Media Entertainment, schooljaar 2020/2021, samenvatting
Week 1 3
Hoorcollege 1 3
Artikel 1: Entertainment, Oliver, 2009 3
Artikel 2: Entertainment Effects: Enjoyment, Eden, 2017 5
Aantekeningen hoorcollege 1 8
Hoorcollege 2 9
Artikel 3: Uses and Gratification: Basic Concepts, Krcmar 9
Aantekeningen 28 okt hoorcollege Uses and Gratification 11
Hoorcollege 3 14
Artikel 4: Mood Management Theory, Reinecke 14
Aantekeningen Hoorcollege 3: mood management 17
Week 2 19
Hoorcollege 4 19
Artikel 5 Positive and negative effects of video game play, Anderson, 2014 19
Artikel Media Addiction, Leung & Liang 22
Aantekeningen 2 november 2020, hoorcollege 4 25
Hoorcollege 5 28
Artikel 6 appreciation of meaningful entertainment experiences and eudaimonic well
being (Bartsch & Oliver) 28
Aantekeningen hoorcollege hedonic & eudaimonic 32
Hoorcollege 6 33
Artikel 7 Narrative Persuasion theories (Moyer-Gusé & Dale) 33
Artikel 8, understanding media enjoyment, (Green & Brock) 36
Aantekeningen hoorcollege narrative persuasion 38
Week 3 40
Hoorcollege 7 40
Artikel 9 Parasocial interaction, parasocial relationships and well-being, (Reinecke &
Mary Beth) 40
Artikel 10 Attachment, Belongingness, Needs, Relationship Status predict imagined
intimacy with media figures. 43
Aantekeningen hoorcollege 7 45
Hoorcollege 8 47
Artikel 9 Enjoyment of mediated fright and violence: meta analysis: Hoffner & Levine 47
Artikel 10 Mystery appeal: effects of uncertainty and resolution on the enjoyment of
mystery (Knobloch-Westerwick & Keplinger) 49
Aantekeningen hoorcollege 8 51
Week 4 53
,Media Entertainment, schooljaar 2020/2021, samenvatting
Hoorcollege 9 53
Artikel 11 Humor, four functions of humor in communication (Meyer) 53
Artikel 12 Affective Disposition Theory (Raney) 55
Aantekeningen hoorcollege 9 Humor 56
Hoorcollege 10 59
Artikel 13 Selective Exposure, Tolerance and Satirical News. (Stroud & Muddiman) 59
Artikel 14 The Role of Consumer narrative enjoyment and persuasion awareness in
product placement advertisements (Gillespie & Joireman) 60
Limitaties: 63
Aantekeningen hoorcollege 10 63
Hoorcollege 11 66
Artikel 15 Horror, personality, threat simulation: survey (Clasen & Johnson) 66
Aantekeningen hoorcollege 11 67
Week 5 68
Hoorcollege 12 68
Artikel 16 Are you a ‘fan’ enough? The role of identity in media fandoms. (Groene &
Hettinger) 68
Aantekeningen hoorcollege 12 70
Hoorcollege 13 71
Artikel 17, Music as emotional self-regulation throughout adulthood (Saarikallio) 71
Aantekeningen hoorcollege 13 73
Week 6 73
Hoorcollege 14 73
Artikel 18 Digital music and ‘the death of the long tail’ 73
Aantekeningen hoorcollege 14 75
Hoorcollege 15 76
Artikel 19 Click here to look clever: self-presentation via selective sharing of music and
film on social media. 76
Aantekeningen hoorcollege 15 78
,Media Entertainment, schooljaar 2020/2021, samenvatting
Week 1
Hoorcollege 1
Artikel 1: Entertainment, Oliver, 2009
Almost any type of content or any format could be considered ‘entertainment’.
Selection and enjoyment of media entertainment
Two questions are asked:
1. What variables predict viewers’ entertainment selection and preferences?
Uses and gratification theory (Katz): conceives of audience members as active media
users with individuals choosing to consume media on the basis of their felt needs and
the degree to which the media can successfully address these needs. (Passing time,
companionship, escape, enjoyment, social interaction, relaxation, information,
excitement).
Other researchers found:
- self-knowledge,
- engaging competition,
- educational etc.
Overlapping variables:
- overcoming loneliness,
- escaping from reality,
- killing time
- being entertained.
Criticism:
- Is the audience ‘active’?
- More descriptive than predictive or explanatory
- Concepts are vague
- Individuals are aware of their motivations, thereby questioning the validity of
self-report.
Mood management
Individuals are predicted to select media entertainment that is successful in prolonging or
intensifying positive moods. They are not per se aware of motivations.
, Media Entertainment, schooljaar 2020/2021, samenvatting
Many studies support this theory. Accommodations theory: Zillmann: negative moods
don’t watch comedies, but a closer examination of the nature of the comedic
presentations, for example they watch hostile humor.
Under some circumstances, individuals may select negatively valenced content that is
high on behavioral affinity because it ultimately serves their coping needs.
2. What variables and concepts play pivotal roles in viewers’ enjoyment of entertainment?
○ Wat is enjoyment?
○ Voderer, Klimmt & Ritterfeld: The core experience. Pleasant state resulting from
such experiences as
■ serenity (helder en kalm),
■ sensory delight,
■ achievements.
These are results of a number of antecedent (voorafgaande) conditions including,
■ user prerequisites (empathy),
■ motives (why)
■ media prerequisites (aesthetic).
● Bartsch, Vorderer, Mangold, Viehoff: Entertainment as a meta-emotions → one’s
emotions about one’s emotions (reflective)Media entertainment that elicits joy or
sadness may result in favorable appraisals and hence favorable affective relations,
including enjoyment, at the metalevel.
● Enjoyment is an attitude, conceptualization accommodates
○ affective,
○ cognitive
○ behavioral responses
to media entertainment (=attitude object). Not only during the viewing experience, also accounts
for responses after the viewing experience.
Disposition theory suggests that viewers typically use moral considerations in forming
judgments about the ‘goodness’ or ‘badness’ of characters. (We want good characters to feel
positive, and bad characters to feel negative emotions)
Framework → understandment viewers enjoyment when content is consistent with moral
concerns & explains dysphoria that can happen when entertainment deviates from hoped-for
outcomes.
Raney: media story plots or narrative schemas provide a dispositional framework that leads
viewers to judge characters as ‘good’ or ‘bad'.
Entertainment as more than pleasure seeking
Positive effect of engagement or involvement, immersive feeling.
Week 1 3
Hoorcollege 1 3
Artikel 1: Entertainment, Oliver, 2009 3
Artikel 2: Entertainment Effects: Enjoyment, Eden, 2017 5
Aantekeningen hoorcollege 1 8
Hoorcollege 2 9
Artikel 3: Uses and Gratification: Basic Concepts, Krcmar 9
Aantekeningen 28 okt hoorcollege Uses and Gratification 11
Hoorcollege 3 14
Artikel 4: Mood Management Theory, Reinecke 14
Aantekeningen Hoorcollege 3: mood management 17
Week 2 19
Hoorcollege 4 19
Artikel 5 Positive and negative effects of video game play, Anderson, 2014 19
Artikel Media Addiction, Leung & Liang 22
Aantekeningen 2 november 2020, hoorcollege 4 25
Hoorcollege 5 28
Artikel 6 appreciation of meaningful entertainment experiences and eudaimonic well
being (Bartsch & Oliver) 28
Aantekeningen hoorcollege hedonic & eudaimonic 32
Hoorcollege 6 33
Artikel 7 Narrative Persuasion theories (Moyer-Gusé & Dale) 33
Artikel 8, understanding media enjoyment, (Green & Brock) 36
Aantekeningen hoorcollege narrative persuasion 38
Week 3 40
Hoorcollege 7 40
Artikel 9 Parasocial interaction, parasocial relationships and well-being, (Reinecke &
Mary Beth) 40
Artikel 10 Attachment, Belongingness, Needs, Relationship Status predict imagined
intimacy with media figures. 43
Aantekeningen hoorcollege 7 45
Hoorcollege 8 47
Artikel 9 Enjoyment of mediated fright and violence: meta analysis: Hoffner & Levine 47
Artikel 10 Mystery appeal: effects of uncertainty and resolution on the enjoyment of
mystery (Knobloch-Westerwick & Keplinger) 49
Aantekeningen hoorcollege 8 51
Week 4 53
,Media Entertainment, schooljaar 2020/2021, samenvatting
Hoorcollege 9 53
Artikel 11 Humor, four functions of humor in communication (Meyer) 53
Artikel 12 Affective Disposition Theory (Raney) 55
Aantekeningen hoorcollege 9 Humor 56
Hoorcollege 10 59
Artikel 13 Selective Exposure, Tolerance and Satirical News. (Stroud & Muddiman) 59
Artikel 14 The Role of Consumer narrative enjoyment and persuasion awareness in
product placement advertisements (Gillespie & Joireman) 60
Limitaties: 63
Aantekeningen hoorcollege 10 63
Hoorcollege 11 66
Artikel 15 Horror, personality, threat simulation: survey (Clasen & Johnson) 66
Aantekeningen hoorcollege 11 67
Week 5 68
Hoorcollege 12 68
Artikel 16 Are you a ‘fan’ enough? The role of identity in media fandoms. (Groene &
Hettinger) 68
Aantekeningen hoorcollege 12 70
Hoorcollege 13 71
Artikel 17, Music as emotional self-regulation throughout adulthood (Saarikallio) 71
Aantekeningen hoorcollege 13 73
Week 6 73
Hoorcollege 14 73
Artikel 18 Digital music and ‘the death of the long tail’ 73
Aantekeningen hoorcollege 14 75
Hoorcollege 15 76
Artikel 19 Click here to look clever: self-presentation via selective sharing of music and
film on social media. 76
Aantekeningen hoorcollege 15 78
,Media Entertainment, schooljaar 2020/2021, samenvatting
Week 1
Hoorcollege 1
Artikel 1: Entertainment, Oliver, 2009
Almost any type of content or any format could be considered ‘entertainment’.
Selection and enjoyment of media entertainment
Two questions are asked:
1. What variables predict viewers’ entertainment selection and preferences?
Uses and gratification theory (Katz): conceives of audience members as active media
users with individuals choosing to consume media on the basis of their felt needs and
the degree to which the media can successfully address these needs. (Passing time,
companionship, escape, enjoyment, social interaction, relaxation, information,
excitement).
Other researchers found:
- self-knowledge,
- engaging competition,
- educational etc.
Overlapping variables:
- overcoming loneliness,
- escaping from reality,
- killing time
- being entertained.
Criticism:
- Is the audience ‘active’?
- More descriptive than predictive or explanatory
- Concepts are vague
- Individuals are aware of their motivations, thereby questioning the validity of
self-report.
Mood management
Individuals are predicted to select media entertainment that is successful in prolonging or
intensifying positive moods. They are not per se aware of motivations.
, Media Entertainment, schooljaar 2020/2021, samenvatting
Many studies support this theory. Accommodations theory: Zillmann: negative moods
don’t watch comedies, but a closer examination of the nature of the comedic
presentations, for example they watch hostile humor.
Under some circumstances, individuals may select negatively valenced content that is
high on behavioral affinity because it ultimately serves their coping needs.
2. What variables and concepts play pivotal roles in viewers’ enjoyment of entertainment?
○ Wat is enjoyment?
○ Voderer, Klimmt & Ritterfeld: The core experience. Pleasant state resulting from
such experiences as
■ serenity (helder en kalm),
■ sensory delight,
■ achievements.
These are results of a number of antecedent (voorafgaande) conditions including,
■ user prerequisites (empathy),
■ motives (why)
■ media prerequisites (aesthetic).
● Bartsch, Vorderer, Mangold, Viehoff: Entertainment as a meta-emotions → one’s
emotions about one’s emotions (reflective)Media entertainment that elicits joy or
sadness may result in favorable appraisals and hence favorable affective relations,
including enjoyment, at the metalevel.
● Enjoyment is an attitude, conceptualization accommodates
○ affective,
○ cognitive
○ behavioral responses
to media entertainment (=attitude object). Not only during the viewing experience, also accounts
for responses after the viewing experience.
Disposition theory suggests that viewers typically use moral considerations in forming
judgments about the ‘goodness’ or ‘badness’ of characters. (We want good characters to feel
positive, and bad characters to feel negative emotions)
Framework → understandment viewers enjoyment when content is consistent with moral
concerns & explains dysphoria that can happen when entertainment deviates from hoped-for
outcomes.
Raney: media story plots or narrative schemas provide a dispositional framework that leads
viewers to judge characters as ‘good’ or ‘bad'.
Entertainment as more than pleasure seeking
Positive effect of engagement or involvement, immersive feeling.
