UvA communicatiewetenschap 2024 | Entertainment communicatie samenvatting + aantekeningen

Entertainment communicatie samenvatting
 Hoorcollege
 Literatuur
 Videocolleges
 The call vragen
 Literatuurvragen

,Week 1.
Hoorcolleges
Entertainment industry: incorporates all sub-industries devoted to entertainment and all
professional forms of financing, productiong, distribution, marketing and exhibition of
entertainment products or services therein.
State owned media: controlled by the government.
Public service media: entertainment is partially government-supported, but not owned. Most
funding comes from taxes. Focus on accuracy and ethics. Primary goals: cultural enrichment,
informed and engaged citizenship.


Defining entertainment
 The action of providing or being provided with amusement or enjoyment
 a form of activity that holds the attention and interest of an audience.
 Entertainment is a complex, dynamic and multi-faceted experience one goes through
while being exposed to this type of media;
 Entertainment is ‘any market offering whose main purpose is to provide pleasure to
consumers, versus offering primarily functional utility’.
 Any mediated product created for the purpose of engaging an audience.


Different susceptibility to media effects model (DSMM)
1. 3 factors predict media use: disposition, developmental level and social environment;
2. These 3 also moderate individual responses to media use;
3. Media effects are transactional, meaning that effects of media use also influence




media use.




Insatiable need for entertainment experience
 Because the attributes of the experience dominate consumers’ quality judgement for
entertainment products, they are referred to as ‘experience goods’.
 The enormous amount of entertainment products being released every week is driven
by the short life cycle of experience goods and consumers’ insatiable need for
continuous selection of new products.

, Entertainment
success
 Success in the market involves:
o Commercial success
o Evaluative metrics
o Critical acclaim
o Societal impact
 Success predictions are crucial for the entertainment industry as they form the basis
of strategic planning and resource allocation, ultimately influencing the reach and
impact of future entertainment content.




Entertainment industry –
production
 Development of an original idea or the adaptation of an existing concept;
 Creativity entails discovering novel connections between elements or ideas in order
to create something interesting or good, whereas innovation describes the process of
turning creative ideas into something that is actually marketable.
 Entertainment products that are conceptually or technologically innovative are more
arousing and distinctive, making them more successful.
 Familiarity, a perceived connection with an entertaining product, its elements or
characters.
 Recognition of familiar elements enhances appreciation for a product and increases
acceptance of its message

, o Preference for music and songs that sounded at least somewhat familiar
o Higher cinema attendance for movie sequels compared to non-sequels.
 Franchise: a collection of related entertainment products from the same brand or
intellectual property.
o Each franchise extension impacts a brand’s overall image and thereby the
success of future extensions to a franchise.
o Although franchise extensions reduce financial risk due to predictable revenue
forecasts, financial performance generally diminishes as instalments progress.


Entertainment industry – Production and success
 Although familiar things tend to be more enjoyment, new things tend to be more
interesting.
 Familiar stimuli can become predictable and boring, whereas novel stimuli that are
not fully understood elicit interest, which engages the action tendency of exploring
new and exciting experiences.
 Challenge: balancing exploitation and exploration: products need to be appropriately
similar in order to feel familiar, yet sufficiently innovative to be distinctive and
interesting.


Entertainment industry – Distribution
 Business of selecting the most suitable method and channel for making an
entertainment product available to an audience;
 Distributors traditionally aim to maximize profits by making products available in
different formats in succession, a practice known as windowing.
 3 traditional pillars: production, distribution, exhibition.
 Through vertical integration, distributors gained more control over the entire value
chain, from the creation of content to its delivery to audiences, leading to increased
efficiency and profitability through the removal of intermediaries.


Entertainment industry – Marketing
 Involves effectively managing the flow of information about an entertainment product
 After release entertainment products greatly benefit from the perception of success,
as consumers tend to rely on rankings when forming quality judgements.
 People tend to perceive successful entertainment products as better, causing initial
success to cascade into future success, thereby creating a cumulative advantage.


Entertainment concept/design – Producing and marketing
 Prior to watching, playing or otherwise engaging with entertainment, a product is a
concept, a collection of indicators that allow users to classify and assess what sort of
content and design can be expected.
 An entertainment concept is what Postman (1985) labelled as the form of an
entertainment product, concepts exclude certain types of content as a particular
medium can only sustain a limited level of ideas


Entertainment concept/design – entertainment concept/selection