Samenvatting
EXAM SUMMARY ENTERTAINMENT COMMUNICATION
Summary of video lectures + main lectures + literature based on the key concepts relevant for the final exam.
[Meer zien]Voorbeeld 8 van de 59 pagina's
Voorbeeld 8 van de 59 pagina's
In winkelwagengesponsord bericht van onze partner
Verkoper
Volgen
Voorbeeld van de inhoud
ENTERTAINMENT COMMUNICATIONExam Notes
Week Topic Concept Term Explanation
1 Defining Previous study Entertainment is a complex, dynamic, and multifaceted
Entertainment experience one goes through while being exposed to
this type of media
Entertainment has been understood not so much as a
product or as feature of such product but rather a
response to it
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
Entertainment is ‘any market offering whose main
purpose is to provide pleasure to consumers, versus
offering primarily functional utility’
Final definition Any mediated product created for the purpose of
entertainment
Lasswell’s Model
linear model
of
communicatio
n
Explanation The model includes the basics of mass communication
in which your speaker says something through a certain
medium to someone with a certain effect.
→ Updated: Provide more room for the audience to
choose specific messages, from specific sources using
certain media and include how the message is
constructed and experienced by the audience.
, Differential Model
Susceptibility
to Media
effects Model
- DSMM
- Three factors predict media use: Dispositional,
Explanation Developmental level, and Social environment
a. Dispositional: defined as all person dimensions
that predispose the selection of and
responsiveness tomedia, including gender,
temperament, personality, cognitions (e.g.,
scripts and schemata), values, attitudes, beliefs,
motivations, and moods
b. Developmental: defined as the selective use of,
and responsiveness to, media due to cognitive,
emotional, and social development (its
influence is the strongest in childhood and early
adulthood)
c. Social: defined as all social-context factors that
can influence an individual’s selective use of
and responsiveness to media
- Media effects are transactional, meaning that effects
of media use also influence media use
- The model added a step between the media use and
effect, that they call response → These cognitive,
emotional, and physiological response states that
occurred during and right after media use are the result
of what we consider the entertainment experience
a. Cognitive response state: refers to the extent to
which media users selectively attend to and
invest cognitive effort to comprehend media
content
b. Emotional response state: encompasses all
affectively valenced reactions to media content
c. Excitative response state: refers to the degree
of physiological arousal (i.e., the activation of
the sympathetic nervous system) in response to
media
Predicting media use and affecting media response
Roles states (stimulate or reduce media effects)
,Model of
Vorderer, Model
Klimmt,
Ritterfeld
1. Escapism: the desire to escape from the social
Motives world in which they actually live.
2. Mood management: the wish to regulate one's
own moods by modifying one's own stimulus
environment.
3. Achievement and competition: the desire for
competition and achievement, which is
particularly seen in interactive entertainment
products.
User prerequisites To enjoy media, users must meet certain conditions.
These include:
● Suspension: Willingness and ability to suspend
disbelief to appreciate a fictional world
→ This is the only way for the user to develop and
sustain hope for the success of a protagonist or fear of
the actions of the evil-doer in the narrative.
● Empathy: Care for the characters in the story to
empathize with them
→ Research shows that the degree to which individuals
empathize with a character varies with two factors:
their ability to empathize and their readiness to do so
● Parasocial relationship: Capability and desire
to relate to the characters and personae featured
in media products
→ These parasocial interactions foster and trigger
media consumption because viewers wish to “stay in
touch” with those they like to see on the screen.
● Presence: A sense of being transported to the
, site of the action, actually being there along
with those who participate in the action
● Interest: Interest in a specific topic, problem, or
knowledge domain presented in the media
Media prerequisites ● Technology, design, aesthetic: The
significance of technological, aesthetic, and
design features for media usage, response, and
impact, such as the effects of screen size and the
interactivity of media.
● Content: The relevance or meaning that media
content may have for users such as a certain
selection of topics or a particular portrayal of
characters.
Manifestation ● Serenity, exhilaration, and laughter as a
behavioral component for comedy
● Suspense, thrill, fear, and relief as a response to
drama
● Sadness, melancholy, thoughtfulness, and
tenderness for melodrama or love songs
● Sensory delight or pleasure of the senses for
aesthetically appealing media offerings
● A sense of achievement, control, and
self-efficacy associated with playing computer
games
Effects ● Excitation transfer theory explains that the
physiological arousal accumulated during
exposure to drama or action movies does not
drop immediately, but sinks slowly at the end of
a movie, leading to positive cognitions and
euphoria.
● Catharsis: The purging and purification of
emotions → the expectation of a potentially
cathartic effect of an aggressive act led to
psychological experiments about the connection
of frustration and aggression
● Learning and comprehension can be enhanced
through entertainment education programs, and
children's regular watching of specific
entertainment programs can improve their
problem-solving skills.
,The basis for
the media Model
entertainment (updated 2023)
model: a cycle
of media
entertainment
and its users
Definition The entertainment industry incorporates all
Entertainment sub-industries devoted to entertainment (e.g., film
Industry industry, game industry, music industry) and all
professional forms of financing, production,
distribution, marketing and exhibition of entertainment
products or services therein
Conglomerates - The entities providing media entertainment are
and divided into two main groups: ‘major’ and
Independents ‘independent’. The majors (record labels, film studios,
television networks) are owned by media
conglomerates (The Big Six).
- Independent (indie) often refers to the source of
funding for its products (i.e., independent of the major
studios), but it can also refer to the product’s character:
the product is considered independent because it
ignores commercial, “mainstream” requirements and
industry rules and expectations.
Production Creativity - 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
- Domain-specific expertise and knowledge are deemed
essential for the development of successful creative
products
- The challenge with innovation is one of exploitation
versus exploration. Over reliance on exploitation can
reduce the firm’s ability to discover entirely new
opportunities
Familiarity - Familiarity: a perceived connection with an
entertainment product, its elements or characters.
- Selective exposure theory is commonly used to
, explain our tendency to favor information that
reinforces pre-existing views:
→ Preference for music and songs that sounded at least
somewhat familiar (Ward et al. 2014).
→ Higher cinema attendance for movie sequels
compared to non-sequels (Basuroy & Chatterjee, 2008).
- Franchise: A collection of related entertainment
products from the same brand, or intellectual property
→ Each extension impacts a brand’s overall image and
thereby the success of future extensions to a franchise
Distribution Definition - Distribution is the process of selecting the most
suitable method and channel for making an
entertainment product available to an audience,
whereas marketing involves effectively managing the
flow of information about a product.
- Distributors aim to maximize profits by making a
product available in different formats in succession, a
practice known as windowing
- Although franchise extensions reduce financial risk
due to predictable revenue forecasts, financial
performance generally deteriorates as installments
progress
- Family branding refers to a group of different
products belonging to a single brand that are marketed
under their parent brand. The parent brand is also
referred to as an umbrella brand, or franchise, and any
new product is a brand extension
Marketing - People tend to perceive successful products as better
products, causing initial success to cascade into future
success
- Film studios systematically provide news outlets with
inflated opening-weekend revenue estimates for their
movies, likely in a deliberate effort to establish a
cumulative advantage.
- Top products tend to monopolize light users, who
form the largest share of the audience. Heavy users
select both top- and niche products, but this group
forms a minority. Thus, top products have a natural
monopoly.
Interdependenci - Production and Distribution of Entertainment
es products are interdependent.
- Vertical integration describes transformations in
which a company extends its business activities from
one resource (such as content production) to the other
resources (such as distribution).
- The general aim of vertical integration is to better
, manage “critical interdependencies” between value
creation activities by getting rid of intermediaries.
Product From video
Classification lectures - Label - The label is simply a collection of objective
information to identify an entertainment product.
- This could include:
• Medium - the means by which it is communicated
• Title - the name of an entertainment product
→ Four aspects of (brand) names can help consumers
draw cognitive inferences about the brand and trigger
emotional responses, which might then influence
consumers’ attitudes and behaviors
a. Phonetics – Certain sounds can trigger
reactions → The kiki bouba effect, which
indicates that we associate certain sounds, such
as Kiki or bouba with certain shapes.
b. Orthography – Spelling (unconventional)
c. Morphology – Form, shape or structure (font)
d. Semantics – Meaning (use a metaphor)
Genre
- Because the attributes of the experience dominate our
quality judgments for entertainment products, they are
referred to as experience goods
- Genre is an abstract concept that describes a certain
category of entertainment or art
- Genres can guide users’ expectations and help them
make quick decisions.
, Brand
- Similar to genres, entertainment brands (e.g., Marvel,
Pokémon, James Bond) can evoke certain cognitive
associations with a product. But unlike genres, brands
are managed professionally.
- Brands have two key functions (Kelle, 1993):
1. An "awareness function" - a brand can generate
immediate attention.
2. An "image function" - the semantic network of
associations surrounding a brand provides the
basis by which consumers identify with a brand
and differentiate the brand from other products.
Product Design
- The design of media entertainment consists of a
combination of numerous interrelated structural and
technological elements whose combinations form the
language of entertainment.
- The multitude of design elements that give each
entertainment product its structure and content are
essential determinants of the entertainment
experience.
Experience From live
lecture - The term immersion is used to describe the extent to
which an entertainment product is capable of delivering
an inclusive, extensive, and vivid illusion of a depicted
reality. (e.g. Cinema is a more immersive medium than
watching a movie on a smartphone)
- Presence describes the subjective perception of being
in a mediated environment, perceiving the immersive
events as really happening → A medium or a product is
considered more immersive if a user feels a stronger
sense of presence.
- Social presence refers to the subjective experience of
being in the presence of a real person and having access
to his or her thoughts and emotions.
Voordelen van het kopen van samenvattingen bij Stuvia op een rij:
Verzekerd van kwaliteit door reviews
Stuvia-klanten hebben meer dan 700.000 samenvattingen beoordeeld. Zo weet je zeker dat je de beste documenten koopt!
Snel en makkelijk kopen
Je betaalt supersnel en eenmalig met iDeal, creditcard of Stuvia-tegoed voor de samenvatting. Zonder lidmaatschap.
Focus op de essentie
Samenvattingen worden geschreven voor en door anderen. Daarom zijn de samenvattingen altijd betrouwbaar en actueel. Zo kom je snel tot de kern!
Veelgestelde vragen
Wat krijg ik als ik dit document koop?
Je krijgt een PDF, die direct beschikbaar is na je aankoop. Het gekochte document is altijd, overal en oneindig toegankelijk via je profiel.
Tevredenheidsgarantie: hoe werkt dat?
Onze tevredenheidsgarantie zorgt ervoor dat je altijd een studiedocument vindt dat goed bij je past. Je vult een formulier in en onze klantenservice regelt de rest.
Van wie koop ik deze samenvatting?
Stuvia is een marktplaats, je koop dit document dus niet van ons, maar van verkoper pbaolienng. Stuvia faciliteert de betaling aan de verkoper.
Zit ik meteen vast aan een abonnement?
Nee, je koopt alleen deze samenvatting voor €7,96. Je zit daarna nergens aan vast.
Is Stuvia te vertrouwen?
4,6 sterren op Google & Trustpilot (+1000 reviews)
Afgelopen 30 dagen zijn er 73314 samenvattingen verkocht
Opgericht in 2010, al 14 jaar dé plek om samenvattingen te kopen