2015
DOI: 10.1111/comt.12082
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From Mood to Meaning: The Changing Model of the User in Entertainment Research

Abstract: In recent years, entertainment theory has undergone a paradigmatic shift: The traditional conceptualization of entertainment as an exclusively pleasurable affective state has been significantly extended by recent two‐factor models. These models have introduced a second dimension of entertainment that incorporates more complex nonhedonic experiences, such as the search for meaning or intrinsic need satisfaction. They have not only crucially altered the way communication scholars conceptualize the audience of me… Show more

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Cited by 82 publications
(64 citation statements)
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“…Eudaimonia in conventional versus social media. The present exploration finds that communication on eudaimonic entertainment in social media turns out to be highly similar to the content categories and experiential qualities that theory development and past research has addressed in the context of movies and conventional media (Oliver et al, 2012;Vorderer and Reinecke, 2015). The semantic network analysis of hashtags (study 1) and the content analysis of memes (study 2) reveal that "classic" topics of eudaimonia, that is, the cycle of confrontation, coping with, and overcoming hardships in life as well as human connection, are also prevalent in social media.…”
Section: Implications For Theory Developmentmentioning
confidence: 55%
See 1 more Smart Citation
“…Eudaimonia in conventional versus social media. The present exploration finds that communication on eudaimonic entertainment in social media turns out to be highly similar to the content categories and experiential qualities that theory development and past research has addressed in the context of movies and conventional media (Oliver et al, 2012;Vorderer and Reinecke, 2015). The semantic network analysis of hashtags (study 1) and the content analysis of memes (study 2) reveal that "classic" topics of eudaimonia, that is, the cycle of confrontation, coping with, and overcoming hardships in life as well as human connection, are also prevalent in social media.…”
Section: Implications For Theory Developmentmentioning
confidence: 55%
“…Recent developments in entertainment theory have resulted in two-factor models that distinguish between a hedonic mode of entertainment consumption and a eudaimonic mode (for an overview, see Hofer and Rieger, in press; Vorderer, 2011; Vorderer and Reinecke, 2015; Wirth et al, 2012). Whereas the outcome of exposure to hedonic entertainment was defined as enjoyment, the outcome of consuming eudaimonic entertainment was termed appreciation (Oliver and Bartsch, 2010).…”
mentioning
confidence: 99%
“…Recently, entertainment theory has undergone a conceptual shift towards so called two-process models of entertainment (Vorderer, 2011;Vorderer & Reinecke, 2015):…”
Section: The R²em-model 14mentioning
confidence: 99%
“…For example, using a MIME approach, future research may consider varying the portrayals of morality to see if conflicting moral standards play influential roles in users' responses (Tamborini 2012). Likewise, research may consider varying the depth of processing required to successfully play the game to examine propositions outlined by recent dualprocessing models of media entertainment (e.g., Bartsch and Schneider 2014;Vorderer and Reinecke 2015). Other possible areas of exploration would explore the role of game difficulty on audience engagement with narrative as well as investigating the role of awe in the domain of eudaimonia.…”
Section: Limitationsmentioning
confidence: 99%