Entertainment as Pleasurable and Meaningful: Identifying Hedonic and Eudaimonic Motivations for Entertainment Consumption

By Mary Beth Oliver, Arthur A. Raney. 2011

655 citations recorded by the source corpus.

Subfields: Gender Studies, Literature and Literary Theory, Marketing

View Paper: https://www.semanticscholar.org/paper/dab0a0e74e5f32c54a410c6ee7a2959e664e78a5

How researchers see this paper

The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.

In Gender Studies

1. Anne Bartsch
2. Julia K. Woolley
3. Tilo Hartmann
4. Leonard Reinecke
5. Mary Beth Oliver
6. Sebastian Deterding
7. Maya Tamir
8. Allison Eden

In Literature and Literary Theory

1. Anne Bartsch
2. Tilo Hartmann
3. Julia K. Woolley
4. Leonard Reinecke
5. Mary Beth Oliver
6. Allison Eden
7. Maya Tamir
8. Sebastian Deterding

In Marketing

1. Anne Bartsch
2. Sebastian Deterding
3. Maya Tamir
4. Leonard Reinecke
5. Mary Beth Oliver
6. Allison Eden

Citations in the corpus

• Why Do People Regulate Their Emotions? A Taxonomy of Motives in Emotion Regulation (2016, background): “People who seek emotional stimulation , in turn, tend to endorse eudaimonic motives as determinants of their preferences for emotion-inducing forms of entertainment (Oliver & Raney, 2011).”
• The Lens of Intrinsic Skill Atoms: A Method for Gameful Design (2015, background): “…PENS with mood management theory (users selecting media to optimize arousal and affect) and appreciation (the satisfaction of eudaimonic needs for meaningfulness and insight), and have found first empirical support for their superior explanatory power (Oliver & Raney, 2011; Reinecke et al., 2012).”
• Elevation in Response to Entertainment Portrayals of Moral Virtue (2012, background): “Specifically, Oliver and Raney (2011) argued that sad films, rather than being understood as particularly nonhedonic, might better be understood, at least in part, as fulfilling needs associated with greater insight, wisdom, or meaning-in-life (i.e., eudaimonic) concerns.”
• The guilty couch potato: The role of negative emotions in reducing recovery through media use (2014, background): “easy television content Nine items were adapted fromOliver and Raney (2011) tomeasure selective exposure to cognitively challenging (e.”
• Emotional Gratification in Entertainment Experience. Why Viewers of Movies and Television Series Find it Rewarding to Experience Emotions (2012, background): “Recent developments in entertainment theory (Oliver & Raney, 2011; Reinecke et al., 2012; Tamborini et al., 2010; Vorderer & Ritterfeld, 2009) have begun to incorporate these types of psychosocial needs by linking entertainment research with research on psychological wellbeing.”