Defining entertainment: an approach

McKee, Alan; Collis, Christy; Nitins, Tanya; Ryan, Mark David; Harrington, Stephen; Duncan, Barry L.; Carter, Joe; Luck, Edwina; Neale, Larry; Butler, Des; Backstrom, Michelle

doi:10.1080/17510694.2014.962932

Cited by 17 publications

(14 citation statements)

References 14 publications

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“…Variety programs that entertain, for instance, unique news and information, culinary, tourist and traveling places, sports information, and so forth. This broad definition of entertainment is in line with McKee et al (2014), who stated that the scope of entertainment would depend on who defines it. In essence, entertainment is defined as something enjoyable or pleasurable that holds their attention for the time the entertaining object or occasion is perceived (Stebbins, 2007;Vorderer, 2001).…”

Section: Factor Of Tv Contentsupporting

confidence: 53%

The Determinant Factors of Television’s Audience in Choosing Tv Channel in the Disruptive Era

Widyatama

Mahbob

2021

J.Kom.Profetik

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This qualitative research article aims to explain the determinant factors that influence viewers to choose TV's channels in the disruptive era. In the period triggered by the increase of the internet and digital technology, many innovations emerged, potentially disturbing and destroying the old system. Loyalty in the broadcasting industry of the disruptive age is temporary and can change quickly. Viewers effortlessly change their TV channels according to their interests and desires. Therefore, TV managers have to pay attention to various factors on TV's audience to choose TV channels. These determinant factors occupy a prominent position among TV station managers in Indonesia and around the globe as an essential contrive to grab the attention of TV viewers. Primary data was dig using the focus group discussion (FGD) before the Covid-19 pandemic occurred. The authors conducted five FGDs involving 9-12 participants in each FGD. This research found that there are 23 determinant factors influencing audience in choosing TV channels in the disruptive era. The 23 factors are divided into four categories namely, TV program content, audience's purposes, corporate action, and community influence. The conclusion is, from four determinants factors, the range of TV content comprises the most varied category. In contrast, community influence factor occupies the last position with one variation.

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Section: Factor Of Tv Contentsupporting

confidence: 53%

The Determinant Factors of Television’s Audience in Choosing Tv Channel in the Disruptive Era

Widyatama

Mahbob

2021

J.Kom.Profetik

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“…This facilitates increased enjoyment ( Neale, 2010 ). Essentially, the reason why customers consume entertainment is because of the pleasure they derive from doing so ( McKee et al, 2014 ). Entertainment products are experience products that have symbolic value and customers engage with social robots for the experience ( McKee et al, 2014 ).…”

Section: Resultsmentioning

confidence: 99%

Perceived Service Quality in HRI: Applying the SERVBOT Framework

et al. 2021

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Services are intangible in nature and as a result, it is often difficult to measure the quality of the service. In the service literature, the service is usually delivered by a human to a human customer and the quality of the service is often evaluated using the SERVQUAL dimensions. An extensive review of the literature shows there is a lack of an empirical model to assess the perceived service quality provided by a social robot. Furthermore, the social robot literature highlights key differences between human service and social robots. For example, scholars have highlighted the importance of entertainment value and engagement in the adoption of social robots in the service industry. However, it is unclear whether the SERVQUAL dimensions are appropriate to measure social robot’s service quality. The paper proposes the SERVBOT model to assess a social robot’s service quality. It identifies, reliability, responsiveness, assurance, empathy, and entertainment as the five dimensions of SERVBOT. Further, the research will investigate how these five factors influence emotional engagement and future intentions to use the social robot in a concierge service setting. The model was tested using student sampling, and a total of 94 responses were collected for the study. The findings indicate empathy and entertainment value as key predictors of emotional engagement. Further, emotional engagement is a strong predictor of future intention to use a social robot in a service setting. This study is the first to propose the SERVBOT model to measure social robot’s service quality. The model provides a theoretical underpinning on the key service quality dimensions of a social robot and gives scholars and managers a method to track the service quality of a social robot. The study also extends on the literature by exploring the key factors that influence the use of social robots (i.e. emotional engagement).

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“…Hiburan merupakan kegiatan yang berfokus pada pemberian tontonan dengan tujuan untuk memberikan kebahagiaan atau kesenangan (Collis, 2017). Hiburan sendiri merupakan salah satu sektor industri kreatif yang termasuk dalam subsektor kesenian dan hiburan (McKee et al, 2014). Atas definisi yang luas, hiburan dapat masuk kedalam berbagai macam industri lainnya seperti musik, tari, olahraga, edukasi dan sebagainya (Benny, 2015).…”

Section: Pendahuluanunclassified

Pajak Pertambahan Nilai Jasa Kesenian Dan Hiburan Atas Konten Digital Pasca Harmonisasi Peraturan Perpajakan

Darhani

Wijaya

2022

Educoretax

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Saat ini pemberian jasa kesenian dan hiburan dalam bentuk digital semakin berkembang, terutama pada platform YouTube oleh para content creator. Tujuan penelitian ini adalah untuk menjawab pertanyaan apakah transasksi yang ada dalam kegiatan dan pemberian jasa dan hiburan oleh content creator Indonesia memiliki aspek Pajak Pertambahan Nilai atas jasa kesenian dan hiburan, bagaimana penerapan perpajakannya, bagaimana dampak penerapannya kepada negara, serta apa tantangan yang akan dihadapi dalam penerapannya. Dalam penulisan penelitian digunakan metode deskriptif kualitatif dengan narasumber dari akademisi, Direktorat Jenderal Perpajakan, serta digital media analyst. Hasil penelitian menunjukkan dengan hadirnya Undang-Undang Harmonisasi Peraturan Perpajakan yang mengatur ulang objek non jasa kena pajak khususnya pada jasa kesenian dan hiburan menjadikan hiburan dalam bentuk digital dapat dikategorikan sebagai objek PPN, salah satunya ialah konten digital yang diberikan oleh content creator YouTube. Hingga saat ini Google Asia Pacific Pte. Ltd belum memiliki kehadiran fisik di Indonesia oleh karena itu mekanisme pemungutan PPN yang dapat diterapkan ialah mekanisme umum terkait ekspor jasa kena pajak atau Reverse Charge Mechanism. Menimbang sulitnya penentuan kategori jasa yang diberikan, dalam penelitian ditemukan bahwa metode Reverse Charge Mechanism lebih aplikatif dibanding mekanisme umum. Dengan penerapan PPN ini akan membuka peluang intensifikasi PPh didalam perpajakan content creator di Indonesia namun penerapannya pula akan menemukan berbagai tantangan seperti masih perlunya kategorisasi yang jelas agar tidak terjadi pergesakan di lapangan. Currently, the provision of arts and entertainment services in digital form is growing, especially on the YouTube platform by content creators. The purpose of this study is to answer the question of whether the transactions in the activities and provision of services and entertainment by Indonesian content creators have aspects of Value Added Tax on arts and entertainment services, how the taxation is applied, how the impact of its application on the state, and what challenges will be faced in its application. In writing the research, a qualitative descriptive method was used with sources from academia, the Directorate General of Taxation, and digital media analysts. The results show that with the presence of the Harmonization of Tax Regulation Act which reorganizes non-taxable services objects, especially in arts and entertainment services, entertainment in digital form can be categorized as VAT objects, one of which is digital content provided by YouTube content creators. Until now Google Asia Pacific Pte. Ltd. does not yet have a physical presence in Indonesia, therefore the VAT collection mechanism that can be applied is the general mechanism related to the export of taxable services or the Reverse Charge Mechanism. Considering the difficulty of determining the category of services provided, the research found that the Reverse Charge Mechanism method is more applicable than the general mechanism. With the implementation of this VAT, it will open up opportunities for the intensification of income tax in content creator taxation in Indonesia, but its application will also encounter various challenges, such as the need for clear categorization so that there is no friction in the field.

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Defining entertainment: an approach

Cited by 17 publications

References 14 publications

The Determinant Factors of Television’s Audience in Choosing Tv Channel in the Disruptive Era

The Determinant Factors of Television’s Audience in Choosing Tv Channel in the Disruptive Era

Perceived Service Quality in HRI: Applying the SERVBOT Framework

Pajak Pertambahan Nilai Jasa Kesenian Dan Hiburan Atas Konten Digital Pasca Harmonisasi Peraturan Perpajakan

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