How the transformation of social media platforms and user-experience have redefined the entertainment industry
In a little over a decade, competing social media platforms, including YouTube, ...Facebook, Twitter, Instagram, and Snapchat, have given rise to a new creative industry: social media entertainment. Operating at the intersection of the entertainment and interactivity, communication and content industries, social media entertainment creators have harnessed these platforms to generate new kinds of content separate from the century-long model of intellectual property control in the traditional entertainment industry.
Social media entertainment has expanded rapidly and the traditional entertainment industry has been forced to cede significant power and influence to content creators, their fans, and subscribers. Digital platforms have created a natural market for embedded advertising, changing the worlds of marketing and communication in their wake. Combined, these factors have produced new, radically shifting demands on the entertainment industry, posing new challenges for screen regimes, media scholars, industry professionals, content creators, and audiences alike.
Stuart Cunningham and David Craig chronicle the rise of social media entertainment and its impact on media consumption and production. A massive, industry-defining study with insight from over 100 industry insiders, Social Media Entertainment explores the latest transformations in the entertainment industry in this time of digital disruption.
This paper introduces a kind of family entertainment equipment based on holographic projection technology and optical principle. It can achieve 3D viewing of video effect without wearing any head ...display equipment, with a sense of immersion and substitution. The equipment is mainly composed of external stereo structure and internal specific source. The results can be used for family entertainment. In the process of using, it can be visualize, embodied and effectively reduce the damage of digital devices to users' eyes.
Little is known about the motivations underlying viewer engagement in the rapidly growing live-streaming multimedia phenomenon. This study trialled an eight-factor socio-motivational model, based on ...Uses and Gratifications Theory, to explain four aspects of live-stream viewer engagement. Cross-sectional data was collected through an international, online self-report survey of Twitch users (N = 2227). Multiple and ordinal linear regression analyses identified six motivations which helped to explain live-stream engagement: social interaction, sense of community, meeting new people, entertainment, information seeking, and a lack of external support in real life. Compared to mass media, viewer motivations to engage in live-stream entertainment appear to have a stronger social and community basis. Furthermore, live-stream viewers who preferred smaller channels (<500 viewers) were more motivated by social engagement than viewers who preferred larger channels. These findings offer insight into the motivations for live-stream engagement, and help to lay a foundation for further research.
•Live-stream viewer engagement was explored from a socio-motivational perspective.•Social and community interaction motivated all types of live-stream engagement.•Viewers who lacked external support spent more time watching live-streams.•Small channel viewers were more socially motivated than larger channel viewers.
This paper studies the adult online entertainment industry, particularly the consumption side of the market. In particular, it focuses on the demographics and consumption patterns of those who ...subscribe to adult entertainment websites. On the surface, this business would seem to face a number of obstacles. Regulatory and legal barriers have already been mentioned. In addition, those charging for access to adult entertainment face competition from similar content available without a fee. In the context of adult entertainment, free access offers consumers an extra benefit: online payments tend to create records documenting the fact of a customer's purchase; consumers of free content may feel more confident that their purchases will remain confidential. More broadly, measured levels of religiosity in American are high. On the other hand, social critics often argue that the rise of Internet pornography is contributing to a coarsening of American culture. Do consumption patterns of online adult entertainment reveal two separate Americas? Or is the consumption of online adult entertainment widespread, regardless of legal barriers, potential for embarrassment, and even religious conviction?
Through the connection of deliberative democracy and entertainment theory this article proposes a normatively grounded basis for research on political (entertainment) media. With regard to ...deliberation, it builds upon mediated deliberation research and a concept Goodin called “deliberation within.” As for media entertainment processes, it draws on two-process-models of entertainment experiences. Building on further insights from both areas, it presents a theoretical model that combines these concepts. The model elucidates how normative deliberative standards may be compatible with the entertainment needs and experiences of media users, thereby offering a viable perspective for the political education of citizens in modern democracies. Consequences and recommendations for practice and further research are discussed.
The authors propose a quantitative approach for describing entertainment products, in a way that allows for improving the predictive performance of consumer choice models for these products. Their ...approach is based on the media psychology literature, which suggests that people's consumption of entertainment products is influenced by the psychological themes featured in these products. They classify psychological themes on the basis of the "character strengths" taxonomy from the positive psychology literature (Peterson and Seligman 2004). They develop a natural language processing tool, guided latent Dirichlet allocation (LDA), that automatically extracts a set of features of entertainment products from their descriptions. Guided LDA is flexible enough to allow features to be informed by psychological themes while allowing other relevant dimensions to emerge. The authors apply this tool to movies and show that guided LDA features help better predict movie-watching behavior at the individual level. They find this result with both award-winning movies and blockbuster movies. They illustrate the potential of the proposed approach in pure content-based predictive models of consumer behavior, as well as in hybrid predictive models that combine content-based models with collaborative filtering. They also show that guided LDA can improve the performance of models that predict aggregate outcomes.
This article studies the importance of entertainment TV for the selection of political leaders in the context of an important case study: Donald Trump's win in the 2016 presidential election and his ...previous role as host of the popular TV show “The Apprentice.” We find a positive correlation between TV ratings of The Apprentice and the county-level Republican vote share in 2016, but this correlation vanishes once we control for pre-existing voting and NBC viewership patterns. This null result is robust to different model specifications, measures of exposure to The Apprentice, and an extensive investigation of heterogeneous effects. Viewership of The Apprentice is also unrelated to Congressional election results, as well as support for Trump in survey data and the Republican primaries. These findings highlight the context-dependent importance of television for political leadership.
In recent years, entertainment theory has undergone a paradigmatic shift: The traditional conceptualization of entertainment as an exclusively pleasurable affective state has been significantly ...extended by recent two‐factor models. These models have introduced a second dimension of entertainment that incorporates more complex nonhedonic experiences, such as the search for meaning or intrinsic need satisfaction. They have not only crucially altered the way communication scholars conceptualize the audience of media entertainment but also our discipline's view on the effects of entertaining media content. The present article discusses the implications of this changing model of the media user both for entertainment theory and research as well as for the discipline of communication as a whole.
Recent approaches in entertainment research highlight the distinction between hedonic (pleasure-seeking) and eudaimonic (truth-seeking) entertainment experiences. However, insights into the ...underlying processes that give rise to these different types of entertainment experiences are still scarce. This study examines the assumption that individuals’ entertainment experience varies by the level of cognitive and affective challenge posed by the media content. We tested this assumption in a 2 × 2 experiment in which we examined the effects of cognitive and affective challenge on individuals’ entertainment experience (fun, suspense, and appreciation). Cognitive and affective challenges resulted in stronger appreciation of the movie, affective challenges resulted in heightened suspense, whereas the absence of both cognitive and affective challenges fostered the experience of fun. These results further the theoretical understanding of hedonic and eudaimonic entertainment in that they support the idea that fun is linked to recreation, whereas appreciation is linked to cognitive challenge and personal growth.
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