (Deshpande & Webster, 1989)
o Dominant in a society at any point in time
o Popular Culture reflect our current entertainment culture. Is the
constantly evolving domain of entertainment that is created in mass
quantities for an enormous audience. It is generally recognized as a
constantly evolving set of practices, beliefs and values that are
dominant of ubiquitous in a society at a given point in time.
o A nation transmits the values of what is to be appreciated (and what
is not) to its members, as a part of a continuous and often lifelong
socialization process.
- Consumers’ entertainment choices show their personal values, ambitions,
beliefs and perceptions of the world and themselves (Schäfer & Sedlmeier,
2009)
o Dus wat door sommige culturen wordt gewaardeerd, wordt juist niet
gewaardeerd door andere culturen.
- The ‘cultural congruence’ between a movie and the audience influences
how much consumers like the movie. (Song et al., 2018)
Zeitgeist
- Temporal aspect of cultural influence, the zeitgeist, the defining mood of a
particular period in history as shown by the ideas and beliefs of that time.
- Cultural trends can make consumers ‘’ripe’’ for a product. The fit of any
entertainment product’s genres and themes with people’s interests and
desires may be high or low during certain periods.
, - History provides examples that 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.
Selection motivations:
- Escapism: the tendency to seek distraction and relief from unpleasant
realities, especially by seeking entertainment or engaging in fantasy (Kats
& Foulkes, 1962)
o Escapism attempts to explicate how media, particularly narratives
presented through media, may provide some sort of transient
mental retreat for user who feel uncomfortable in their actual lives
and social world
o This escapism motivation can relate to a person’s immediate social
environment, his or her general work and life situation or simply the
sense of emptiness that is perceived when there is nothing to do
(Henning & Vorderer, 2001)
- Mood management theory describes that the use of entertainment
serves of the regulation of positive mood states (Zillmann, 1984).
o Based on the hedonistic (= pleasure and amusement are the highest
good and proper aim of human life) premise that individual are
motivated to experience pleasure and avoid pain, individuals tend to
select entertainment in order to maximize or maintain a good mood,
and/or diminish or alleviate a bad mood.
o Empirical evidence for mood management exist for music
consumption (Schäfer & Sedlmeier, 2009), as well as TV viewing
patterns (e.g. Lee & Lee, 1995), and for movie preferences
(Hirschman, 1987).
o Critique of the mood management theory is that it seems to apply
only to the selection of lighthearted entertainment, and it fails to
explain why people then deliberately select entertainment that
makes them feel frightened, such as horror movies, or aggravated,
such as video games. Yet it remains one of the main theoretical
explanations as to why people are motivated to seek lighthearted
entertainment.
- Familiarity refers to a consumer perceiving a sense of connection with an
entertainment product and/or its elements and characters (Bohnenkamp et
al., 2015; Green et al., 2004).
o Nostalgia involves preferences for things or experiences that were
more common when one was younger (Kalinina, 2016).
o The reminiscence bump effect: we recall early-life memories most
readily (Jansari & Parkin, 1989). We like songs, movies and
, television programs the most that were popular when we were
between 16 and 24 (Holbrook & Schindler, 1989; Janssen et al.,
2007; Peltoniemi, 2015).
o The moderate-discrepancy hypothesis means that anything that is
slightly different from what we are very familiar with tend to get out
attention more that when we encounter something that is greatly
diverse or too similar to what we are very familiar with.
- Social cognitive (learning) theory: Children’s behavior is learned by
watching what others do and will not do in the environment in which one
grows up. By imitating the observed behavior (e.g. family, friends) the
observer solidifies that behavior and is rewarded with positive
reinforcement (Bandura, 1986)
- Bandwagon effect is a phenomenon whereby the probability of individual
adaptation with respect to the proportion of those who have already done
so.
o Ash (1951) indicated the power of social conformity and normative
social influence; the willingness to conform to public opinion to
attain social acceptance and/or avoid social exclusion.
- Media habits are a form of automatic and non-conscious media
consumption behavior that develops as people repeat frequent media
consumption behavior (LaRose, 2010).
o Entertainment media expands and reinforces associations among
consumption behaviors and cultural symbols. Through playing
these rich networks of associations, infrequent media consumption
behaviors (e.g. playing holiday music) may also become habitual.
o Obsessions are thoughts a person cannot stop from having
o Compulsions are behaviors a person cannot stop enacting
o Media addiction is escessive, obsessive and compulsive media use
that cannot be controlled despite negative consequences (Griffits,
2006)
1.4.
Media entertainment
- Mediated products created for the purpose of entertaining its users
- Entertainment products are ‘information goods’ – economic offering that
are valued mostly because of the information they carry (Wang & Zhang,
2009)
- Because the attributes of the experience dominate consumers’ quality
judgements for these products, they are also referred to as ‘experience
goods’ (Nelson 1970).
The entertainment product
