The Dual Entertainment Theory In Celebrity Endorsements

2018 ◽  
Vol 58 (1) ◽  
pp. 33-50 ◽  
Author(s):  
Subhadip Roy ◽  
Aditya Shankar Mishra
Author(s):  
Peter Vorderer

This paper points to new developments in the context of entertainment theory. Starting from a background of well-established theories that have been proposed and elaborated mainly by Zillmann and his collaborators since the 1980s, a new two-factor model of entertainment is introduced. This model encompasses “enjoyment” and “appreciation” as two independent factors. In addition, several open questions regarding cultural differences in humans’ responses to entertainment products or the usefulness of various theoretical concepts like “presence,” “identification,” or “transportation” are also discussed. Finally, the question of why media users are seeking entertainment is brought to the forefront, and a possibly relevant need such as the “search for meaningfulness” is mentioned as a possible major candidate for such an explanation.


2017 ◽  
Vol 45 (4) ◽  
pp. 648-672 ◽  
Author(s):  
Anthony J. Nownes

Here, I report the results of two randomized, posttest only, control group, survey experiments in which respondents were exposed to factual information about celebrity support for Hillary Clinton during the 2016 presidential election campaign. Based on previous research, I hypothesize that celebrity endorsements will affect the emotions of enthusiasm, anger, and anxiety vis-à-vis Secretary Clinton. My results provide support for the general notion that celebrity endorsements can affect voter emotions. Specifically, I find that celebrity endorsements profoundly decreased the negative emotions of anger and anxiety vis-à-vis Secretary Clinton. My research suggests that a broad range of stimuli may affect voter emotions, which in turn affect political attitudes and behavior.


Author(s):  
Peter Vorderer

This chapter aims to differentiate between two kinds of media use experiences that in the past twenty some years have uniformly been labeled entertainment experiences. In the background of four identified fundamental assumptions in entertainment theory (entertainment as reception phenomenon, disparity between what media users want and what they should want, entertainment between approaching and avoiding affective states, entertainment as self-transcendence) media experiences are dichotomized between those that serve users’ hedonic motivations, needs, and interests and others, more fundamental experiences of resonance (which in the recent past have often been labeled eudaimonic) that connect users to the content of a media narrative and ultimately changes them. The argument is made here for communication scholars and media psychologists to refer to entertainment experiences only in the first case in order to be less vague and ambiguous in explicating entertainment theory.


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