week 1 Flashcards
Entertainment/Media entertainment
Entertainment: providng amusement, diversion or enjoyment. What holds and keeps your attention. Complex, dynamic and multi-faceted experiance throught media. Its a response to a product. Pleasure to consumers.
Media entertainment: any mediated product created for the purpose of entartainment.
Lasswell’s Lineaer model of communication
Who? (speaker) – > what? (message) – > channel (medium) – > whom? (audiance) – > the effect
- Audiance can affect speaker, message and channel
- The effect can affect audiance
Differential susceptibility to media effects model: DSMM
- Three factors predict media use: preferance, developmental level, social environment.
- These three factors also moderate individual responses to media use
- Media effects are transactional, meaning that effects of media use also influance media use.
Response states to the media use can be: cognitive, emotional and excitative.
Media Entertainment model: On the left: Media Entertainment
Design: Combination of interrelated structural, technological and narrative elements.
Label: A label is collection of objectie info to identify an entertainment product. Could include:
1. Medium
2. Title
o phonetics: certain sounds can trigger reactions (Kiki&Buba);
o orthoghaphy: spelling (unconventional);
o morphology: form, shape or structure (font);
o semantics: meaning (methapor).
3. Category/genre
4. Brand
o An awareness function
o An image function
Media Entertainment model: On the right: Users (responses, preferences)
Response: Can be:
- Cogitive: Thoughts, beliefs. Cognitive response: Verisimilitude (means similar to truth).
- Emotional:
o Enjoyment for light-hearted entertainment. Leading to Hedonism.
o Appreciation for documentary and drama. Can also include emotional support, appreciating your life when you see someone’s worse. Leading to Eudemonia (greater insight, self-reflection, meaningfulness.
- Psychological: Arousal – A central component of emotional experiences. Affective states can be arranged in a two-dimensional space with “valence” and “arousal” as the two axes.
Arousing content increases viewers’ attention, enhances information
processing, and improves comprehension and recall.
Preferance:
- Demographics: gender, age, income, etc.
- Social: culture, family, society, etc.
- Trait and state: state, mood, cognitive capabilities, psychosocial traits
- Media entertainment: experiances and knowledge.
Media Entertainment model:selection by
Selection by:
- Escapism:
Seek distraction and relief from unpleasant realities by seeking enterteunment/engaging in fantasy. - Mood managment theory:
Use of entertainment serves the relugation of positive mood states. Based on Hedonism: pleasure and amusement are the highest good and proper aim of human life. - Familiarity:
A sense of connection to a product. One form: Nostalgia. The reminiscene bump effect: we recall early-life memories most readily. The moderate-discrepancy hypothesis: anything slightly different from us tends to get our attention more than when we encounter something that is greatly diverse or extermely similar to what we are familliar to. - Social cognitive theory:
Behavior is learned by watching what others do. The bandwagon effect: the probability of individual adoption increases with respect to the proportion of those who have already done so. Social conformity: conform to public to attain social acceptance/ avoid social exclusion.
Equilibrium-based theories
(e.g., uses and gratifications theory, mood
management theory) demonstrate that motivations for selecting entertainment should always be regarded in relation to the anticipated emotional, cognitive, and physiological gratifications it will provide. These relations are recursive as the evaluation of responses will reinforce or alter audiences’ perceptions of gratification-related attributes of particular
media content.
Churning
or definitive disengagement from entertainment products, is affected by unfulfilled starting motivations, such as an unsatisfied need for challenge after repeatedly playing a video game.
Media Entertainment model:Experiance
willing suspension of disbelief justifies the use and enjoyment of fantastic or non-realistic elements in fiction. Its essencial for engagement with fictional narrative.
- Immersion: indicates the extent to which a medium can deliver an inclusive, extensive, and vivid illusion of depicted reality.
- Presence: the extent to which an individual is present in virtual reality.
- Narrative transportation: viewers are so engrossed in an experience, lose track of reality.
Flow – video games:
Mental state in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, enjoyment. Describes the process and result.
Media Entertainment model:How Responses influence Preference?
- Processing fluency: describes the ease and efficiency with which
media users process and adapt content that is consistent with existing mental schemata. - Content that is congruent with existing schemata enhances the experience of familiarity, which in turn enhances positive affect to this type of media.
- Because of its narrative structure, entertainment facilitates an emotional experience of involvement with the characters therein, which reduces counter arguing of any persuasive intent.
Media Entertainment model:The media entertainment and revenue involment to the model
Entertainment industry has 2 key processes:
- Production: have influence on consumers reaction and financial success.
- Distribution: makes sure a consumer can access the creation and experience the product.
The entities providing media entertainment are divided into:
- Major: the majors are owned by conglomerates. (record labels, film studios, TV) They usually own production as well as distribution.
o Vertical integration: company extends its business activities from one resource to the other recourses.
To be successful: the cost of executing a business function must be less than the intermediary’s fee.
o Horizontal integration: acquires, merges with another company within the same resource.
o Concentric integration: stick with same resource activity but change the medium. - Independent: ignore commercial, “mainstream” requirements, industry rules.
Creative productions
- Innovation: process of actually implementing a creative idea and turning it into something marketable.
- 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.
Return on Investment (ROI)
A performance measure used to evaluate the efficiency or profitability an investment by comparing the amount of return on a particular investment, relative to the investment’s cost.
Cumulative advantage process
Financial success is achieved by stimulating strong awareness and early anticipation among consumer. Successful entertainment products are not necessarily ‘better’ products, people simply tend to like what other people like.
MDA framework
mechanics, dynamics, affect
* It’s focused on designers, in this case game designers.
Public service media
partially government-supported but not owned.
Entertainment success
Success in the entertainment market involves:
* Commercial success (e.g., revenue, sales, advertising income)
* Evaluative metrics (e.g., views, likes, ratings)
* Critical acclaim (e.g., recognition, accolades, positive reviews)
* Societal impact
Distribution
The business of selecting the most suitable method and channel for making an entertainment product available to the audience.
Distributors traditionally aim to maximize profits by making a product available in different formats in succession, a practice known as windowing. Three traditional pillars: Production, Distribution, Exhibition.
Entertainment concept
- The cue utilisation theory describes how consumers of experience
goods rely on specific cues as indicators of product quality. These
conceptual cues aid their decision-making process amidst the vast array of
available products.
Entertainment users: Cultural congruence
The alignment between a person’s choices and the norms, values, and practices of the culture they are part of. The Cultural congruence between entertainment products and audience
determines entertainment access and preference.
Article: The Media Entertainment Success Cycle (MESC)
is a theoretical framework that explains the processes governing successful entertainment media. It highlights the interplay between industry supply (development, distribution) and user demand (preference, motivation), showing how they reinforce each other to perpetuate successful media entertainment. The cycle emphasises the importance of positive reception, user engagement, and the convergence of supply and demand processes in determining entertainment success. The framework also identifies key factors such as familiar content, marketing strategies, and design elements that contribute to the success of entertainment products.
Article: The entertainment industry supply process
The supply process involves several overlapping stages (production, distribution, and marketing) with the aim of ensuring the efficient and effective flow of entertainment products to its users.
Production
typically starts with the development of an original idea, or the adaptation of an existing concept.
The user demand process in entertainment
influenced by individual differences, including demographics, personality traits, and cultural congruence. Preferences for specific entertainment content are shaped by these factors, leading to the selection of particular products.
