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Media Entertainment 2022 > Begrippen > Flashcards

Begrippen Flashcards

1
Q

Meta-emotion

A

During media entertainment we experience many different positive and negative emotions, that we evaluate as enjoyable when we reflect on the experience

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2
Q

Media entertainment

A

Media content designed to be consumed for purposes of leisure (rather than specifically for information gain, learning, or persuasion)

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3
Q

Media selection

A

goal-oriented decision process through which people (consciously or subconsciously) select from the available mediated messages or avoid certain mediated messages

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4
Q

Escapism

A

People are deprived and alienated, it is suggested and so they turn to the dreamlike world of the mass media for substitute gratifications, the consequence of which is still further withdrawal from the arena of social and political action

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5
Q

Uses and Gratifications Theory

A

Media use serves a psychological function to gratify a need

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6
Q

Cognitive needs

A

Need for knowledge, information, orientation, curiosity

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7
Q

Affective needs

A

Mood management, recreation, entertainment, escapism, stress release

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8
Q

Social-interaction needs

A

Sense of belonging, social contact, connectedness, parasocial relationships

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9
Q

Integrative-habitual needs

A

Need for regularity, stability, security, habits

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10
Q

Valence

A

Pleasantness, ranging from negative to positive, slightly positive is preferred

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11
Q

Arousal

A

Intensity, ranging from low (boredom) to high (stress), moderate arousal is preferred

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12
Q

Semantic affinity

A

Meaning, connotation

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13
Q

Mood management theory

A
  1. Media is an effective tool for mood optimisation
  2. Media usage is motivated by the need for mood regulation: individuals select mediated messages to improve their moods
  3. Extreme mood states (overaroused or underaroused) are undesirable
  4. Humans will seek to regulate these states to. more balanced position
  5. Media are often used to disrupt and repair undesirable moods
  6. People will show selective exposure: disproportionately choosing media that meet their affective needs
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14
Q

Excitatory potential

A

Low vs high arousal -> high to moderate preferred

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15
Q

Hedonic valence

A

Positive vs negative valence -> positive valence is preferred

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16
Q

Absorption potential

A

High vs low, the extent to which the message captures and distracts attention and emotion -> high level is preferred

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17
Q

Semantic affinity

A

Low or high relevance for the actual mood/situation

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18
Q

Mood adjustment theory

A
  1. A positive mood is not desirable of goals are served by a negative mood
  2. Under some circumstances, people may want ti be exposed to mediated messages matching and maintaining their moods (mood congruency)
  3. Because of various gender roles, we might then expect to see sex differences
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19
Q

Catharsis hypothesis (Aristotle)

A

Resolving one’s own negative emotions through other’ emotions in ‘tragedy’

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20
Q

Aggression

A

Behaviour aimed at causing harm or pain, psychological harm or personal injury or physical destruction

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21
Q

General aggression model

A

Explains why individuals might respond to social encounters with aggression through learning, rehearsal, and reinforcement of aggression related knowledge structures

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22
Q

Morally ambiguous characters

A

Characters with mixed morals, seemingly good & behaving bad

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23
Q

Affective disposition theory

A

Morally superior characters receive our favour, whereas morally inferior ones receive our disdain. Therefore, we like good things happening to morally good characters, bad things happening to bad characters we dislike.

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24
Q

Sad-film paradox

A

Sad emotions are positively related with enjoyment in sad films people choose to watch

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25
Q

Hedonic happines

A

Maximize pleasure, minimize pain

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26
Q

Eudaimonic happines

A

Pursuit of personal fulfilment, personal growth (virtue, wisdom, inner truth)

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27
Q

Kama muta

A

When communal sharing relationship suddenly intensifies (stronger closeness to others). The communal sharing can be romantic love, close family ties, team spirit, patriotism, divine love, or any other relationship in which people feel one

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28
Q

Existential insight

A

What is life all about? What does really matter in life?

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29
Q

Appreciation

A

The perception of deeper meaning, the feeling of being moved, and the motivation to elaborate on thoughts and feelings inspired by the experience

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30
Q

Narrative

A

Any cohesive and coherent story with an identifiable beginning, middle, and end that provides information about scene, characters, and conflict; raises unanswered questions or unresolved conflict; and provides resolution

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31
Q

Overcoming the monster

A

Protagonist must vanquish an evil force

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32
Q

Rags to riches

A

Poor person gains wealth/status, loses it, and then regains it having learned something along the way

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33
Q

The quest

A

Protagonist sets out on a quest to acquire or deliver an object while facing temptation along the way

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34
Q

Voyage and return

A

Protagonist goes to a strange place and after overcoming challenges there returns

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35
Q

Comedy

A

A cheerful story with a happy conclusion, not just “funny” but rather a light-hearted story about a character

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36
Q

Tragedy

A

A sad story with an unhappy conclusion, typically brought about by some character flaw within the protagonist

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37
Q

Rebirth

A

Story about a transition where a bad character is forced to confront themselves and they emerge changed

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38
Q

Rags to riches

A

Steady rise from bad to good

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39
Q

Riches to rags

A

Fall from good to bad

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40
Q

Icarus

A

Rise then a fall in fortune

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41
Q

Oedipus

A

Fall, rise then a fall again

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42
Q

Cinderella

A

Rise, fall, rise

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43
Q

Man in a hole

A

Fall, rise

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44
Q

Fabula

A

The actual story content (plot), the chronological events in a story, causal chain of story event

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45
Q

Syuzhet

A

The way the story events are organised and told, the same fabula can be told in many different ways

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46
Q

Attentional focus

A

Found my mind wandering while the program was on

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47
Q

Narrative understanding

A

I had a hard time making sense of what was going on in the program

48
Q

Emotional engagement

A

The story affected me emotionally

49
Q

Narrative presence

A

During the program, my body was in the room, but my mind was inside the world created by the story

50
Q

Transportability

A

The individual tendency of getting lost in a narrative. It facilitates the effects of narrative persuasion

51
Q

Transportation-imagery model

A

Narrative persuasion can occur when (a) a story is written in texts (b) which includes narratives (c) in which images are evoked (d) and in which reader’s beliefs are implicated

52
Q

Model of Narrative comprehension and engagement

A
  1. Narrative understanding
  2. Attentional focus
  3. Narrative presence
  4. Emotional engagement
53
Q

Extended elaboration likelihood model

A

Build upon the elaboration likelihood model by defining involvement with messages differentially across genres

54
Q

Character engagement

A

Umbrella term referring to the various ways how people relate to mediated figures, such as parasocial interaction, identification, wishful identification

55
Q

Parasocial interaction

A

The media user’s sense of a reciprocal and intimate conversation with a mediated figure on screen, despite the fact that they known it is a illusion

56
Q

Cognitive

A

I became aware of aspects of the detective that I really liked or disliked

57
Q

Affective

A

The detective left me rather sober and unaffected

58
Q

Behavioral

A

Occasional, I said something to the detective on impulse

59
Q

Parasocial relationship

A

Sense of have an enduring long-term socio-emotional bond with media performers, despite of knowing it is one-sided

60
Q

Attachment style

A

How people relate to others in intimate relationships, the perceive level of optimal proximity (closeness) and the level of trust

61
Q

Contact hypothesis

A
  1. Prejudice can be reduced as one learns more about a category of people
  2. Interpersonal contact is one of the most effective ways to reduce prejudice between majority and minority group members
  3. A person’s beliefs can be modified by that person coming into contact with a category member and subsequently modifying or elaborating the beliefs about the category as a whole
62
Q

Identification

A

Involves a “merging” of self with a character. Taking on their perspectives, goals and motivations

63
Q

Wishful identification

A

The desire to be like a character or persona

64
Q

Structural affect theory

A

The syuzhet, i.e. the timing/order of story events influences the emotional response of the viewer/reader

65
Q

Surprise structure

A

Viewer/reader does not know what will happen. Characters often know more than the viewer

66
Q

Curiosity structure

A

Viewer/reader knows what happened. Viewer and characters often shares the same amount of knowledge

67
Q

Suspense structure

A

Viewer/reader knows of potential outcome event. Viewer often knows more than the characters. Outcome event us uncertain and delayed.

68
Q

Felt suspense

A

Suspense as an emotion in the viewer/reader evoked by the suspense structure. Affective reaction due to the perceived likelihood of outcomes to observed others

69
Q

Excitation transfer theory

A

arousal from prior events boosts reactions to satisfying ending

70
Q

Affective disposition theory

A

We like the restoration of justice. Loving and hating characters is key to enjoyment

71
Q

Genre

A

Groups of movies (games) that share similar themes, formal features, style, narrative components, emotional atmosphere, actors, film techniques

72
Q

Humour

A

A broad multifaced term, that represents anything that people say or do that others perceive as funny and tends to make them laugh, as well as the mental processes that go into both creating and perceiving such an amusing stimulus, and also the emotional response of mirth involved in the enjoyment of it

73
Q

Affiliative humour

A

Tendency to engage in spontaneous witty banter to amuse others, non-hostile. Related to extraversion, cheerfulness, self-esteem

74
Q

Self-enhancing humour

A

Generally humorous outlook on life, use of humour as an emotion regulation or coping mechanism, negatively related to negative emotions such as depression and anxiety

75
Q

Aggressive humour

A

The use of sarcasm, teasing, ridicule. manipulate others by means of an implied threat of ridicule. Without regard for its potential impact on others

76
Q

Self-defeating humour

A

Attempts to amuse others by doing or saying funny things at one’s own expense. Positively related to neuroticism and negative emotions

77
Q

Relief theory

A

Laughter is a way of relieving built-up psychological tension. jokes/humour/comic is a coping mechanism employed by the unconscious to release sexual and aggressive impulses

78
Q

Superiority theories

A

Humour is a form of (playful) aggression, the amusement results form the feeling of superiority and triumph over other people

79
Q

Disposition theory

A

Amusement with out-group disparagement humour is mediated by self-esteem enhancement resulting from social comparison. Attitudes (dispositions) toward the disparaged target will determine amusement

80
Q

Schadenfreude

A

Malicious enjoyment of the misfortunes of others

81
Q

Incongruity theories

A

perception of incongruity through cognitive processing of the stimulus. Mismatch between a concept and the real object, laughter results from the sudden insightful integration of contradictory ideas

82
Q

Benign violation theory

A

Incongruity alone will not explain all humour. Humour emerges from the perception of a violation that is harmless

83
Q

Infotainment

A

style in-between entertainment and information

84
Q

Hard news

A

news that cover information about current (world) events and issues of great consequence (politics, finances, economics, health)

85
Q

Horse race journalism

A

Political journalism of elections that resembles coverage of horse races because of the focus on polling data and public perception

86
Q

The prior attitude effect

A

the tendency to feel strongly about an issue; evaluate supportive arguments as stronger and more compelling than opposing arguments

87
Q

Disconfirmation bias

A

people spend more time and cognitive resources denigrating and counter-arguing attitudinally incongruent than congruent arguments

88
Q

confirmation bias

A

seek out attitude-consistent information over attitude-inconsistent information

89
Q

Archie bunker effect

A

through identification with polarized characters, viewers on both sides of the political spectrum could watch and enjoy the show

90
Q

psychological reactance theory

A

an unpleasant motivational arousal that emerges when people experience a threat to or loss of their free behaviours

91
Q

descriptive norms

A

perception of numerous others’ behaviours

92
Q

injunctive norms

A

perceptions of others’ approval of behaviours

93
Q

fandom

A

one’s identification with others who share a similar interest to them. socialising with other fans. Cultivating relationships with other fans.

94
Q

fanship

A

one’s identification with the interest. consuming the interest. spending on memorabilia.

95
Q

social identity theory

A

identities are constructed in relation with others, by establishing similarities and differences. through identification with multiple in-groups, individuals can self-categorize, and thereby include the different sides to their overall identity

96
Q

out-group homogeneity

A

out-group members are perceived as more similar to one another than in-group members

97
Q

competence

A

prove you are good at this

98
Q

knowledge

A

prove that you know as much as I do

99
Q

passion

A

you’re not motivated enough to be a fan

100
Q

sexual misperception

A

you’re doing it for ‘attention’ or ‘you’re not dressed as a true fan’

101
Q

male proxy

A

you’re a fan because of a male companion

102
Q

gender policing

A

you’re too feminine, be like us boys

103
Q

anti-fandom

A

one’s passionate dislike or hatred of said specific interest. considering it inane, stupid morally bankrupt and/or aesthetic drivel

104
Q

user generated content

A

created by users/contributors of an online system. made publicly available on that online system

105
Q

media and journalism

A

content that is voluntarily developed by an individual or a consortium and distributed through an online platform. conversational media

106
Q

business

A

content made publicly available over the internet, which reflects a certain amount of creative effort and which is created outside of professional routines and practices

107
Q

marketing

A

product of users’ creation

108
Q

tourism

A

when individual consumers are solicited to provide both quantitative and qualitative feedback on destinations, hotels or other travel experiences that they have visited

109
Q

humanities

A

everything created by everybody

110
Q

political science

A

amateur production of original content or editing of existing content and the act of sharing such content, publishing in different platforms

111
Q

content

A

any material made available for sharing online, including photographs and videos, news and entertainment

112
Q

extrinsic

A

seeking out recognition from others, self-promotion, finding like-minded producers

113
Q

intrinsic

A

self-esteem, enjoyment and happiness

114
Q

music

A

an acoustically-based form of communication with a set of rules for combining a limited number of sounds in an infinite number of ways. Universal among human cultures, music binds us in a collective identity as members of nations, religions, and other groups

115
Q

media effects model

A
  1. based on the blief that media have a direct impact on how people think, feel, and behave
  2. exposure to music automatically primes individuals to think and feel in ways that are congruent with the message of the music
  3. research shows both positive, negative, and associative mood effects
  4. yet, criticisms: (not) positive recipients, individual differences, 2/3 self-selection
116
Q

event-related fluctuations

A

older respondents reported that age and experience led them to better know how to use music to support themselves at challenging times, or to celebrate good times

117
Q

retirement-related transitions

A

for some participants, their use of music was somewhat constant throughout their youth and adulthood, but meanings changed when they retired

Media Entertainment 2022 (1 decks)

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