Description
The proliferation of new digital technologies has given rise to an entirely changed media landscape and revolutionized how we seek entertainment. Older entertainment media like novels, radio, and film have been joined by a host of digital media that smartphones allow us to carry almost anywhere and at all times, from video games and social media to video on demand services. This unprecedented ubiquity of entertainment media calls for new and more sophisticated theories that help us understand the fascination that different entertainment media exert on us and how they change the human experience.The Oxford Handbook of Entertainment Theory surveys and furthers the most influential psychology-driven research on media entertainment to illuminate how people are drawn into media experiences. The 41 chapters in this Handbook not only offer fresh perspectives on established theories but also introduce emerging models and highlight the importance of considering the diverse backgrounds of media users when conducting research. They also cover the motivations and reactions of media users in relationship to different types of media, the trend towards interactive media such as video games and virtual reality, and particularly popular media contents like sexuality, violence, sports, and the news. As the most comprehensive overview of psychology-based research on media entertainment available, this Handbook is an invaluable resource for seasoned researchers and those beginning to learn about the field alike.
Table of Contents
PrefaceSection I: General Theoretical Accounts of Media EntertainmentChapter 1: A Brief Analysis of the State of Entertainment Theory: Historical Achievements, Contemporary Challenges, and Future PossibilitiesPeter Vorderer, Christoph Klimmt, and Jennings BryantChapter 2: Entertainment Is a Journey, Not Just a Destination: Process Perspectives in Entertainment TheoriesAndreas Fahr and Hannah FrühChapter 3: The Narrative Enjoyment and Appreciation RationaleRon Tamborini, Sara Grady, Joshua Baldwin, Nikki McClaran, and Robert LewisChapter 4: Life-Span Developmental Changes in Media Entertainment ExperiencesMarie-Louise Mares and James Alex BonusChapter 5: A Systematic Gender Perspective on Entertainment TheorySabine ReichChapter 6: How Universal Is Media Entertainment, Really? On the Enriching Potential of Cross-Cultural Approaches for Existing Entertainment ScholarshipÖzen OdagChapter 7: Entertainment and ResonancePeter VordererChapter 8: Finding Elusive Resonance Across Cultures and TimeGerald C. Cupchik, Despina Stamatopoulou, and Siying DuanSection II: Models and Theories Dedicated to Specific Experiential ProcessesChapter 9: Selection of Entertainment Media: From Mood Management Theory to the SESAM ModelKate T. Luong and Silvia Knobloch-WesterwickChapter 10: Binge-Watching as a Case of Escapist Entertainment UseAnnabell Halfmann and Leonard ReineckeChapter 11: Media Entertainment as Guilty Pleasure? The Appraisal of Media Use, Self-Control, and Entertainment (AMUSE) ModelLeonard Reinecke and Adrian MeierChapter 12: Advances in Research on the Model of Intuitive Morality and Exemplars (MIME)Allison Eden, Ron Tamborini, Melinda Aley, and Henry GobleChapter 13: Stories Enlarge the Experience of Self: Evidence for the Temporarily Expanded Boundaries of the Self (TEBOTS) ModelBenjamin K. Johnson, Michael D. Slater, Nathaniel A. Silver, and David R. EwoldsenChapter 14: Stepping In and Out of Media Characters: Identification and Dynamic Shifts in Users' Positioning towards Entertainment MessagesJonathan Cohen and Christoph KlimmtChapter 15: Involvement with Media Personae and Entertainment ExperiencesWilliam J. BrownChapter 16: Only Project: A Psychological Principle Explored in a NovelKeith OatleyChapter 17: The Role of Narrative Cues in Shaping ADT: What Makes Audiences Think that Good Things Happen to Good People?Ron Tamborini, Matthew Grizzard, Lindsay Hahn, Kevin Kryston, and Ezgi UlusoyChapter 18: Media Entertainment, Flow Experiences, and the Synchronization of AudiencesJacob T. Fisher, Chelsea Lonergan, Frederic R. Hopp, and René WeberChapter 19: Transcending Eudaimonic Entertainment: A Review and Expansion of Meaningful EntertainmentSophie H. Janicke-Bowles, Anne Bartsch, Mary Beth Oliver, and Arthur A. RaneyChapter 20: Biographic Resonance Theory of Eudaimonic Media EntertainmentChristoph Klimmt and Diana RiegerChapter 21: Kama Muta as an Eudaimonic Entertainment ExperienceSophie H. Janicke-Bowles, Thomas Schubert, and Johanna K. BlomsterChapter 22: Entertained by Amazement and Wonder: The Role of the Emotion Awe in Media ReceptionDaniel Possler and Arthur A. RaneySection III: Models on Entertainment Phenomena Bound to Specific Media or Message TypesChapter 23: Humor and ComedyJeffrey GoldsteinChapter 24: Portrayals of Human Sexuality as EntertainmentFrancesca R. Dillman Carpentier and Farnosh MazandaraniChapter 25: Cooling Down or Charging Up? Engagement with Aggressive Entertainment Contents as an Emotion Regulation Strategy of Boredom and AngerHeidi Vandebosch and Karolien PoelsChapter 26: Sports as (Digital) Media EntertainmentNicky LewisChapter 27: News as Entertainment Format: Applying Affective Disposition Theory and the Affective News Extended ModelMelissa J. Robinson and Silvia Knobloch-WesterwickChapter 28: An Extended Dual-Process Model of Entertainment Effects on Political Information Processing and EngagementFrank M. Schneider, Anne Bartsch, and Larissa LeonhardChapter 29: Cinematic Entertainment: Contemporary Adolescents' Uses-and-Gratifications of Going to the MoviesMaite Soto-SanfielChapter 30: How Do People Evaluate Movies? Insights from the Associative-Propositional Evaluation ModelFrank M. Schneider, Ines C. Vogel, Uli Gleich, and Anne BartschChapter 31: TV Series Fandom as Eudaimonic ConsumptionJosé Antonio Muñiz-Velázquez and Javier Lozano DelmarChapter 32: A Synergistic Multi-Process Model of Video Game EntertainmentChristoph Klimmt and Daniel PosslerChapter 33: Interactivity as Demand: Implications for Interactive Media EntertainmentNicholas D. BowmanChapter 34: Players' Moral Decisions in Virtual Worlds: Morality in Video GamesAndré Melzer and Elisabeth HollChapter 35: Player-Avatar Identification, Relationships, and Interaction: Entertainment through Asocial, Parasocial, and Fully Social ProcessesNicholas D. Bowman and Jaime BanksChapter 36: Entertainment in Virtual Reality and Beyond: The Influence of Embodiment, Co-Location, and Cognitive Distancing on Users' Entertainment ExperienceTilo Hartmann and Jesse FoxSection IV: Models on Consequences or Correlates of Entertainment PhenomenaChapter 37: Retrospective Imaginative Involvement and Entertainment Narratives: Initial ForaysDavid R. Ewoldsen, Rick Busselle, Neha Sethi, and Michael D. SlaterChapter 38: Media Entertainment as a Self-Regulatory Resource: The Recovery and Resilience in Entertaining Media Use (R²EM) ModelLeonard Reinecke and Diana RiegerChapter 39: Entertainment Media and Social ConsciousnessMeghan S. Sanders, Chun Yang, Anthony Ciaramella, Rachel Italiano, Stephanie L. Whitenack, and Hope M. HickersonChapter 40: Entertainment Theories and Media AddictionFelix Reer, Robin Janzik, Lars-Ole Wehden, and Thorsten QuandtChapter 41: Theorizing Entertainment-Education: A Complementary Perspective tothe Development of Entertainment TheoryHua Wang and Arvind Singhal
