The influence of location-based games on traditional entertainment products

2021 ◽  
pp. 113604
Author(s):  
C. Mihale-Wilson ◽  
P. Felka ◽  
O. Hinz ◽  
Martin Spann
Keyword(s):  
Entertainment Products

What’s Next?

2011 ◽  
Vol 23 (1) ◽  
pp. 60-63 ◽  
Author(s):  
Peter Vorderer
Keyword(s):  
Cultural Differences ◽  
Factor Model ◽  
New Developments ◽  
Theoretical Concepts ◽  
Open Questions ◽  
Entertainment Products ◽  
Entertainment Theory

This paper points to new developments in the context of entertainment theory. Starting from a background of well-established theories that have been proposed and elaborated mainly by Zillmann and his collaborators since the 1980s, a new two-factor model of entertainment is introduced. This model encompasses “enjoyment” and “appreciation” as two independent factors. In addition, several open questions regarding cultural differences in humans’ responses to entertainment products or the usefulness of various theoretical concepts like “presence,” “identification,” or “transportation” are also discussed. Finally, the question of why media users are seeking entertainment is brought to the forefront, and a possibly relevant need such as the “search for meaningfulness” is mentioned as a possible major candidate for such an explanation.

ABOUT THE CHILDREN'S SEGMENT OF MUSICAL MASS MEDIA CULTURE IN THE XXIST CENTURY

2021 ◽  
Vol 1 (3) ◽  
pp. 58-65
Author(s):  
E. V. Chernova ◽  
Keyword(s):  
Mass Media ◽  
Web Search ◽  
Modern Society ◽  
Musical Culture ◽  
Internet Applications ◽  
Xxist Century ◽  
The Media ◽  
Entertainment Products ◽  
Cultural Reality ◽  
Analytical Tools

The children's segment of culture — "music about children" and "music for children", being formed in the media environment, under new conditions needs close attention of scientists and updating of analytical tools for research. Acquiring features and qualities that differ from those previously inherent, this area requires scientific comments on various parameters — in terms of dynamics, prevailing directions, etc., opening new horizons for studying musical culture of the information community. The article discusses the possibilities of using search engines (Google, Yandex) to review children's musical products in the media space of modern society. The changing environment and conditions for musical culture determine the necessity of new approaches, including those from marketing technology for researching the content of genre trends, studying consumer interest, obtaining statistical information, etc. With the help of Internet applications (Trends, Wordstat) there is a prospect to analyze musical and cultural reality of society in the web search mode, revealing the comparative degree of popularity of different objects, in this case, related to the children's mass media sphere. The results obtained allow to state the predominant demand for entertainment products, which is a general trend in cultural life, regardless of the age category of consumers.

scholarly journals Understanding entertainment value: an investigation into the subjectivity of people who experience entertainment

2021 ◽  
Author(s):  
Florin Vladica
Keyword(s):  
Q Methodology ◽  
Cultural Performance ◽  
Exploratory Research ◽  
Audience Research ◽  
Subjective Experiences ◽  
Consumer Value ◽  
Rich Description ◽  
Entertainment Value ◽  
Entertainment Products ◽  
Commercial Research

The purpose of this doctoral dissertation and the research presented herein is to test and refine a general method of observing, capturing, describing and comparing subjective viewpoints on entertainment value. Of particular interest and equally important is the effort to provide a theoretical foundation for the conceptualization, operationalization, and empirical testing of the entertainment value concept, adopting the perspective of those experiencing performance-based and screen-based entertainment. This dissertation is also a crossover study between and among amusement, recreation, entertaining experiences, audience research, and events and live performances. Results will be integrated into the broader study of entertainment, where the core phenomenon under investigation is the entertainment experience. Entertainment value is a multi-faceted concept, widely used but poorly, or at least not effectively, operationalized for use in scholarly and commercial research. It is proposed herein that entertainment value refers to the type of value that screen-based products and live performances yield to those who experience these generic forms of entertainment. Entertainment value is perceived consumer value, experiential and subjective, a multi-dimensional concept and construct intrinsic to the entertainment experience. In three complementary studies, respondents are grouped based on shared subjective experiences resulting from the consumption of three different kinds of innovative entertainment products: a) an animated, short documentary film, b) one episode a described video television comedy; and c) a live cultural performance. In an innovative way, Stephenson’s Q Methodology (1953) and Typology of Consumer Value proposed by Morris Holbrook (1999) are adopted, tested and refined to empirically identify, describe and compare the subjective viewpoints of those who experience entertainment. The Q Methodology allowed for a rich description of a range of entertainment experiences from almost three hundred respondents. Interpretation of subjective reactions and self-reports, and the differences among these viewpoints, have been facilitated by and pointed to corresponding types of perceived entertainment value. In this sense, Holbrook’s (1999) typology for consumer value proved useful, by complementing in a number of ways the design and implementation of this exploratory research with Q methodology.

scholarly journals WHY DO (W)EEE HOARD? THE EFFECT OF CONSUMER BEHAVIOUR ON THE RELEASE OF HOME ENTERTAINMENT PRODUCTS INTO THE CIRCULAR ECONOMY

Detritus ◽  
2020 ◽  
pp. 18-33
Author(s):  
Ariadne Wilkinson ◽  
Ian D. Williams
Keyword(s):  
End Of Life ◽  
Circular Economy ◽  
Urban Areas ◽  
Consumer Behaviour ◽  
Critical Evaluation ◽  
Residual Value ◽  
Awareness Campaigns ◽  
Home Entertainment ◽  
Entertainment Products ◽  
Very High

Home entertainment (HE) products are particularly rich in metals and plastics and thus have enormous potential as a source of materials from within Distinct Urban Mines (DUMs). Consumers’ end-of-life (EoL) management decisions (i.e. stockpiling, hoarding, reusing, discarding of WEEE) strongly influence the exploitation potential of a DUM. This study aimed to assess the effect of consumer behaviour on the release of HE (W)EEE into the circular economy. A survey was undertaken in Southampton (Hampshire, UK) to assess perceptions and behaviours relating to the EoL management of HE (W)EEE. The study provides previously unavailable data and critical evaluation on the ownership, use and hoarding levels of HE EEE in a typical city DUM, and the reasons behind their hoarding. Results indicated that ownership levels were very high, with an average of 12 home entertainment items owned per household. This makes urban areas extremely plausible as DUMs; we estimate that there are over 1 million HE devices owned and ~440,000 HE devices hoarded in Southampton and >150 million HE EEE owned and ~61 million HE devices hoarded in UK households. Hoarding is common, especially for smaller or older equipment, due to their perceived residual value. HE product lifecycles averaged 4-5 years. The most common EoL routes were donating to relatives, friends or charities; hoarding; recycling; or discarding items in general refuse. To encourage the recovery of EoL HE equipment: i) convenient and accessible WEEE collection points should be established for regular (periodic) harvesting and ii) promoted via awareness campaigns and incentives.

Playing as Producing

2011 ◽  
pp. 311-325 ◽  
Author(s):  
Ying-Chia H. Lin
Keyword(s):  
Digital Technologies ◽  
Digital Games ◽  
Cultural Barriers ◽  
Cultural Challenges ◽  
Media Technologies ◽  
Game World ◽  
Game Industry ◽  
Game Players ◽  
Entertainment Products ◽  
Local Cultures

The main goal of this chapter is to explore the dynamics and interactions between foreign producers, media technologies, and local consumers in the process of globalization through a discussion of the localization of digital games. As digital games have become global entertainment products, the game industry has encountered various lingual and cultural challenges in the process. The content of digital games can be changed more easily and many game players are able to create objects or modify the game world to express their programming abilities or identities. The game industry takes advantage of digital technologies and player modding practices to overcome language and cultural barriers. Modding and other localization practices, such as translation and local packaging, imply the convergence of the global and the local cultures (i.e. glocalization) as well as the producers and consumers (i.e. prosumers).

Introduction

2020 ◽  
pp. 1-18
Author(s):  
Melissa Ames
Keyword(s):  
Social Media ◽  
Media Theory ◽  
Cultural Environment ◽  
Emotional States ◽  
Television Programming ◽  
Cultural Contexts ◽  
American Television ◽  
Key Concepts ◽  
Structures Of Feeling ◽  
Entertainment Products

The introduction situates contemporary American television within relevant cultural contexts explaining, for example, the ways in which the post-9/11 and post-social media period impacted the cultural environment and the television programming produced within it. This opening chapter provides an overview of relevant affect and media theory that help to explain the ways in which viewers feel through their screens. It also details three key concepts involving affect that ground the arguments within the book: 1) the affect continuum (the ways in which affects are experienced, such as bodily affect, conscious emotion, and collective structures of feeling); 2) affect object reciprocity (the ways in which emotional states impact the production and reception of texts and vice versa); and 3) affect modulation (the ways in which viewers actively turn to entertainment products to alter or reinforce emotional states or how outside parties attempt to do so).

Escaping Reality by Watching Reality TV?

2020 ◽  
pp. 42-56
Author(s):  
Melissa Ames
Keyword(s):  
Reality Television ◽  
Reality Tv ◽  
Surveillance Culture ◽  
Identity Performance ◽  
Privacy Rights ◽  
Television Programs ◽  
Men And Women ◽  
The Social ◽  
Entertainment Products ◽  
Familial Expectations

Chapter Two turns to reality television, exploring three theories of emotion that explain the rise of this televisual genre in the wake of 9/11. A study of the 2000-2010 programming schedule reveals the cultural anxieties with which producers and viewers of these shows (dis)engage. Although often considered superficial, lowbrow entertainment products meant primarily for escapist purposes, this essay argues that reality television programs grapple with important societal concerns: surveillance culture and privacy rights; the pressure of identity performance in the social media era; and shifting social, domestic, and familial expectations for men and women.

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