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1.
This study is the first to explore the motivational, cognitive, affective, and personality factors that influence the enjoyment of and exposure to TV series with horror content. The most-watched TV series identified by 411 study participants were examined in the study. Results indicate that personality traits significantly predict cognitive and affective involvement with these programs and viewing motivations. Viewing motivations significantly influence viewers’ cognitive and affective involvement with these TV series as well as their viewing enjoyment and frequency. While positive affect and negative affect are significant predictors of viewing enjoyment, viewing enjoyment has a positive effect on viewing frequency. 相似文献
2.
Contextualized in television program viewing, the current study seeks to develop a new scale that captures individuals' feelings of being connected to others via media consumption. Literature on general human motivation and media consumption motivation sheds light on social relatedness in television experiences. Data suggest a three-factor structure of the focal concept of feeling connected via television viewing (FCTV): (1) a perception of shared viewing among one's immediate social circle and anticipation of subsequent communication as aided by television programs, (2) a sense of global community enhanced by shared television experiences, and (3) communication with distant unknown others. A stronger sense of FCTV predicts a greater tendency for an individual to watch a program when it is first released, and to watch it together with one's friends, as well as a higher level of general involvement with television. Further, we differentiate the focal concept of feeling connected to other television viewers via television viewing from the related concept of parasocial interaction with television characters. Relative to parasocial interaction, FCTV better predicts collective viewing and first-run viewing. 相似文献
3.
Binge-watching—the intensive, consecutive viewing of televised series—has become a prevalent usage pattern of entertainment media, which may influence users’ psychological well-being both positively and negatively: On the one hand, binge-watching could increase viewers’ enjoyment, recovery experiences, and vitality through an increase in perceived autonomy. On the other hand, binge-watching can trigger goal conflicts and feelings of guilt, which may reduce well-being. Drawing on an online survey (N = 499), the present study examines the tension between these two mechanisms and their effects on users’ well-being. The data largely support the hypotheses: Binge-watching is perceived as recreational as long as goal conflicts and feelings of guilt can be avoided. Well-being, on the other hand, is positively affected by binge-watching-induced increases in perceived autonomy. These results corroborate the central role of self-determination as a link between media reception, media enjoyment, and psychological well-being. 相似文献
4.
Binge-watching, simultaneously treated as both guilty pleasure and legitimate health concern in popular press and academic discussions, is a pervasive media behavior. Yet distinguishing it from other ways of television viewing remains elusive in communication research. The present study employs empirically supported variables to determine if different outcome expectancies are relevant to the frequency of binge-watching as contrasted with appointment viewing of television through the lens of the model of media attendance. Survey results (N = 797) of a college student and representative adult sample reveal that binge-watching is motivated in large part by the behavior already being an entrenched habit among viewers, while suspense and anticipation associated with content and motivation to use viewing to regulate one’s emotions are also significant antecedents. Conversely, more frequent appointment viewing of television viewing was driven by viewing efficacy and older age. 相似文献
5.
Helen Wood 《The Communication Review》2013,16(2):115-135
Feminist audience research has often argued that the pleasures women find in watching certain popular television genres derive from their indulgence in “referential viewing”: relating their own subjective experience to television texts. But it has never been spelled out what this actually entails. This article, based upon research with women viewers of talk shows and morning magazine programs, suggests a specific methodology, “text in action,” to capture the specificities of the text/subject relationship. Findings arising from the use of this method suggest that accounts of the negotiation of subjectivity are induced through the text/subject interplay. Established explanations of “referential viewing” arrived at through traditional reception studies do not entirely account for the dialogic nature of these encounters. This article suggests that they can be more accurately explored through contemporary arguments about modern self-reflexivity where subjectivity can be seen to be discursively accomplishedthrough pragmatic actions across the broadcast encounter. 相似文献
6.
Can the comments of a few viewers on social media affect viewers’ perceptions of audience sentiment or their own program enjoyment? If so, do the effects of comments vary based on their valence or placement during programming? We conducted a 2 (positive vs. negative tweets) x 2 (beginning vs. end of program) factorial experiment with an additional control condition (N = 196) to answer these questions. Negative comments undermined perceived bandwagon support for the program and reduced enjoyment, regardless of contextual or trait moderators. Findings suggest that the effects of social television may be attributable to systematic processing of bandwagon cues. 相似文献
7.
Disaster marathon was proposed by media communication scholars to differentiate the genre of disaster television broadcasting from media events. However, its theoretical framework is limited by its omission of findings from disaster social science literature, and its lack of examinations of marathons of domestic natural disasters. Using the August 2014 Yunnan (China) Television Station broadcast The Special Report on the August 3 Earthquake in Ludian, Yunnan, we conduct a qualitative content analysis to empirically examine the disaster marathon concept for natural disasters. During the content analysis, three themes emerge: authorities’ command and control, the involvement of armed forces, and convergence of social support. Our case study findings contradict the disaster marathon conceptualization and conclude that the local television coverage following a natural disaster can also be performed as a series of conventional media events and is consistent with the established disaster coverage literature. 相似文献
8.
This study investigates how experiences of viewing sports content in a movie theater differ from typical television viewing conditions in a home. The results of analyses showed that the viewing condition (theater vs. home) influenced audiences’ sense of presence when watching mediated sports, which, combined with the attractiveness of the game, would determine the suspenseful nature of the media experience, as well as the subsequent enjoyment. 相似文献
9.
《广播与电子媒介杂志》2013,57(1):143-154
If advertisers and programmers are to keep pace with the rapid structural and contextual changes in broadcast and cable television, and maintain their young audiences, they must gain a better understanding of children's viewing motives and viewing patterns. The authors assess the interrelatedness of television use motives and viewing patterns, and investigate perceptions of viewer loyalty network and station identification, and the generalizability of these perceptions to times when local television stations change network affiliation. This study profiles the child televiewing audience and expands the known parameters of television viewer uses and gratifications by identifying three distinctive viewer archetypes-medium- oriented viewers, network-oriented viewers, and station-oriented viewers. 相似文献
10.
Arvind Rajagopal 《The Communication Review》2013,16(4):441-469
This article theorizes non‐Western media reception, based on a reception study of a Hindu epic, “The Ramayan,”; screened on the state‐owned Indian television system, Doordarshan, in 78 episodes beginning in January 1987. Based on interviews with viewers from a variety of social backgrounds and on analysis of press response to the epic, it argues that the epic represented, for many viewers, a narrative of community opposed to bourgeois modernity, and superior to it. For Doordarshan, as a broadcaster in a non‐western/incompletely modern society, the epic represented a way of mediating between a secular bourgeois public, and a “communitarian public sphere”; which, it is argued, characterizes Indian popular culture. 相似文献
11.
The use of second screens to dual-view television and social media is exponentially increasing. As a result, television producers are increasingly augmenting television content with social media comments from viewers, which may serve as a type of real-time public opinion indicator. The current research effort utilizes two experimental studies to explore the effects of this new media production practice on viewer's attitudes and opinions. In these studies, a Twitter feed was integrated in to entertainment (Study 1) and political (Study 2) television broadcasts and manipulated to convey either positive or negative opinions of the content. Participants' opinions were found to conform to the majority opinion presented in the manipulated Twitter feed in nearly all of the analyses. Implications for dual viewing and second screen use are discussed in light of findings. 相似文献
12.
Diana C. Mutz 《Mass Communication and Society》2013,16(2):196-217
This study examined reactions to a temporary parasocial breakup situation during the television writers’ strike of 2007–2008 when many television shows stopped airing new episodes. Past research on parasocial breakups and uses and gratifications theory was used to predict emotional and behavioral reactions. Questionnaire results revealed that participants with stronger parasocial relationships experienced greater distress—even after controlling for the number of favorite programs that went off the air. Moreover, those with greater television affinity reported greater distress when their favorite show was disrupted, although television viewing motives also played a role in this process. Finally, when their favorite shows were no longer airing new episodes, viewers primarily replaced television viewing time with other media exposure rather than increasing nonmedia activities such as social interaction. However, a number of these activities varied by gender. 相似文献
13.
This study electronically‐monitored in‐home RCD activity. The frequency of channel changing and other RCD behaviors were recorded and discrepancies between self‐reported and actual RCD use are examined. This is one of a few academic studies of RCDs that does not rely on a survey (respondent recall) or on observation, but rather records actual behaviors in the participants’ home. This study also examines viewers’ uses of RCDs within the framework of selective exposure. Slightly over 374 hours of television viewing by 44 participants yielded 13,680 channel switches. It was found that viewers made an average of 36.6 channel changes per hour. In other words, they watched channels for an average of one minute and 38 seconds between switches. Further analyses revealed an audience of “rapid‐fire”; channel grazers as 80% of the switches took place after a channel was on for less than five seconds. 相似文献
14.
The present research combines in-depth interviews and in-home observations to explore usage patterns and perceptions of television viewers in digital video recorder (DVR) households. Innovativeness, Use Diffusion, and Continuity-Discontinuity are employed to characterize DVR use and conceptualize DVR viewing in the home. Findings indicate that the DVR is an important, interactive technology that can help transform the way television is used by some consumers in their movement to proactive media decision makers. 相似文献
15.
《广播与电子媒介杂志》2013,57(4):742-761
Trajectories of television viewing throughout adolescence were described using the data of a panel study in 12- to 17-year-olds. Results indicated that changes in viewing habits are different when daytime, prime-time, and late-night television viewing are examined separately. Although daytime and prime-time viewing showed a decline, viewing during later waking hours increased. Teenagers who have access to a television set in their room watch more; male viewers tend to avoid the "family hour" and "female contents." Findings are discussed within the framework of developmental processes as separation, the growth in alternative opportunities, and identity formation. 相似文献
16.
The “prestige factor” has been known to social scientists for many‐years. It shows up in the “over‐reporting” that occurs whenever people are asked, to tell an interviewer their income, or the amount of schooling they have had—or the amount of viewing of an educational television station they do. The management of ETV stations is well aware that their audience often isn't as large as reported, and that the same “prestige factor” prevents them from receiving sufficient data from their audience as to the reason why they do or do not view ETV. In the present study, an experimental approach was made. Three different kinds of appeal were used in a promotional campaign designed to cause people to watch an ETV station more often. The results, of each appeal were compared to a group of ETV viewers and non‐viewers who were not exposed to the promotional material. These data were derived from the Oregon Educational Television Project, which was financed in part by a grant from the Department of Health, Education and Welfare. John Shepherd received his Ph.D. from the University of Southern California, and is presently Associate Professor of Speech and Director of the Division of Broadcast Services and Televised Instruction at the University of Oregon. 相似文献
17.
Laurena Bernabo 《广播与电子媒介杂志》2019,63(1):77-93
Twitter updates and expands television’s cultural forum model by letting viewers speak to current events such as the Black Live Matter (BLM) movement. This article analyzes 1,985 tweets in response to three television episodes (Law & Order: SVU, The Good Wife, and Scandal) that dramatized BLM, and identifies five common themes in how viewers address these representations: thematic appropriateness, timing, producers’ qualifications, institutional critiques, and the purpose of entertainment television. This study concludes that Twitter facilitates a meta-commentary, which expands traditional discussions of entertainment programming, and that these programs transcend “mere” entertainment to become critiques of larger social movements. 相似文献
18.
Michelle I. Seelig 《The Communication Review》2019,22(1):45-83
The present essay comparatively explores and reflects on popularizing the environment in a changing media ecology wherein content is no longer exclusive to traditional television viewing or distributed for cinematic release. Specifically, the aim of this essay is to illustrate how screened presentations such as film, television, and recently digital media, promote environmentalist ideals in the hopes that if audiences are entertained, then perhaps these narratives can subtly influence thinking and behavior. This review also draws from research on mediating the environment in television and film studies as well as scholarly literature on entertainment-education. The implications of this essay indicate that whether real or fictional, eco-friendly content is growing in popular media and no longer the backdrop to the story being told. As this essay shows, media professionals have started embracing entertaining content infused with content of value so that audiences can “see” why the environment is important. 相似文献
19.
《Journalism Practice》2013,7(4):377-391
In the current economic environment, message synergy may result in a perceptible manifestation of ownership's impact on media content. That influence raises ethical issues: journalistic independence and access to the media marketplace for a variety of messages. This project analyzes the “soft news” content of the two most popular morning television news shows, The Today Show and Good Morning America during November 2007 sweeps. The analysis demonstrates that “soft news” story topic selection appears to be strongly influenced by economic connections to the parent corporation. The potential impact of this distortion of the cultural public sphere for journalists, viewers, creative artists and advertising at the institutional level are analyzed. The wages of synergy include a restriction of journalistic autonomy, confining viewers to a role that is exclusively consumption oriented, and, at the institutional level, jeopardizing the credibility of news programming which could have a long-term impact on advertising revenues. 相似文献
20.
Jonathan Gray 《Critical Studies in Media Communication》2013,30(3):223-238
This paper examines televisual parody as a media literacy educator, and the potential of parody to channel the powers of comedy and entertainment in order to “teach” the techniques and rhetoric of televisual texts and genres. It focuses on the case of the hugely successful and popular animated parodic sitcom, The Simpsons, and its playful attack on advertising and promotional culture. Currently in its 16th season, The Simpsons broadcasts to approximately 60 million viewers in 70 countries weekly, offering a playful critique of television from within the television frame. 相似文献