Tender Affective States as Predictors of Entertainment Preference

By Mary Beth Oliver. 2008

223 citations recorded by the source corpus.

Subfields: Gender Studies, Literature and Literary Theory, Sociology and Political Science

View Paper: https://www.semanticscholar.org/paper/1d0e6123be75c28192ec333c4f978824f04be222

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Citations in the corpus

Identification with characters and narrative persuasion through fictional feature films (2010, background): “However, enjoyment also occurs when facing contents designed to stimulate negative emotional states (de Wied et al., 1994; Oliver, 2008; Vorderer, 2003).”
Interpersonal Relationships and Preferences for Mood-Congruency in Aesthetic Experiences (2013, background): “These seemingly conflicting effects seem to hold true particularly for aesthetic experiences (Gibson, Aust, and Zillmann 2000; Knobloch-Westerwick et al. 2012; Martin et al. 1997; Oliver 1993, 2008).”
Media Effects: Theory and Research. (2016, background): “Utility Theory (Atkin 1973); Mood Management Theory (Zillmann & Bryant 1985); and Eudaimonia Theory (Oliver 2008).”
Emotional Gratification in Entertainment Experience. Why Viewers of Movies and Television Series Find it Rewarding to Experience Emotions (2012, background): “Recent research of Oliver and her colleagues (Oliver, 2008; Oliver, Limparos, Tamul, & Woolley, 2009) has extended the scope of feeling qualities that may account for the appeal of tragic entertainment, highlighting the role of feelings such as tenderness (e.g., tender, kindly, understanding,…”
Appreciation as Audience Response: Exploring Entertainment Gratifications beyond Hedonism. (2010, background): “Likewise, Oliver (2008) also recently attempted to broaden the scope of the entertainment experience by suggesting that in addition to seeking pleasure from entertainment consumption, individuals at times also use entertainment as a means of contemplating human poignancies and meaningful life…”
Entertainment as Pleasurable and Meaningful: Identifying Hedonic and Eudaimonic Motivations for Entertainment Consumption (2011, background): “Indeed, in part to highlight this argument, Oliver and Bartsch (2010) recently argued that the term ‘‘appreciation’’ may be a better descriptor of the gratifications associated with the experience of more moving or meaningful entertainment (see also Vorderer & Ritterfeld, 2009).”
The Use of Media Entertainment and Emotional Gratification (2010, background): “…reflect such well-researched entertainment gratifications as mood-management (Zillmann, 1988) and sensation seeking (Zuckerman, 1979), whereas the factor being moved highlights the importance of the emerging research topic of sad and tender feelings in entertainment experience (Oliver, 1993; 2008).”
Media Enjoyment as Need Satisfaction: The Contribution of Hedonic and Nonhedonic Needs (2011, result): “This approach can be seen as somewhat consistent with attempts to distinguish enjoyment from appreciation that appear in recent works of Vorderer (Vorderer, 2009; Vorderer & Ritterfeld, 2009) and Oliver (Oliver, 2008; Oliver & Bartsch, 2011).”
Music May Reduce Loneliness and Act as Social Surrogate for a Friend: Evidence from an Experimental Listening Study (2020, background): “Interpersonal sadness was elicited through a social loss, since this type of sadness is likely to promote the choice of expressively sad media in general (Oliver, 2008) and moodcongruent music in particular (Lee et al.”
Elevation in Response to Entertainment Portrayals of Moral Virtue (2012, background): “Items were drawn from a variety of sources with the intention of including items that would represent meaningful affect (reflecting elevation), positive affect, and negative affect (Algoe & Haidt, 2009; Edell & Burke, 1987; Oliver, 2008; Oliver & Raney, 2011; Schnall et al., 2010).”