Mood management and selective exposure.

By M. Oliver. 2003

94 citations recorded by the source corpus.

Subfields: Gender Studies, Literature and Literary Theory, Marketing

View Paper: https://www.semanticscholar.org/paper/d64aeee275945466773c737c1eccefb977d7c31a

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Citations in the corpus

Identification with characters and narrative persuasion through fictional feature films (2010, background): “Sometimes it is compared to the experience of pleasurable emotional states as the result of consuming a determined fictional product (Oliver, 2003).”
Temporal Changes in Mood Repair Through Music Consumption: Effects of Mood, Mood Salience, and Individual Differences (2007, background): “Although direct evidence is lacking, a number of studies did reveal that those who were feeling melancholy had a greater taste for stories with tragic endings, music that bemoan woeful situations, and movies like Titanic (Oliver, 2003).”
Media and Emotions (2005, background): “Empirically well-founded, the theory’s fundamental core propositions are established not only by experiments in Zillmann’s tradition, but also by quasiexperimental and correlative designs (Oliver, 2003; Schramm, 2005).”
The Use of Media Entertainment and Emotional Gratification (2010, background): “In addition to balanced arousal, mood management theory highlights the gratification associated with positive affective valence, and with the absorption potential of strong emotions that can help distract individuals from negative thoughts (for reviews, see Knobloch-Westerwick, 2006; Oliver, 2003).”
Appreciation as Audience Response: Exploring Entertainment Gratifications beyond Hedonism. (2010, background): “…regulate sub-optimal levels of arousal (stress and boredom), that they show a preference for comedy when in negative mood states, and that they have a greater tolerance for negative or bad news content when in positive than negative moods (for reviews, see KnoblochWesterwick, 2006; Oliver, 2003).”
Emotional and Cognitive Predictors of the Enjoyment of Reality-Based and Fictional Television Programming: An Elaboration of the Uses and Gratifications Perspective (2006, background): “While both cognitive and emotional gratifications have been explored in past U&G literature, cognitive gratifications have focused largely on information gain whereas research on affective states focused on mood management (e.g., Oliver, 2003).”
Measuring Narrative Engagement (2009, background): “Enjoyment may be derived from the arousal of any emotion (Nabi, Stitt, Halford, & Flinnerty, 2006) including those which on their face would not seem enjoyable, such as sadness (Oliver, 2003).”