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What's Entertainment? Notes Toward a Definition
... Artistic entertainment is a part of cultural activities (Bates & Ferri, 2010). In 2025, the global entertainment and media market value is expected to reach $2.6 trillion (PwC, 2021). ...
... It is a part of leisure and can be hedonistic, democratic, and simple (Dyer, 2005). According to Bates and Ferri (2010), entertainment should include components that incorporate external stimuli that pleasure to people. When considering the functions of entertainment for the audience, the major focus of entertainment is utopianism, and it should provide people with a better world to escape to (Dyer, 2005). ...
... Objective, communication, external stimulus, pleasure, and audience are essential to defining entertainment (Bates & Ferri, 2010). Artistic entertainment should contain conceptual categories that define aesthetics such as form and expression, harmony and order, symbolism and imagery, and beauty, taste, and feelings (Carroll, 2009). ...
This study aimed to develop a conceptual framework based on the Stimulus – Organism – Response (S-O-R) paradigm to facilitate the understanding of sports consumers’ artistic entertainment experiences during live sporting events. Based on a comprehensive literature review, artistic activities and programs in sporting events were recognized in three categories, including game-induced, atmosphere-induced, and event-induced artistic entertainments. Further analyses revealed how sport artistic entertainments (SAE), as an external stimulus at a sporting event, could interact with people’s intrinsic emotional, entertainment, and aesthetic needs and function together to affect spectators' cognitive, affective, and behavioral responses. Discussions are centered on the theoretical and practical implications, providing directions for future studies when adopting the framework to conduct empirical investigations.
... We agree with Declercq's aesthetic definition of entertainment as a classification "which applies to artifacts and performances principally designed to deliver [...] fun and divertive aesthetic experiences" [14,323], which absorb and redirect one's attention from the seriousness of everyday life. 3 Pursued for fun, entertainment is both joyful and enjoyable [14]: Zillman and Byrant define it as "any activity designed to delight and, to a smaller degree, enlighten through the exhibition of the fortunes or misfortunes of others, but also through the display of special skills by other and/or self" [36,438]. Partly in agreement with Bates and Ferri, we define entertainment on the grounds of a few key features, namely: ...
... • the principal goal of this communication being pleasure [3,[11][12][13][14][15]. ...
... As for the positioning of the audience in relation to the text, Bates and Ferri outline that "entertainment [is] an experience of spectatorship more than participation" [3,14]. This criterion of audience passivity causes them to exclude leisure activities such as doing sport, participating in a challenge of some sort, or telling (and not listening to) a tale [3]. ...
The persuasive potential of games and their use in political propaganda and raising social awareness are well-established components of the game studies discourse, and the literature around persuasive games highlights satire among the expressive tones of several games. Despite this, what persuasive games' literature still lacks is a complete and stand-alone defining account of satire in games, which could be useful in analyzing both analog and digital games used for satirical purposes. Our intention with this paper is to frame satire within the field of game studies through notions and perspectives borrowed from other media studies and narratology. In that pursuit, we initially give an operational definition of satire focusing on concepts such as entertainment, critique, and rhetoric. Subsequently, we explore how this definition relates to, and interacts with, key concepts in game studies, such as procedural rhetoric, and the implied designer.
... It requires consumer activity. Bates and Ferri (2010) Entertainment can be defi ned by six elements: objectivity, communication, external stimulus, pleasure, audience and passivity. is is an activity understood objectively, that encompasses communication between text and audience from an external stimulus, off ers pleasure, requires an audience to exist and occurs in a passive form. ...
... Oliver and Barstsch (2010) Entertainment is anything that can be consumed and can provide a positive experience. Bates and Ferri (2010) Entertainment is the opposite of boredom. Casali and Mazzarol (2011) Entertainment is comprised of projects built to generate income and that generate revenue through the product life cycle allowing business survival. ...
(English) This study's aim is to provide a definition for entertainment, stemming from various definitions, with a multidisciplinary dialogue with the management area. In order to achieve that, bibliographical research was used to list previous definitions, which were analyzed through qualitative research proceedings and an original systematic process led to entertainment definitions focused on product, experience, culture and communication notions. The article's main value consists in academically accepted, systematically built and area-oriented definitions. The research outcomes help to build more solid entertainment academic discussions and clearer and wider entertainment materializations. Lastly, there were limitations due to few empirical reflections.
(Português) O que é entretenimento? Definições centradas em noções de produto, experiência, cultura e comunicação
Resumo: Este estudo procurou responder o que é entretenimento por meio de definições com um diálogo multidisciplinar com a área de Administração. Para cumprir isso, e mostrando o valor da pesquisa, foi utilizada a pesquisa bibliográfica para levantar definições anteriores, que foram analisadas por meio de procedimentos de pesquisa qualitativa, e um original processo sistemático deu origem a novas definições de entretenimento focadas em noções de produto, experiência, cultura e comunicação, apontando para diferentes áreas. Os resultados ajudam a construir mais sólidas discussões acadêmicas de entretenimento e suas materializações. Limitações derivam-se de poucas reflexões empíricas.
... https://orcid.org/0000-0003-3008-9248 Notes 1. In this article, we follow the definition of entertainment and entertainment industry from Bates and Ferri (2010) and Vogel (1998), respectively. Bates and Ferri (2010) propose that entertainment is communication between an audience and a text and that its primary goal is to provides pleasure to the audience. ...
... In this article, we follow the definition of entertainment and entertainment industry from Bates and Ferri (2010) and Vogel (1998), respectively. Bates and Ferri (2010) propose that entertainment is communication between an audience and a text and that its primary goal is to provides pleasure to the audience. They also state entertainment is different from the broader categories of leisure (e.g. ...
This article outlines how the COVID-19 pandemic has influenced different domains of the global entertainment industry regarding the physicality, synchronicity, and digitizablity of businesses. Physical location-based businesses with synchronous content delivery suffer from the outbreak; online businesses largely benefit from the lockdown situation. Continuity of impact is influenced by two interrelated factors: (1) whether there are explicit alternatives for consumers and (2) whether the altered consumer attitudes and behaviors during the pandemic become habitual, transformative, or ceased. We reach two points of comparison: the direction of the COVID-19 impacts (positive vs negative) and the continuity of the changes (continuous vs temporal). Our analysis yields four different scenarios that help us take a view of the unprecedented effects on the entertainment industry with a more comprehensive perspective: disastrous (negative and continuous), silver lining (negative and temporal), fortuitous (positive and temporal), and triumphant (positive and continuous).
... An individual needs to have a high level of psychological wellbeing to the extent that they have an excess of positive over the negative impact and a low level of prosperity to the area where adverse effects predominate over positive results [14] 4) Entertainment Entertainment is challenging to define because it is a general term that can be interpreted differently. However, in a conflict of opinion, this leads to the understanding of entertainment as Zillmann stated, "an activity designed to delight and, to a smaller degree, enlighten through the exhibition of the fortunes or misfortunes of others, but also the display of special skills by other and self" p.6 [15]. Entertainment lead services cover the following activities: Media (TV, newspapers, magazines, and radio), social media, video games, videos, festivals, concerts, and performances [15]. ...
... However, in a conflict of opinion, this leads to the understanding of entertainment as Zillmann stated, "an activity designed to delight and, to a smaller degree, enlighten through the exhibition of the fortunes or misfortunes of others, but also the display of special skills by other and self" p.6 [15]. Entertainment lead services cover the following activities: Media (TV, newspapers, magazines, and radio), social media, video games, videos, festivals, concerts, and performances [15]. ...
... "All the things human beings make and use" in a culture are part of material culture and "the totality of knowledge, beliefs, values, and rules for appropriate behavior" are considered as the nonmaterial culture (Tischler, 2011: 55). Entertainment and culture are very much interconnected as entertainment is a part of all cultures (Bates and Ferri, 2010). Entertainment is very much related with amusement, any action provides amusement or enjoyment can be define as entertainment. ...
... Mendelsohn and Spetnagel define entertainment as which "occur in designated places and on schedules that are originated by the entertainers and not by audiences" (cited in Bates and Ferri, 2010: 6). Bates and Ferri (2010) also stated that the definition of entertainment can be subjective as well as objective. ...
In present article, the quantitative comparison
between Bangladeshi and foreign entertainment and cultural
news of 10 days of September‟14 and 10 days of September‟16
is revealed by using content analysis method of entertainment
page of three national dailies of Bangladesh. And also, the
quantitative comparison of Indian entertainment news and other
international entertainment news have been examined. The
findings of the research suggest that the national dailies of
Bangladesh are increasing the coverage of Bangladeshi
entertainment news day by day. But on the other hand, most of
the coverage of international entertainment news is publishing
from the entertainment news of India instead of rest of the
world.]
... In addition to affirming the theatrical aspect in Australian football club AGMs, the AGM also provided its own more formal entertainment through musicians and singers on the stage. The narratives went into great detail explaining the songs performed and entertainers themselves, which provided a form of pleasure to the audience (Bates and Ferri, 2010) and was delivered throughout the meeting. ...
... The AGM was also an entertainment event in its own right. From the time the meeting had begun until the final part of the AGM where the singing of songs or the national anthem occurred, there is evidence of communication and audience pleasure (Bates and Ferri, 2010;Biehl-Missal, 2012). While the entertainment portrayed in this case is not part of many AGMs today, it remains part of the 'everyday life' of sporting clubs and indeed big corporations. ...
The Annual General Meetings (AGMs) of Australian Football Clubs in the 1890s were a community event. These AGMs fulfilled the role of accountability, and the dissemination of financial and non-financial information, and were intertwined with a theatrical function. The theatrical aspects of the meeting which included the stage, enthusiastic participants, eminent dignitaries, cheering, applause and audience engagement meant AGMs were also an exercise in entertainment. Through the narratives of newspapers, this article sheds new light on the interrelationships between the accountability and social roles of the AGM.
... That was the primary reason people were seeking entertainment. Bates and Ferri (2010) explain tourism entertainment as well-designed and well-managed situations with dance events, plays, theme park demonstrations, guided tours, and speci ically modi ied video presentations for tourists. However, growing examples of popular entertainment practices are being introduced to improve visitor tourism. ...
The study identi ied the factors that persuade tourists (local or international) to visit SWAT, Khyber Pakhtunkhwa, Pak-istan and whether these factors successfully created positive behavioural intentions among visitors. In total, 684 responses from local and international tourists were collected through a questionnaire survey. The responses were analysed by employing the PLS-SEM technique on SMARTPLS software. Results revealed that most tourists are satis ied with the destination brand, attraction, hospitality, and entertainment given by SWAT's people & local government. These factors create positive future behaviour (i.e., intention to recommend and intention to revisit) among visitors, except transportation which is the only element that failed to attract tourists due to inadequate mechanisms in SWAT. This study highlighted that Pakistan Tourism Development Corporation (PTDC), being a responsible authority in Pakistan for tourism-related matters, still needs to improve and develop tourist destinations in Pakistan to sustain tourism. This study is a pioneer attempt to identify the factors that persuade tourists (local or international) to visit SWAT, Khyber Pakhtunkhwa, Pakistan, using a Likert scale survey questionnaire.
... Entertainment: One of the SMMAs which is entertainment found to be crucial in stimulating brand association, enhancing brand loyalty as well as encouraging consumer interactions (Godey et al., 2016). It is a form of communication that gives some fun and pleasure to the audience (Bates & Ferri, 2010). In the context of luxury brands' pages on social media, users follow them to have fun, initiate interactions and opinions sharing with other users, get the latest information and gain customized service (Kim & Ko, 2012). ...
The growing number of digital platforms nowadays has made the competition to gain users’ attention a challenging task for businesses. Clutter in advertising and sponsored brand posts have made the task even harder as consumers repel to avoid that clutter daily. In contrast with the past, consumers use social media to fulfill certain needs when they are aware of the needs such as hedonic needs, cognitive needs, and social needs. This is why the existence of social media marketing activities known as entertainment, interactivity, and electronic word-of-mouth (e-WOM) is crucial in the marketing planning of a business. Guided by a unique, diversified and preferences-tailored algorithm, TikTok social media app is showing significant growth over the few years since the year of its commencement in comparison to its competitors of social media providers like Facebook and Instagram. The short video app has included a new business model of social commerce called TikTok Shop to promote continuous use providing more than just entertainment. Therefore, to fulfill the objective of this paper in exploring the SMMAs impact on the s-commerce of TikTok Shop, secondary data was employed. The analysis concludes that social media marketing activities or also known as SMMAs in the newly added feature of TikTok Shop have a significant impact in influencing its users. The significant difference between traditional e-commerce and s-commerce was also highlighted to further outline the bright sides of s-commerce.
... Entertainment according to (Bates, What's Entertainment? Notes Toward a Definition, 2000) "involves communication featuring external stimuli; it provides pleasure to some people, though not of course to everyone; and it reaches a generally passive audience" (Bates, 2000). Conceptually, the essence of entertainment itself is the concept of spending leisure time (leisure). ...
Myth is a flexible form of communication by oral means, which has developed traditionally by word of mouth through stories, which can be an entertainment attraction for tourists. One of them is Komodo Island, Labuan Bajo which is a tourist attraction is Komodo which is included in the 7 wonders of the world (Seven wonders) and a growing myth that Komodo was born from a daughter who has twin sons, namely humans and Komodo stars, who were given the name "Orah." The purpose of this study is the meaning and function of myths that develop into tourist attractions, namely the experience of being close to rare animals that can coexist with humans in Komodo village. Entertainment attractions or entertainment as part of tourism products have the power to attract tourists to visit tourist destinations. A qualitative research approach to analyze the meaning of myths and explain the benefits of myths as entertainment attractions that attract tourists to visit tourist areas. The results of this study are that Komodo is a tourist attraction and an icon on one of the islands in the National Park area, Labuan Bajo. That myth can be used as one of the marketing communication activities for tourism products is still not popular as a promotion, but concentrates more on the tourism products presented. The variety and development of entertainment attractions on the island of Komodo need to be further improved, by considering the process of making tourist purchasing decisions, trends that occur in society and referring to the uniqueness of the tourist destination itself and alternative attractions other than the Komodo dragon. In addition, information for the public about tourist destinations and their products also continues to be improved and published. Another development is the selfie phenomenon, where taking pictures and uploading photos to social media is important as a means of promotion.
... Although the concept of entertainment is defined in various approaches (Mendelsohn & Spetnagel, 1980;Barnouw & Kirkland, 1992;Bryant & Miron, 2002;Bates & Ferri, 2010), entertainment is defined in a general way as any activity that is carried out in designated areas, designed to give pleasure by the artists who design entertainment. Sometimes the audience is included in the production process, and it can be defined as a product that can be sold and marketed and brings profitability. ...
Purpose- This study aims to investigate entertainment marketing activities in the digital entertainment era. In doing so, this study targets to explore digital entertainment marketing activities and strategies. Methodology- The study employs a qualitative method designed as an explorative study. Case study is conducted as a research method. A purposive sampling method is performed. Purposive sampling methods are used to discover and explain facts and events. Typical case sampling which is one of the purposive samplin is conducted. In this method the most typical cases are chosen among a series of cases where a new application or innovation is wanted to be introduced by the researcher. Data is collected by the semi-structured interview technique with the chief marketing officer of a dıgital music platform application. Findings- Digitalisation is the most succesful tool of information and communication technology. Findings reveal that digital consumer engagement is one of the essential methods to keep consumers' dynamism in the digital entertainment era, because of the consumers’ tastes and needs change fastly. Also, personalized content enable consumers to have a great experience. So, digital consumer participation and digital entertainment marketing related with the conseumer satisfaction. On the other hand, due to its' nature, convergence has a tremendous impact on digital entertainment marketing. It is also essential to decide what content will be marketed and who will be the target audience. Moreover, because the Internet removes the limits, globalization of the digital entertainment marketing strategies bring remarkable differentiation. Conclusion- Digital entertainment businesses must be dynamic to keep consumers on the conduit due to the short life cycle of the content. Digital marketing channels are quite effective channels to convey the marketing message. Social media usage is the one of the most effective methods for promotion activities. Social media utilization and using influencers as marketing campaigns significantly sustain the business and profitability. Keywords: Entertainment marketing mix, digitalization, digital entertainment, social media usage, typical case sampling. JEL Codes: M30, M31, M39
... Film academic Richard Dyer comments that 'because entertainment is a common-sense, "obvious" idea, what is really meant and implied by it never gets discussed' (Dyer, 2002; see also Bates and Ferri, 2010). In philosophical aesthetics, entertainment is mostly treated in negative contrast to art, as 'non-artistic performance'. ...
... Likewise, the findings reveal that consumers like to buy branded products because of its superior quality and that some of the consumers are also willing to pay extra for branded products only if the quality of the product is high. The research conducted by Bates and Ferry (2010) humour advertisement showed that marketers insert the element of humour in their ads as it pleases the customers. Similarly, Chan (2011) stated that advertisement has the element of humour stays longer in the minds of the consumers. ...
The main aim of the study is to analyse the impact of humorous advertisement on the purchasing decision of Malaysian consumers. The background of the study proved that humour advertisement has always remained important to the marketers. Furthermore, it has also been observed that humour advertisement is also studied vastly by the previous researchers in different contexts using different strategies. However, the research gaps identified above has revealed a lacking of research studies in the context of Malaysia. The study also found to be significant because the previous studies have highlighted that a Malaysian advertisement agency a huge amount of money on humour advertisement, but due to lack of studies on humour advertisement and buying behaviour the marketers and the companies are unable to determine the significance of their spending. The objective of the research has been fulfilled by testing the hypothesis of the study. The questionnaire based survey has been undertaken upon the sample of 360 respondents. Furthermore, data analysis has been carried forward with the help of SPSS through regression and correlation. The results reveal that significant relationship exists between the independent variable (humour advertisement) and all the dependent variables (Purchase Decision, Attitude towards Brand, Attitude towards Quality, Attitude towards Presentation, and Attitude towards Entertainment) as the value of sig. appeared to be less than 0.05. However, strong correlation only exists between humour advertisement and attitude towards advertisement and consumer purchase decision. .
... Entertainment frequently does more than entertain-or, to put it another way, entertainment and non-entertainment tasks are frequently linked. In the context of this case study, Bates, S., & Ferri, A. J. (2010) reconstructed definition of entertainment is more appropriate, which is in largely objective terms, entertainment entails communication via external stimuli, which reaches a generally passive audience and gives some portion of that audience pleasure. Pearlin (1959) introduced the idea that individuals use media to escape from the restrictions and frustrations of everyday life. ...
Netflix, a compound name of 'Net' and 'Flicks', is a streaming entertainment company with 210 million members in more than 190 countries around the world. Subscribers can enjoy unlimited content from Netflix and other sources without any conditions or restrictions such as advertisements or contracts. Netflix needs to prepare a new marketing strategy for when the pandemic is over. Understanding the consumer behavior of the streaming entertainment industry after the outbreak will help Netflix and other streaming platforms. The research objective that we will carry in this case study focuses on the spending behavior of Netflix consumers in terms of entertainment media, wherein their decision making process should include the changes that Covid-19 has brought to their lives in general, their quarantine lifestyle, their needs and choices of entertainment before and after the pandemic started, as well as the external considerations of other competing streaming services. The case study results are expected to be useful not only for Netflix’s marketing strategies during Covid-19 and afterwards, but also for other movie streaming platforms to see how much the pandemic has an actual effect on consumer behavior in the segment of entertainment media.
... Podejmując szczegółową ocenę zmian, które zaszły w sektorze rozrywki z perspektywy przedsiębiorcy, zgodnie z podziałem zaproponowanym przez Bates i Ferri (2010), należy wziąć pod uwagę zarówno kategorię kultury popularnej oraz kultury elitarnej. Jak wskazuje raport McCann Worldgroup (2017) 91% amerykanów stwierdza, że nie wyobraża sobie życia bez ulubionych książek, muzyki, filmów, zespołów muzycznych, czy sportu. ...
... Entertainment tourism is described by Bates and Ferri (2010) as a controlled, well-organized set of different occasions, such as performances, guided tours, exhibits, and festivals. The events sector is seen as a converging point of the tourism and entertainment industries with recent statistics showing that events are one of the fastest growing sectors in the tourism industry (Andersson & Lundberg, 2013;Yolal et al., 2016). ...
A recent United Nations World Tourism Organisation publication, Regional report on women in tourism in the Middle East identified that the representation of women working in tourism in the Middle East and North Africa (MENA) region is significantly below the global average. The Kingdom of Saudi Arabian (KSA) government is seeking to address this imbalance. The purpose of this research is to support this initiative, by determining how women’s workforce participation in the event sector can be encouraged. A qualitative study using a mix of case studies and semi-structured interviews with twelve personnel from within the event sector in KSA was conducted. Additional qualitative data was gathered from the authors’ participation in virtual gender-related tourism events and conferences. Thematic analysis indicated key findings which include the need for the KSA government and the corporate sector to promote a positive attitude towards women in the workplace. The cessation of activity in the sector, due to COVID-19, requires government and business leaders to develop a recovery plan that will continue to foster the empowerment of women in the sector. Without a recovery plan, there is a real risk that the gains in the empowerment of women in the sector will be lost.
... Hayatın insanı üzen, yoran ve sıkan boyutlarından kaçmak için eğlenmeye ihtiyaç duyulduğu rahatlıkla söylenebilir. Eğlencede amaç, neşeli ve hoş vakit geçirmek olduğu için sohbet etmek, oyun oynamak ya da dans etmek gibi etkinlikler eğlenmek olarak nitelendirilmektedir. Eğlenceyi tanımlamanın zor olduğu çünkü ortak aklın ortaya koyduğu bir kavram olduğundan herkesin ne olduğunu bildiği ifade edilmektedir (Bates & Ferri, 2010). Bu nedenle, eğlencenin sınırları geniştir fakat yine de belirli bir çerçeveye sahiptir. ...
İnternet teknolojilerinin hızlı gelişimi ve yaygınlaşmasıyla birlikte gündelik hayat, eğitim ve iş hayatında çeşitli değişimler kaçınılmaz olmuştur. Böylece dijital ortamların hayatın bir parçası haline geldiği görülmektedir. İnternetin sağladığı zengin içerik yapısı, eğitim ve iş hayatına katkı sunarken günlük hayatın yorucu ve stresli yüzünden kaçabilmek için de eğlenme amaçlı çeşitli katkılar sunmaktadır. Geçmişten günümüze eğlence hayatın vazgeçilmez bir parçası olmuştur. Dijital ortamlarla birlikte eğlence, gerçek hayattakine benzer olmasının yanında farklı bir biçimde de internet ortamına taşınmış ve giderek yaygın hale gelmektedir. İnternet üzerinden dizi, film, belgesel ve video izleyerek, müzik ve radyo dinleyerek, oyun oynayarak, mesajlaşarak ve sosyal medya kullanarak hoşça vakit geçirmek mümkün hale gelmiştir. Bu noktada, internetin eğlence aracı olarak kullanımı esnasında birtakım dijital tehditlerin (siber zorbalık, internet ve oyun bağımlılığı, müstehcen içeriklere maruz kalma, kişisel bilgilerin paylaşımı) oluşabileceği ve çeşitli önlemler alınması gerektiği bilinmektedir. Yapılan bu literatür çalışması kapsamında, Türkiye’de geçmişten günümüze eğlence anlayışındaki değişimlere, eğlence amaçlı internet teknolojilerinin kullanım kapsamına, dijital eğlencenin yasal ve etik boyutuna ve bireylere yönelik değerlendirmeler yapılmıştır. Bu değerlendirmelerden hareketle, gelecekte dijital ortamlarda eğlence anlayışı üzerine çıkarımlar yapılmıştır.
... Enriching the entertainment industry by forming committed entertainment area is one of the themes in developing our tourism under the Economic Transformation Program (ETP) (Bhuiyan, Siwar & Ismail, 2013). Entertainment is hard to define and Bates and Ferri (2010) recommended that entertainment activity "entails communication via external stimuli, which reaches a generally passive audience and gives some portion of that audience pleasure" (p. 15). ...
In promoting tourism, businesses in entertainment industry should provide e-commerce to their potential customers. Amongst the businesses in entertainment that are engaged in e-commerce include Sunway Lagoon, Golden Screen Cinemas (GSC), Escape-Room and KidZania. Hence, this chapter presents an evaluation of online marketing strategies and tools used by airlines industries like Malaysia Airlines System (MAS), Firefly, AirAsia, and Malindo Air, besides entertainment industries such as Sunway Lagoon, Golden Screen Cinemas (GSC), Escape-Room and KidZania. This research noted that websites need to be more interactive, enable customers to interact and socialize among each other through membership management and additional value-added information. Website with graphics and hyperlinks are not persuasive enough, website should improve with additional suggestions or ‘show more' features to invite customer perform additional clicks and explore to the website. Most of the website offers membership to its customer. This, this membership function should be fully utilized.
... "Entertainment" has been defined as: "communication featuring external stimuli; providing pleasure to some people, though not of course to everyone; and reaching a generally passive audience." [7] For the purpose of this article, we consider "entertainment media" as those forms of communication which are used recreationally, are interactive to a large extent, digital or nondigital; and engage the user with the help of multiple sensory modalities and in this article, we attempt to explore the models and means in which they can be integrated into teaching UG psychiatry. ...
... "Entertainment" has been defined as: "communication featuring external stimuli; providing pleasure to some people, though not of course to everyone; and reaching a generally passive audience." [7] For the purpose of this article, we consider "entertainment media" as those forms of communication which are used recreationally, are interactive to a large extent, digital or nondigital; and engage the user with the help of multiple sensory modalities and in this article, we attempt to explore the models and means in which they can be integrated into teaching UG psychiatry. ...
Background and Objective: Medical education is undergoing a seminal change with respect to curriculum as well as teaching methods, with students in tune with the current developments in the technology and seeking newer techniques to learn medicine. The rapid pace of progression of medical science, and the breadth and depth of material to be learned, warrants formulation of techniques light on time and learning intensive. In this article, we explore such potential ideas and the principles behind using them for undergraduate (UG) education, with concepts about how they can be integrated into the current UG curriculum. Materials and Methods: Electronic searches of databases PubMed and Google Scholar were carried out to identify and include English language articles from inception till December 2019, and 36 relevant articles were selected for review. Results: The observational/passive methods included music, movies, television shows, radio, and podcasts, whereas the active methods included role play, simulated class press conferences, courtrooms, art, designing posters and pamphlets, games and gamification, Pictionary, tabletop games, and also creative writing – short stories and poetry. Conclusion: A student-centered approach rather than an exclusive technology-based approach would be ideal, and these unconventional and innovative methods provide opportunity to apply, analyze, synthesize, and evaluate information rather a process of passive listening.
... The main purpose of entertainment in today's life is to relax people who are exhausted by modern life (Yaylaci & Yaylaci, 2016). Bates & Ferri (2010) clarified that "Entertainment has been a part of all cultures, from the Chauvet Cave paintings to the iPad". According to Singhal & Rogers (2006) entertainment is becoming an important part of people's personal lives, such as shopping, traveling, eating, driving, exercising, and working experiences. ...
In recent years, the concept of edutainment has been introduced to the field of education. It is a blended word which has been formed from education and entertainment. The lion aim of this blending is to enhance the process of education through entertainment materials. The researchers have applied this concept to investigate students’ tendencies to use various entertaining materials in their learning process at the University of Halabja\ department of English language for the academic year (2018-2019). The aim of this study is to expose the value and need of edutainment in the process of learning among these students. To achieve this goal, the researchers grounded a theoretical background about some diverged entertainment devices and their impacts on students' learning achievements. Then, formed an academic questionnaire to detect the scope of the use of entertainment sources by these students and the knock of them over their learning achievements. At the end, they analyzed and sieved the results of this questionnaire and concluded the study with their proper recommendations.
... Although a lot of the work has focused on formalizing the study of entertainment, scholars do not yet agree on a precise definition of entertainment. Indeed, for most researchers a subjective approach to defining entertainment is enough [20]: entertainment is whatever individuals find entertaining ...
From an artificial intelligence standpoint, creating adaptive games that maximize players' enjoyment has remained a challenge since it is unclear how to effectively design and implement adaptive game modules or understanding which game features should be adjusted to achieve this objective. In order to address these challenges, in this thesis, we present a generic flow framework for game AI -- FlowAI. Our flow framework describes which modules and what gameplay features can be adapted to design an effective video game intended to facilitate the achievement of the optimal experience called flow.
Furthermore, as a first step to empirically evaluate FlowAI, we approach the problem of fostering immersion. Particularly, we focus on designing believable behaviors for Non-player Characters (NPCs). That is, creating NPCs that appear to be controlled by a human player. To achieve this goal, this thesis introduces HRLB^2 -- a model-based hierarchical reinforcement learning framework for believable bots. This novel approach is designed so it can overcome the two main challenges of creating human-like NPCs. The first difficulty is exploring domains with high-dimensional state-action spaces while satisfying constraints imposed by traits that characterize a human-like behavior. The second problem is generating a diversity of behaviors, which also adapt to the opponent's play style. We evaluated the effectiveness of our framework in the domain of the 2D fighting game named Street Fighter IV. Accordingly, we implemented a bot in our framework and then assess its human-likeness by performing a Turing test. The results of these tests demonstrate that the bot behaves in a human-like manner.
... Their aim is the "development of a more objective definition [which] can help unify and advance the field of entertainment studies." 5 They argue that a solid research area should rest on a clear conceptual framework and therefore advocate a scientific definition as opposed to a more causal definition built on ideas of what is entertaining. Their definition rests on an extensive study of academic descriptions. ...
An increasing interest in popular culture, entertainment, and leisure studies has resulted in a more thorough discussion of entertainment and its function in everyday life. That entertainment needs to be studied on its own terms, and not just in relation to some other area, is important. Instead of viewing entertainment as merely something connected with enjoyment and pleasure, the article looks at how entertainment renegotiates vital questions and topics from everyday life through its performance practice. Entertainment is used as an enhanced awareness, a de-familiarization, illustrating the function of different norms.The article examines two different scenes from two different productions of August Strindberg’s novel The People of Hemsö. The first analyses the arrival of an outsider, coming from the mainland to the archipelago. The second underlines the seriousness of gender inequality. Both examples stress the importance of studying how entertainment functions as a specific performance style/practice that re-negotiates the content being communicated.
... Vorderer (2001) refers to entertainment as a pleasant experience that helps a person to cope with daily, boring and burdening situations. Bates and Ferri (2010) describe entertainment as an activity that provides pleasure to a passive audience. Resulting from these definitions, it appears that the search for entertainment is one of the reasons why individuals engage in a particular communication media. ...
Entertainment, escapism and passing time have been used in Uses and Gratification (U&G) studies to understand individual’s needs concerning media choice. This study examines the usefulness of the Uses and Gratification theory in examining university students’ motives to play Facebook games. The data were collected from 118 university students using a self-administered questionnaire to assess the constructs of the Uses and Gratification theory. The collected data were analysed using the regression technique. The analysis identified entertainment as the main significant motive why students play Facebook games.
... The definition considers all kinds of activities wherein the person is a witness, participant, or sole performer. 8 Spirituality was defined as the perception of individuals about themselves as a spiritual and/or religious person with moments of silence, prayer, or meditation. 9 In this context, this study investigated the role played by the family, spirituality, and entertainment in moderating the influence of peers on drug consumption among Brazilian university students. ...
A quantitative, descriptive and exploratory study, with a cross-sectional design aimed at investigated the role of the family, spirituality and entertainment in moderate relationship of influence of pairs and drug consuption among university students of one university. The sample was composed of 250 students from a public university in Brazil. A questionnaire was developed with 5 validated scales that interrogated about the influence of the peer group, the family relationships, the entertainment, the spirituality, and drug consumption. It was used SPSS version 18 for the statistical analysis. The data indicated that 90.8% of students had at least one friend who is drug consumer, most of them use alcohol, tobacco and marijuana. There was significant association between some academic and sociocultural factors and the consumption of licit and illicit drugs. We recommended that some preventive strategies should be elaborated considering the influence of sociocultural factors about drug consuption among university students. © 2015, Universidade Federal de Santa Catarina. All Rights Reserved.
This research explores the relationship between technology, entertainment, and the environment to understand urban tourists’ receptivity to ecogamified transport and mobility apps. Rather than providing conclusive solutions, this study follows an exploratory approach to establish relevant grounds for tourist clusters regarding their potential receptivity to ecogamification, an area that is still under explored. This study follows a segmentation approach, using a self-administered online questionnaire. The data, stemming from 572 adult respondents who have travelled to urban destinations in the past 3 years, were analysed through a combination of non-hierarchical and hierarchical cluster analyses. The results reveal four clusters of urban tourists with different types of potential receptivity to ecogamification: “Mobi Wholeheartedly”; “Mobi Whatever”; “Mobi Profiter”; and “Mobi Utilitarian”. This study adds to current research by adopting new segmentation approaches and more open assumptions concerning the potential receptivity to (eco)gamification. It also provides fresh evidence regarding tourist receptivity typologies and the existence of differences (and overlaps) among these types of tourists. It explores how that receptivity might occur based on the intersection between technology, entertainment and the environment. It examines the implications of tourist segments in ecogamification strategies, providing overall useful insights to destination management organizations, destination marketers and game designers.
The concepts of “entertainment” and “pop culture” generate tension with religion and religiosity. Pop culture can be understood as a new global worldview and as a complex contemporary urban mythology that, by articulating narratives and producing meanings, participates in the construction of collective identities and socio‐affective bonds among its adepts/consumers. Many examples of utilitarian interactions in relation to media technologies and the appropriation of elements of pop and entertainment language exist. Both approaches – iconoclastic and iconographic – portray a process typical of religious movements, especially in the scope of Christianity. The resources category translates as approaches that do not see the media, pop, and entertainment as threats or opportunities for religious communication, escaping from a Manichean rationale. Hopefully more studies will consolidate pop culture and entertainment as critical tools to confront stereotypes and as effective instruments for positive social change.
Zoos and aquariums provide multidimensional learning experiences that are part of users’ broader landscape of learning. The authors challenge the designation of “informal learning” as a descriptor for settings like zoos and aquariums (Z/As), and focus on research that can more accurately reflect the many ways that learning occurs in these settings and is integrated into people’s daily lives. This alternative view seeks to capture the totality of the learning value these places bring to their users and society as a whole. The authors suggest that these institutions offer constant opportunities for learning and that visits to them are always purposeful even if the individual learning that ultimately occurs does not mesh with the institutions’ intended learning goals. Following a review of the historical foundation of the contemporary museum and theories of non-formal and informal learning, the authors propose a new, integrative approach that can more clearly distinguish the range and context in which intentional museum learning pursuits serve in an individual’s life. By applying the understanding of the structures of learning environments to a Z/A context, the paper demonstrates that incremental studies of individual visitor experiences or exhibitions fail to address the full context of learning that occurs at these institutions in their capacity as a destination and as a social actor working beyond its on-grounds experience. In proposing this framework, they offer recommendations for a more integrative transdisciplinary approach to the study of the museum phenomenon and strategies for evaluating how these institutions contribute to public understanding and how to look across research results that may be distant from the intentions of these institutions’ missions.KeywordsInformal educationNon-formal educationFormal educationMuseum researchVisitor studiesZoos and aquariums
Zoos and aquariums seek to be a trusted community resource for promoting wildlife and environmental conservation behaviors. While demographic data suggest that attendance at zoos and aquariums is demographically representative of the communities where they reside, the series of studies presented here suggest that zoo and aquarium visitors are psychographically different than non-zoo and aquarium goers in their communities. The three studies employed two pre-validated studies to compare zoo and aquarium visitors’ environmental and wildlife values and ethics with non-visitors. The results demonstrated that zoo and aquarium visitors are psychographically different from non-visitors, being more likely to view wildlife as part of an extended family and as deserving of rights for protection rather than having purely utilitarian value to human society. These findings demonstrate that zoo and aquarium goers are even more likely than either their neighbors or the broader US population to support the conservation of wildlife for their own value as well as their intrinsic value to the environment. These data offer zoo and aquarium professionals new information for fine-tuning visitor programs and communications to more effectively link visitors’ values to desired social outcomes.KeywordsWildlife value orientationsEnvironmental ethicsZoo-visitor psychographicsConcern for natureZoosMuseumsAquariumsAnthropomorphismHuman dimensions of wildlifeConservation psychologyEthical beliefs
Politeness strategy is used in conversations to save addressee’s face by performing an expression that is less threatening for the addressee’s face. The aims of this research are to analyze politeness strategies used by two major characters of the seventh singularity story of Fate/Grand Order social game, and also to analyze the factors that influencing their choicess of politeness strategies. This research employed a descriptive qualitative method. The description of the data is in the form of utterances and examined based on Brown and Levinson theories of politeness strategy. Based on the obtained result, it can be concluded that the two major characters, Mash Kyrielight and Enkidu/Kingu applied four kinds of politeness strategy (bald on record, positive politeness, negative politeness and off record). Both characters mainly used positive politeness strategy, while the least used strategy is bald on-record. Their choice of politeness strategies mostly influenced by social distance factor, imposition and also the power factor.
In the development of digital visual culture, data emerges as the most important tool. Especially when the
role of digital visual data in the construction of the virtual world is considered, it is seen that it is at the
center of all digital processes. The actions and contents of the individual in the virtual environment develop
depending on the management of the data.
When digital content processes are evaluated in the digital world, it is seen that data density increases at an
exponential rate. In this framework, new scientific initiatives should be revealed in order for these contents
to be defined as digital footprints and managed by the individual. It is important to define new concepts
and processes for the management of data in digital communication processes, especially by considering
the design area of the digital footprint and the contact points. In this context, new approaches have been
tried to be put forward by considering the subject.
In this study, the subject has been dealt with descriptively in order to contribute to the literature, and it has
been tried to reveal the expansions for the management of the digital footprint created through the design
discipline in the formation of digital visual culture. In the research, it has also been tried to explain how the
digital footprint affects the digital communication processes with examples.
Purpose- In the study, the subject of entertainment marketing is investigated, while the entertainment industry is discussed. However, this study aims to examine the effect of digitalization in entertainment marketing by researching new entertainment concepts throughout digitalization. Furthermore, the digitalization of the entertainment industry and to reveal its conversion, digitalization and its marketing in the music industry is examined. Methodology- Due to the study being designed as exploratory research, the case study method is used. As a research method, the case study method allows for an in-depth understanding of the cases, while focusing on a specific subject, it requires examining the conceptual structure of the cases. Accordingly, the study employs one of the purposive sampling methods, the typical sampling method. Typical case sampling is conducted by choosing one or more of the most typical cases among a series of cases where the researchers aim to introduce a new application or innovation. In this context, a new digital music application is discussed as a typical case, the entertainment marketing applications of digitalization are revealed by trying to gain a perspective via this application. Findings- The analysis reveals that it is significant to exist in the digital world of the entertainment industry as differentiated from the competitors. On the other hand, it is emphasized that digital entertainment products, namely content, are perishable due to rapid consumption and rapid change in consumers' tastes and wants. Customization of the content and increased consumer engagement emerges as important strategies in digital entertainment marketing. Digital marketing channels are also important to choose the distribution channel of digital content, and successful promotional activities might be achieved, especially with the use of social media and influencers. Last but not least, the importance of adapting the marketing strategies of digital entertainment platforms to the global consumer is revealed. Conclusion- The product life cycle of digital entertainment content is short, and businesses must keep consumers dynamic to survive in the digital world. It is concluded that the implementation of user experiences such as personalization of content and consumer participation is important to increase consumer engagement in digital content marketing with typical case sampling applied through one-on-one interviews. It is also concluded that the content that corresponds to the product of traditional marketing is up-to-date and the convergence, which is one of the concepts of entertainment marketing mix and especially representing the use of technology is up-to-date, and it has a significant effect on the marketing of the content to stay dynamic and keep the users in the application. Keywords: Entertainment, digitalization, entertainment marketing, digital entertainment marketing, typical case sampling JEL Codes: M30, M31, M39
The present article examines middle and lower-class women, their experi- ences and complex relationships with various actors in the entertainment sector dur- ing the late Ottoman era (19th and 20th century). This article points out that middle- class Ottoman Muslim women appear in this sector only as private property owners in contrast to non-Muslim Ottoman and foreign middle-class female entrepreneurs and business managers. It also draws attention to self-employed women in the sec- tor that represented the lower part of the middle-class. It then considers the lower class Ottoman non-Muslim and foreign women who worked as acrobats, singers, dancers, and actresses; for cultural/religious reasons, Muslim women could not hold positions on the theater stage until 1920. This approach categorizes the women who entered the sector as either lower and middle-class, specifies their various roles and religious/ethnic backgrounds. Fundamental to the proposed analysis are the everyday experiences of the lower class working women, including their public display of their sexuality, practicing prostitution, exposure to male violence, and having an intricate relationship with the state, customers, and other performers. Thus, this article seeks to capture the voices of women who became involved in the entertainment sector, with its ethnic/religious, class and gender dimensions.
Dijital görsel kültürün gelişiminde veri en önemli araç olarak karşımıza çıkmaktadır. Özellikle dijital görsel verinin sanal dünyanın kurgulamasındaki rolü ele alındığında, dijital süreçlerin tümünde merkezde yer aldığı görülmektedir. Bireyin sanal ortamda gerçekleştirdiği eylem ve içerikler verinin yönetilmesine bağlı bir şekilde gelişim göstermektedir. Dijital dünyada dijital içerik süreçleri değerlendirildiğinde üstel bir hızla veri yoğunluğunun arttığı görülmektedir. Bu çerçevede bu içeriklerin dijital ayak izi olarak tanımlanarak birey tarafından yönetilebilmesi için bilimsel yeni açılımların ortaya konması gerekmektedir. Özellikle dijital ayak izinin tasarım alanı ile temas noktaları ele alınarak, dijital iletişim süreçlerinde verinin yönetilmesine yönelik yeni kavram ve süreçlerin tanımlanması önem arz etmektedir. Bu çerçevede konu ele alınarak yeni yaklaşımlar ortaya konmaya çalışılmıştır. Bu çalışmada konu literatüre katkı sağlaması için betimsel olarak ele alınarak, dijital görsel kültürün oluşumunda tasarım disiplini üzerinden oluşturulan dijital ayak izinin yönetilmesine yönelik açılımlar ortaya konmaya çalışılmıştır. Araştırmada ayrıca dijital ayak izinin dijital iletişim süreçlerini nasıl etkilediği de örneklerle açıklanmaya çalışılmıştır.
21. yüzyılda gelişen teknolojinin getirdiği yeniliklerle birlikte kültür, eğlence ve iletişim alanlarında da değişimler yaşanmıştır. Bu yenilikler sayesinde medya bireylere ulaşma imkânına kavuşmuştur. Covid 19 pandemisi sırasındaki kısıtlamalar sonucunda bireylerin evde eğlendiği ve boş zamanlarını değerlendirdiği ortamların başında sosyal medya uygulamaları gelmektedir. TikTok, içeriği bakımından diğer sosyal medya uygulamalarından farklılık göstermektedir. Geleneksel medyada yer alamayan izleyiciler, TikTok videoları aracılığıyla sadece doğal hallerinde eğlenme fırsatı bulmakla kalmıyor, aynı zamanda çektikleri kısa videolarla fenomen olma fırsatına da sahip oluyorlar. Günümüzde milyonlarca takipçisi olan kullanıcılar bu uygulama sayesinde deneyim kazanmakta ve gelir elde etmektedir. Herhangi bir bireyin bu şekilde TikTok uygulamasında paylaştığı bir video ile 15 saniye boyunca tanınması mümkün olmaktadır. Bu beğenilebilme ihtimali adına bireyler ürettikleri videolarda tüm yaratıcılıklarıyla kendilerini kanıtlamaya çalışmaktadırlar. Mevcut çalışmada, amaçlı örnekleme yöntemiyle evren olarak TikTok ana ekranına rastgele gelen 1000 içerik ve en fazla takipçisi olan 10 TikTok hesabı seçilmiştir. Elde edilen veriler, nitel içerik analizi yöntemiyle eğlence kültürü ve kullanıcı deneyimi açısından kullanımlar ve doyumlar yaklaşımı bağlamında değerlendirilmiştir. TikTok uygulaması, kullanıcı deneyimi açısından da yapısal olarak incelendi. Çalışmanın amacı, 2021 yılında en popüler alan adı “google”'lı dahi geride bırakan TikTok uygulamasının içeriklerinin eğlence kültürü ve kullanıcı deneyimleri açısından ilişkisini ortaya çıkarmaktır. Araştırma sonucunda TikTok uygulamasının yoğun olarak şiddet, cinsellik ve aşağılama gibi olumsuz içerikleri barındırdığı belirlendi. Ayrıca dijital kültürün izlerini taşıyan TikTok uygulamasının içeriklerinde kullanıcıların eğlence içeriği ürettiği tespit edildi.
This study examines how Chosŏn Korean ambassadors’ encounters with Qing entertainment impacted their views of the Qing dynasty in China based on their travel accounts written during the eighteenth and early nineteenth centuries. During diplomatic trips as ambassadors, select Chosŏn literati were able to experience new and exotic forms of foreign culture. This article focuses on Qing entertainments, including fireworks, lantern festivals, and plays, and related aspects such as theater facilities, that captured the attention of the traveling ambassadors. Through direct experience with Qing entertainments, traveling Chosŏn dignitaries gained first hand experience of Qing commercial and technological development. Some of these witnesses came to the realization that the Qing had become a successful ruling dynasty, which dismantled previously held assumptions by most Chosŏn literati that the Manchus were barbaric and uncultivated.
Purpose
The purpose of this study is to investigate through an empirical research the factors that would attract visitors to heritage and cultural sites as museums applied on the Grand Egyptian Museum (GEM). The paper aims to study the impact of the proposed attraction features learning/knowledge, museum facilities, fun/entertainment and socializing and accessibility/location on pre-visit destination image.
Design/methodology/approach
The author started by a thorough literature review to arrive to the suggested conceptual model, which is tested by adopting a quantitative approach where data were collected using a self-administered questionnaire from a convenient sample of 300 respondents with 90% response rate and used partial least squares – structure equation modelling using Smart PLS v.3.2.8.
Findings
The results show that three of the tested factors were accepted and one was rejected.
Practical implications
Management of GEM, which will be one of the biggest museums world-wide, can make use of the empirical results of this research to enhance their understanding of the factors that impact pre-visit destination image, and thus, most attract visitors to justify the budget set in this huge project and achieve highest visitation and revenue
Originality/value
This research deals with a new museum that has not opened its doors yet and will start functioning in late 2020, and thus, the pre-visit image of the museum is not based on previous experience of visitors but rather on secondary sources as messages sent to visitors based on attraction features, while most previous studies dealt with post-visit image of museums
There have been a wide range of studies on the interplay between education and
technology. Furthermore, there are many other studies aimed at analyzing the scholarly
output on this subject with a holistic approach. However the studies are mostly focused
on the facilitator role of technology. Although the idea that educational processes have
become more fun, thanks to the widespread use of technology, there is a strong need for
the critical analysis of the interplay among education, entertainment and technology.
Taking this need into account, and drawing on Neil Postman’s critical approach on this
trio, this article aims to discuss and evaluate the tendencies and understandings in
relation to the notion of “edutainment” primarily with reference to “edutainment” studies
carried out in Turkey. It is expected that this evaluation would contribute to similar future
studies, thus helping the policy development. According to findings of the study, although
the edutainment studies in Turkey reflect the general tendency throughout the world,
there only a few of them quantitatively. There is no consensus on the designation and
definition of the concept of edutainment. From Postman’s point of view, it could be said
that edutainment studies in Turkey lack a critical perspective with regard to technology
and entertainment, and there is a quite limited framework.
The media environment is an extremely variable universe where every now and again we can observe the emergence of new phenomena. Many of those form through blending of often rather different and distant areas. As a result, there emerge hybrid forms, which are not entirely established or completely defined. This article is focussed on those kinds of mixed types based on media entertainment, e.g. infotainment, edutainment, politainment, politicotainment, docutainment etc., which can be observed in the means of mass communication. The goal of the study was to define their essence, their distinctive features, and to indicate the place of those hybrid forms within the media discourses being carried on today.
Populacja na każdym etapie egzystencji, nawet w najbardziej traumatogennych warunkach, potrzebuje rozrywki. Z tego względu opis doświadczenia obcej dominacji powinien uwzględnić obszar kultury popularnej jako pola artykulacji zarówno antykolonialnego sprzeciwu subalterna, jak i jego kolonialnej subordynacji. W artykule sformułowano propozycję badań nad drugim aspektem, wskazując na kulturowe mechanizmy naturalizacji hegemona w dyskursie podporządkowanych poprzez jego idolatryzację.
Entertainment is a significant industry, but there is no clear definition of the term ‘entertainment’. Before we can study and understand the entertainment industry, a definition of the term is required. Collis draws on her research with entertainment industry professionals to determine the industry definition of ‘entertainment’. From an entertainment industry perspective, entertainment is defined and characterised by its audience-centred, commercial nature, rather than by its content, its genre, its audience, or the kind of emotional response it may or may not elicit from its consumers.
Advertising is changing the way to communicate with consumers. New forms of advertising that are diversifying the types of Branded Entertainment are appearing. This type of advertising has been analyzed in terms of its content but not from the point of view of the psychological processes that induce on the consumer. The aim of this chapter is to present a classification of the different manifestations of Branded Entertainment based on the manner in which they elicit on the consumer psychological processes, activating their cognitive and emotional resources to experience entertainment, create brand value, and make a positive mental imprint in the consumer's mind. As a result of the analysis of current advertising campaigns from this perspective, this classification distinguishes four levels of processing that allows understanding of the whole of the current manifestations of Branded Entertainment and opening new ways to study their advertising effectiveness.
Previous research has provided insights into factors influencing attitudes toward advertising in general, and those factors influencing attitudes toward advertising in a particular medium. However, attitudes towards Facebook advertising, especially those of Generation Y, have received relatively little research attention, especially in the South African context. The Generation Y cohort (individuals born between 1986 and 2005) are heavy users of Facebook, and access the site on a daily basis. In South Africa, approximately 20 million of the country‟s population of 52 982 000 fall into the Generation Y cohort; this makes them a salient market segment. Those engaged in tertiary education are of particular interest to marketers as a tertiary qualification is
often an indication of higher future earning potential, and higher social status within a community. The purpose of this study was to propose and test a model of the possible determinants and inhibitors of Generation Y Students' attitudes towards advertising, in the Facebook environment, within the South African context. The proposed model suggests that information value, entertainment value, credibility, self-brand congruity and trust in site are predictors of attitude towards advertising in the Facebook environment, while invasiveness of advertisements and time cost are inhibitors of attitude towards advertising in the Facebook environment. The study hypothesised that information value, entertainment value, credibility, self-brand congruity, trust in site, invasiveness of advertisements and time cost impact on Generation Y students' perceived value of advertisements on Facebook that in turn directly influence attitudes towards advertising on Facebook.
The study followed a descriptive research design using a single cross-sectional sample and a self-administered survey questionnaire. A non-probability convenience sampleof 450 students enrolled at three public higher education institutions (HEIs) of South Africa located in the Gauteng Province was drawn for the study. Of the questionnaires completed, there were 306 usable self-administered questionnaires. Data were analysed using exploratory factor analysis, Pearson's Product-Moment correlation analysis and structural equation
modelling. Before testing and confirming the hypothesised construct paths, a measurement model was developed based on the exploratory factor analysis and correlation analysis. The results of the correlation analysis showed that invasiveness of advertisements and time cost did not have a significant relationship with the two endogenous constructs of value and attitude towards advertisements on Facebook. As such, the measurement model excluded these two constructs. The measurement model identified seven latent
variables identifying attitudes towards advertisements in the Facebook environment as a seven-factor structure. Confirmatory factor analysis was performed, and the results confirmed the existence of convergent and discriminant validity. The measuring scale of this study also demonstrated composite reliability. The initial structural model (Structural Model A) hypothesised that information value, entertainment value, credibility, self-brand congruity and site trust directly influence perceived value, which, in turn, influences overall attitude towards advertising in the Facebook environment. Despite the fit indices indicating the overall fit of the
hypothesised structural model as acceptable, the path between self-brand congruity and value, as well as the path between site trust and value, were negative and not significant. As such, a revised model based on the original measurement framework was tested. The revised structural model (Structural Model B) was tested to determine whether self-brand congruency and site trust have a direct positive influence on Generation Y students' overall attitude to advertising in the Facebook environment, rather than an indirect influence via their influence on perceived value. In Structural Model B, information value, entertainment value and credibility have a
significant positive influence on Generation Y students' perceived value of advertisements on Facebook, and perceived value has a significant positive influence on attitudes towards advertisements on Facebook. Similar to the findings of previous studies, Structural Model B revealed that self-brand congruity and site trust have a
significant positive and direct influence on Generation Y student's overall attitude towards advertising in the Facebook environment. Furthermore, the revised model (Structural Model B) appears to fit the data better than that of Structural Model B. This study suggested that attitude towards advertising in the Facebook environment is a seven-factor structure composed of overall attitude, information value, entertainment value, credibility, self-brand congruity, trust in site and perceived value. The study also offers recommendations and guidance for marketers who seek to incorporate Facebook in their marketing communication mix.
Z Bu çalışma, rekreasyon ve ilgili kavramları, rekreasyonun boyutlarını ve diğer disiplinlerle ilişkilerini ortaya koyarak; Türkiye'de rekreasyon ile ilgili çalışmaları bulunan akademisyenlerin konuya yaklaşımlarının incelenmesini içermektedir. Verilerin toplanmasında, nitel araştırma yöntemlerinden yarı yapılandırılmış görüşme tekniği kullanılmıştır. Çalışmanın amacı, akademisyenlerden elde edilen verilerin daha sonra yapılabilecek araştırmalara veri teşkil etmesi ve görüş ayrılıklarına dikkat çekerek; bilimsel açıdan sınanması gereken bazı sorunsalları ortaya koymaktır. Sonuç olarak; akademisyenler arasında rekreasyon kavramına ilişkin bazı görüş farklılıkların olduğu tespit edilmiş ve rekreasyonla ilgili bazı konulara hakim olmadıkları saptanmıştır.
