It's all entertainment—sure. But what exactly is entertainment? Communication research, media psychology, and the explanation of entertainment experiences
By Peter Vorderer. 2001
142 citations recorded by the source corpus.
Subfields: Communication, Gender Studies, Literature and Literary Theory
View Paper: https://www.semanticscholar.org/paper/06a51526076aa598e22f2d79117b464d2e6700b0
How researchers see this paper
The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.
In Communication
- Mary Beth Oliver
- Kineta Hung
- Holger Schramm
- Werner Wirth
- Jeroen Jansz
- E. Tan
- Lonneke Martens
- Arthur A. Raney
In Gender Studies
- Arthur A. Raney
- Lonneke Martens
- Kineta Hung
- Werner Wirth
- Jeroen Jansz
- E. Tan
- Mary Beth Oliver
- Holger Schramm
In Literature and Literary Theory
- Kineta Hung
- Mary Beth Oliver
- E. Tan
- Arthur A. Raney
- Holger Schramm
- Werner Wirth
- Jeroen Jansz
- Lonneke Martens
Citations in the corpus
- Entertainment as Pleasurable and Meaningful: Identifying Hedonic and Eudaimonic Motivations for Entertainment Consumption (2011, background): “…that elicits negative affect—can be conceptualized as a form of ‘‘play’’ that ultimately helps viewers/users cope with or confront their realities (Vorderer, 2001) and that may further have evolutionarily benefits in terms of providing safe ‘‘training’’ for dangerous or threatening…”
- Why Celebrity Sells: A Dual Entertainment Path Model of Brand Endorsement (2014, background): “Lighthearted, less engaging pastime activities or “play” (Vorderer 2001, 2003) is intrinsically motivating to the consumer though it appears to be purposeless.”
- Media and Emotions (2005, background): “Vorderer (1994) describes suspense as the experience of anxiety under playful conditions (Rubin, Fein, & Vandenberg, 1983; Vorderer, 1992, 2001, 2003).”
- Gaming at a LAN event: the social context of playing video games (2005, background): “The constant exchange of messages between gamer and game, the succession of the roles of observer and participant and the options for testing a variety of realities, all underline the nature of gaming as play (Juul, 2003; Vorderer, 2001).”
- Entertainment is Emotion: The Functional Architecture of the Entertainment Experience (2008, background): “Most recent theoretical contributions to the psychological study of entertainment regard emotion and affect as a sine qua non of the entertainment experience (Bryant & Miron, 2003; Klimmt & Vorderer, 2003; Nabi & Krcmar, 2004; Vorderer, 2001; Vorderer et al., 2004; Vorderer, Steen, & Chan, 2006; Wir”