Hoorcollege 1 (entertainment communicatie)
The entertainment industry
Incorporates all sub-industries devoted to entertainment and all professional forms of financing,
production, distribution, marketing and exhibition of entertainment products or services
Film industry
Game industry
Music industry
Types of media
State owned media: media provided by the government
Public service media: partially government-supported, but not owned (through taxes)
Defining entertainment
Dictionary definitions:
The action of providing or being provided with amusement or enjoyment
A form of activity that holds the attention and interest of an audience
Scientific definitions
A complex, dynamic experience one goes
through while being exposed to this type of Any mediated product
media focused on engaging an
Any market offering whose main purpose is to audience
provide pleasure to consumers, versus offering
primarily functional utility
DSMM
Differential Susceptibility to Media effects Model (= 3 factors predict and moderate media
use)
1. Disposition (aanleg van de individu)
2. Developmental level (cognitieve vaardigheden)
3. Social environment
Media entertainment model
Evolves around the media entertainment success cycle
Experience: the experimental nature of entertainment goods. It’s far more important than
any other information you can receive from entertainment products.
Selection: an important factor behind all of the enormous amounts of entertainment that’s
being produced
, Media entertainment success
cycle
Success
If one is successful, it leads to more production of the specific product
Different kinds of successes:
Commercial successes: revenue, sales, advertising income
Evaluative metrics: views, likes, rating
Critical acclaim, recognition, accolades, positive reviews
Societal impact: fans, trendsetting, media attention
Fases success cycle
Production: the development of an original idea, or the adaptation of an existing concept
Innovation (technologically, conceptually) is usually
Franchise: a collection
more successful
of related
Familiarity enhances appreciation and increases the
entertainment products
acceptance of its message franchises (each of
of the same brand (or
them influence a brand’s overall image)
intellectual property
Although familiar things tend to be more
enjoyable, new things tend to be more interesting
(which evolves into action tendency, the likelihood to engage with the media)
Distribution: the business of selecting the most suitable method and channel for making an
entertainment product available to an audience
Windowing could be applied best whenever a
Windowing: making
format is considered popular
products available in
Through vertical integration, distributors gained
different formats in
control over the entire value chain
succession
Marketing: effectively managing the flow of information
about an entertainment product. Difficult (because
entertainment products are experience goods)
Creating an image of success, which will be used as a perception of quality
A concept is marketed, that allows users to classify what sort of content can be expected
, Entertainment concept
Cue utilisation theory: how consumers of experience goods rely on cues as indicators of product
quality
Medium (platform van verspreiding)
Genre (bevat informatie over Relates to a
onderliggende eigenschappen van een concept being product)
Brand (naamsbekendheid) marketed
Entertainment design
Interrelated structural and technological elements whose combinations form the language of
entertainment forms the structure and content
Experience
Emerges from the interaction between user and product idiosyncratic and subjective
Immersion: the extent in which an entertainment product is capable of delivering an
inclusive, extensive and vivid illusion of a depicted reality (cinema is more immersive than
television) presence: the experimental counterpart of an immersive experience. The
perception of being in a mediated environment
Entertainment demand process
Enjoyment: the most common response to entertainment.
A positive emotion Meta-emotion: a
Appreciation through the cognitive involvement positive emotional
required response to a primary
Hedonic content: quick, intuitive processing emotion
Eudemonic: thought-provoking, slower
Emotional, cognitive and physiological
Entertainment is emotion
Cognitive responses: indicate the extent to which users comprehend and incorporate
entertainment content and its messages
Emotional responses. Positive responses lead to more superficial cognitive processing of
information and negative emotions induce more thoughtful processing of information
Physical arousing content boosts attention. Higher levels of arousal impair detailed
information processing
The entertainment industry
Incorporates all sub-industries devoted to entertainment and all professional forms of financing,
production, distribution, marketing and exhibition of entertainment products or services
Film industry
Game industry
Music industry
Types of media
State owned media: media provided by the government
Public service media: partially government-supported, but not owned (through taxes)
Defining entertainment
Dictionary definitions:
The action of providing or being provided with amusement or enjoyment
A form of activity that holds the attention and interest of an audience
Scientific definitions
A complex, dynamic experience one goes
through while being exposed to this type of Any mediated product
media focused on engaging an
Any market offering whose main purpose is to audience
provide pleasure to consumers, versus offering
primarily functional utility
DSMM
Differential Susceptibility to Media effects Model (= 3 factors predict and moderate media
use)
1. Disposition (aanleg van de individu)
2. Developmental level (cognitieve vaardigheden)
3. Social environment
Media entertainment model
Evolves around the media entertainment success cycle
Experience: the experimental nature of entertainment goods. It’s far more important than
any other information you can receive from entertainment products.
Selection: an important factor behind all of the enormous amounts of entertainment that’s
being produced
, Media entertainment success
cycle
Success
If one is successful, it leads to more production of the specific product
Different kinds of successes:
Commercial successes: revenue, sales, advertising income
Evaluative metrics: views, likes, rating
Critical acclaim, recognition, accolades, positive reviews
Societal impact: fans, trendsetting, media attention
Fases success cycle
Production: the development of an original idea, or the adaptation of an existing concept
Innovation (technologically, conceptually) is usually
Franchise: a collection
more successful
of related
Familiarity enhances appreciation and increases the
entertainment products
acceptance of its message franchises (each of
of the same brand (or
them influence a brand’s overall image)
intellectual property
Although familiar things tend to be more
enjoyable, new things tend to be more interesting
(which evolves into action tendency, the likelihood to engage with the media)
Distribution: the business of selecting the most suitable method and channel for making an
entertainment product available to an audience
Windowing could be applied best whenever a
Windowing: making
format is considered popular
products available in
Through vertical integration, distributors gained
different formats in
control over the entire value chain
succession
Marketing: effectively managing the flow of information
about an entertainment product. Difficult (because
entertainment products are experience goods)
Creating an image of success, which will be used as a perception of quality
A concept is marketed, that allows users to classify what sort of content can be expected
, Entertainment concept
Cue utilisation theory: how consumers of experience goods rely on cues as indicators of product
quality
Medium (platform van verspreiding)
Genre (bevat informatie over Relates to a
onderliggende eigenschappen van een concept being product)
Brand (naamsbekendheid) marketed
Entertainment design
Interrelated structural and technological elements whose combinations form the language of
entertainment forms the structure and content
Experience
Emerges from the interaction between user and product idiosyncratic and subjective
Immersion: the extent in which an entertainment product is capable of delivering an
inclusive, extensive and vivid illusion of a depicted reality (cinema is more immersive than
television) presence: the experimental counterpart of an immersive experience. The
perception of being in a mediated environment
Entertainment demand process
Enjoyment: the most common response to entertainment.
A positive emotion Meta-emotion: a
Appreciation through the cognitive involvement positive emotional
required response to a primary
Hedonic content: quick, intuitive processing emotion
Eudemonic: thought-provoking, slower
Emotional, cognitive and physiological
Entertainment is emotion
Cognitive responses: indicate the extent to which users comprehend and incorporate
entertainment content and its messages
Emotional responses. Positive responses lead to more superficial cognitive processing of
information and negative emotions induce more thoughtful processing of information
Physical arousing content boosts attention. Higher levels of arousal impair detailed
information processing
