Entertainment as a Creature Comfort: Self-Control and Selection of Challenging Media

Eden, Allison; Johnson, Benjamin K.; Hartmann, Tilo

doi:10.1080/15213269.2017.1345640

Cited by 18 publications

(12 citation statements)

References 51 publications

(104 reference statements)

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“…With a different questionnaire but the same dimensions, Odağ et al (2016) found cultural differences. However, mean scores of our study were comparable with Eden et al (2018).…”

Section: Discussionsupporting

confidence: 60%

I hear what you see: Effects of audio description used in a cinema on immersion and enjoyment in blind and visually impaired people

Hättich

Schweizer

2020

British Journal of Visual Impairment

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For people with disabilities being part of social life is essential for well-being. To accomplish this there are two possibilities: through interaction in person and through access to culture. One way to enjoy both possibilities is the cinema. For people with sight loss (people that are blind or visually impaired), there exists audio description which allows enjoying a film in a cinema. Project FASEA examined if this audience is as much immersed and could enjoy it as much as sighted people while watching a film with audio description, received through an app called ‘Greta’. Twenty-five people with blindness or visual impairment took part and were matched with sighted people in age, sex, education, and nationality. This was conducted in a commercial cinema under natural conditions with a comedy. We assessed immersion through the Narrative Engagement Scale (NES), the Modes of Reception Inventory (MOR), and the Audience Response Scale (ARS). Enjoyment was evaluated with the Emotions in Media Scale (EMS). People with sight loss showed lower scores in narrative understanding in NES and less thought-provoking and suspense in ARS. Also, they experienced fewer positive emotions. In all other scales, including all MOR scales, there were no differences between them and sighted people. The results confirm that audio description, provided by an application, is a useful tool for people with sight loss to immerse themselves and enjoy films as much as sighted people do and hence be part of social life.

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“…With a different questionnaire but the same dimensions, Odağ et al (2016) found cultural differences. However, mean scores of our study were comparable with Eden et al (2018).…”

Section: Discussionsupporting

confidence: 60%

I hear what you see: Effects of audio description used in a cinema on immersion and enjoyment in blind and visually impaired people

Hättich

Schweizer

2020

British Journal of Visual Impairment

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“…As a consequence, media users' willingness to choose cognitively, affectively, or behaviorally challenging media stimuli should vary as a function of their current depletion, with depleted media users gravitating towards unchallenging content that facilitates the restoration of resources (Hartmann, 2013;Hartmann & Eden, 2019, May). This notion is supported by a growing number of studies that provide empirical evidence for the suggested pattern of effects (Eden, Hartmann, & Reinecke, 2015;Eden, Johnson, & Hartmann, 2018;Reinecke et al, 2014). In the R²EM-Model, we thus propose thatin addition to a general preference of media use relative to other recovery activitiesresource depletion will also affect within-media selection and result in a preference for unchallenging media content (see Figure 1).…”

Section: The R²em-model 14mentioning

confidence: 63%

Media Entertainment as a Self-Regulatory Resource: The Recovery and Resilience in Entertaining Media Use (R²EM) Model

Reinecke¹,

Rieger²

2020

Preprint

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In recent years, the perspective of media use and its contribution to positive outcomes for its users has been expanded towards the media’s potential to facilitate recovery from stress and strain and to support the replenishment of physical and psychological resources. The accumulation of empirical findings in this area calls for a systematization and theoretical integration. The present chapter therefore reviews latest developments in recovery theory and systematically summarizes previous research on the effects of recreational media use. It then proceeds in presenting a new model, the Recovery and Resilience in Entertaining Media use Model (R²EM-Model), linking entertainment use to the short-term experience of recovery and to the contribution to long-term development of resilience-enhancing factors. The chapter concludes with a discussion of open questions and future challenges in this field of research.

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“…This finding coincides with research suggesting that critics may be drawn to more complex and artistic films (Austin, 1983;Holbrook, 1999;Simonton, 2009Simonton, , 2011Wanderer, 1970) that are likely to challenge the viewer with less typical or formulaic stimuli. Affectively challenging films elicit aversive or inconsistent emotions, whereas positive emotion in film is less challenging to process (Eden, Johnson, & Hartmann, 2018), perhaps explaining critics' preference for less genre-typical positive emotion in film, particularly in action/adventure films known to follow a narrative formula. In other words, genres-or schematic information based on past experiences-guide the viewer in what to expect from a film, but when such information is inconsistent with one's schema, expectancies are subverted, and the viewer must work to further process the information.…”

Section: Discussionmentioning

confidence: 99%

Genre-typical narrative arcs in films are less appealing to lay audiences and professional film critics

Nalabandian

Ireland

2018

Behav Res

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People tend to like stimuli-ranging from human faces to text-that are prototypical, and thus easily processed. However, recent research has suggested that less typical stimuli may be preferred in creative contexts, such as fine art or music lyrics. In an archival sample of movie scripts, we tested whether genre-typicality predicted film ratings as a function of rater role (novice audience member or expert film critic). Genre-typicality was operationalized as the profile correlations between linguistic arcs (across five segments, or acts) for each script and within-genre averages. We predicted (1) that critics would prefer more disfluent (genreatypical) films and general audiences would prefer fluent (genre-typical) films, and (2) that these differences would be most pronounced for genres expected to be more entertaining (e.g., action/adventure) than challenging (e.g., tragedy). Partly consistent with our hypotheses, the results showed that critics gave higher ratings to action/adventure films with less typical positive emotion arcs. However, regardless of audience-member or professional-critic status, higher ratings were attributed to films that were more genre-atypical (or disfluent), in terms of analytic thinking, narrative action, and emotional tone, across all genres except family/kids films. Such findings support the growing literature on the appeal of disfluency in the arts and have relevance for researchers in psychology and computer science who are interested in computational linguistic approaches to attitudes, film, and literature.

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Entertainment as a Creature Comfort: Self-Control and Selection of Challenging Media

Cited by 18 publications

References 51 publications

I hear what you see: Effects of audio description used in a cinema on immersion and enjoyment in blind and visually impaired people

I hear what you see: Effects of audio description used in a cinema on immersion and enjoyment in blind and visually impaired people

Media Entertainment as a Self-Regulatory Resource: The Recovery and Resilience in Entertaining Media Use (R²EM) Model

Genre-typical narrative arcs in films are less appealing to lay audiences and professional film critics

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