Begrippen Flashcards
(117 cards)
1
Q
Meta-emotion
A
During media entertainment we experience many different positive and negative emotions, that we evaluate as enjoyable when we reflect on the experience
2
Q
Media entertainment
A
Media content designed to be consumed for purposes of leisure (rather than specifically for information gain, learning, or persuasion)
3
Q
Media selection
A
goal-oriented decision process through which people (consciously or subconsciously) select from the available mediated messages or avoid certain mediated messages
4
Q
Escapism
A
People are deprived and alienated, it is suggested and so they turn to the dreamlike world of the mass media for substitute gratifications, the consequence of which is still further withdrawal from the arena of social and political action
5
Q
Uses and Gratifications Theory
A
Media use serves a psychological function to gratify a need
6
Q
Cognitive needs
A
Need for knowledge, information, orientation, curiosity
7
Q
Affective needs
A
Mood management, recreation, entertainment, escapism, stress release
8
Q
Social-interaction needs
A
Sense of belonging, social contact, connectedness, parasocial relationships
9
Q
Integrative-habitual needs
A
Need for regularity, stability, security, habits
10
Q
Valence
A
Pleasantness, ranging from negative to positive, slightly positive is preferred
11
Q
Arousal
A
Intensity, ranging from low (boredom) to high (stress), moderate arousal is preferred
12
Q
Semantic affinity
A
Meaning, connotation
13
Q
Mood management theory
A
- Media is an effective tool for mood optimisation
- Media usage is motivated by the need for mood regulation: individuals select mediated messages to improve their moods
- Extreme mood states (overaroused or underaroused) are undesirable
- Humans will seek to regulate these states to. more balanced position
- Media are often used to disrupt and repair undesirable moods
- People will show selective exposure: disproportionately choosing media that meet their affective needs
14
Q
Excitatory potential
A
Low vs high arousal -> high to moderate preferred
15
Q
Hedonic valence
A
Positive vs negative valence -> positive valence is preferred
16
Q
Absorption potential
A
High vs low, the extent to which the message captures and distracts attention and emotion -> high level is preferred
17
Q
Semantic affinity
A
Low or high relevance for the actual mood/situation
18
Q
Mood adjustment theory
A
- A positive mood is not desirable of goals are served by a negative mood
- Under some circumstances, people may want ti be exposed to mediated messages matching and maintaining their moods (mood congruency)
- Because of various gender roles, we might then expect to see sex differences
19
Q
Catharsis hypothesis (Aristotle)
A
Resolving one’s own negative emotions through other’ emotions in ‘tragedy’
20
Q
Aggression
A
Behaviour aimed at causing harm or pain, psychological harm or personal injury or physical destruction
21
Q
General aggression model
A
Explains why individuals might respond to social encounters with aggression through learning, rehearsal, and reinforcement of aggression related knowledge structures
22
Q
Morally ambiguous characters
A
Characters with mixed morals, seemingly good & behaving bad
23
Q
Affective disposition theory
A
Morally superior characters receive our favour, whereas morally inferior ones receive our disdain. Therefore, we like good things happening to morally good characters, bad things happening to bad characters we dislike.
24
Q
Sad-film paradox
A
Sad emotions are positively related with enjoyment in sad films people choose to watch
25
Hedonic happines
Maximize pleasure, minimize pain
26
Eudaimonic happines
Pursuit of personal fulfilment, personal growth (virtue, wisdom, inner truth)
27
Kama muta
When communal sharing relationship suddenly intensifies (stronger closeness to others). The communal sharing can be romantic love, close family ties, team spirit, patriotism, divine love, or any other relationship in which people feel one
28
Existential insight
What is life all about? What does really matter in life?
29
Appreciation
The perception of deeper meaning, the feeling of being moved, and the motivation to elaborate on thoughts and feelings inspired by the experience
30
Narrative
Any cohesive and coherent story with an identifiable beginning, middle, and end that provides information about scene, characters, and conflict; raises unanswered questions or unresolved conflict; and provides resolution
31
Overcoming the monster
Protagonist must vanquish an evil force
32
Rags to riches
Poor person gains wealth/status, loses it, and then regains it having learned something along the way
33
The quest
Protagonist sets out on a quest to acquire or deliver an object while facing temptation along the way
34
Voyage and return
Protagonist goes to a strange place and after overcoming challenges there returns
35
Comedy
A cheerful story with a happy conclusion, not just "funny" but rather a light-hearted story about a character
36
Tragedy
A sad story with an unhappy conclusion, typically brought about by some character flaw within the protagonist
37
Rebirth
Story about a transition where a bad character is forced to confront themselves and they emerge changed
38
Rags to riches
Steady rise from bad to good
39
Riches to rags
Fall from good to bad
40
Icarus
Rise then a fall in fortune
41
Oedipus
Fall, rise then a fall again
42
Cinderella
Rise, fall, rise
43
Man in a hole
Fall, rise
44
Fabula
The actual story content (plot), the chronological events in a story, causal chain of story event
45
Syuzhet
The way the story events are organised and told, the same fabula can be told in many different ways
46
Attentional focus
Found my mind wandering while the program was on
47
Narrative understanding
I had a hard time making sense of what was going on in the program
48
Emotional engagement
The story affected me emotionally
49
Narrative presence
During the program, my body was in the room, but my mind was inside the world created by the story
50
Transportability
The individual tendency of getting lost in a narrative. It facilitates the effects of narrative persuasion
51
Transportation-imagery model
Narrative persuasion can occur when (a) a story is written in texts (b) which includes narratives (c) in which images are evoked (d) and in which reader's beliefs are implicated
52
Model of Narrative comprehension and engagement
1. Narrative understanding
2. Attentional focus
3. Narrative presence
4. Emotional engagement
53
Extended elaboration likelihood model
Build upon the elaboration likelihood model by defining involvement with messages differentially across genres
54
Character engagement
Umbrella term referring to the various ways how people relate to mediated figures, such as parasocial interaction, identification, wishful identification
55
Parasocial interaction
The media user's sense of a reciprocal and intimate conversation with a mediated figure on screen, despite the fact that they known it is a illusion
56
Cognitive
I became aware of aspects of the detective that I really liked or disliked
57
Affective
The detective left me rather sober and unaffected
58
Behavioral
Occasional, I said something to the detective on impulse
59
Parasocial relationship
Sense of have an enduring long-term socio-emotional bond with media performers, despite of knowing it is one-sided
60
Attachment style
How people relate to others in intimate relationships, the perceive level of optimal proximity (closeness) and the level of trust
61
Contact hypothesis
1. Prejudice can be reduced as one learns more about a category of people
2. Interpersonal contact is one of the most effective ways to reduce prejudice between majority and minority group members
3. A person's beliefs can be modified by that person coming into contact with a category member and subsequently modifying or elaborating the beliefs about the category as a whole
62
Identification
Involves a "merging" of self with a character. Taking on their perspectives, goals and motivations
63
Wishful identification
The desire to be like a character or persona
64
Structural affect theory
The syuzhet, i.e. the timing/order of story events influences the emotional response of the viewer/reader
65
Surprise structure
Viewer/reader does not know what will happen. Characters often know more than the viewer
66
Curiosity structure
Viewer/reader knows what happened. Viewer and characters often shares the same amount of knowledge
67
Suspense structure
Viewer/reader knows of potential outcome event. Viewer often knows more than the characters. Outcome event us uncertain and delayed.
68
Felt suspense
Suspense as an emotion in the viewer/reader evoked by the suspense structure. Affective reaction due to the perceived likelihood of outcomes to observed others
69
Excitation transfer theory
arousal from prior events boosts reactions to satisfying ending
70
Affective disposition theory
We like the restoration of justice. Loving and hating characters is key to enjoyment
71
Genre
Groups of movies (games) that share similar themes, formal features, style, narrative components, emotional atmosphere, actors, film techniques
72
Humour
A broad multifaced term, that represents anything that people say or do that others perceive as funny and tends to make them laugh, as well as the mental processes that go into both creating and perceiving such an amusing stimulus, and also the emotional response of mirth involved in the enjoyment of it
73
Affiliative humour
Tendency to engage in spontaneous witty banter to amuse others, non-hostile. Related to extraversion, cheerfulness, self-esteem
74
Self-enhancing humour
Generally humorous outlook on life, use of humour as an emotion regulation or coping mechanism, negatively related to negative emotions such as depression and anxiety
75
Aggressive humour
The use of sarcasm, teasing, ridicule. manipulate others by means of an implied threat of ridicule. Without regard for its potential impact on others
76
Self-defeating humour
Attempts to amuse others by doing or saying funny things at one's own expense. Positively related to neuroticism and negative emotions
77
Relief theory
Laughter is a way of relieving built-up psychological tension. jokes/humour/comic is a coping mechanism employed by the unconscious to release sexual and aggressive impulses
78
Superiority theories
Humour is a form of (playful) aggression, the amusement results form the feeling of superiority and triumph over other people
79
Disposition theory
Amusement with out-group disparagement humour is mediated by self-esteem enhancement resulting from social comparison. Attitudes (dispositions) toward the disparaged target will determine amusement
80
Schadenfreude
Malicious enjoyment of the misfortunes of others
81
Incongruity theories
perception of incongruity through cognitive processing of the stimulus. Mismatch between a concept and the real object, laughter results from the sudden insightful integration of contradictory ideas
82
Benign violation theory
Incongruity alone will not explain all humour. Humour emerges from the perception of a violation that is harmless
83
Infotainment
style in-between entertainment and information
84
Hard news
news that cover information about current (world) events and issues of great consequence (politics, finances, economics, health)
85
Horse race journalism
Political journalism of elections that resembles coverage of horse races because of the focus on polling data and public perception
86
The prior attitude effect
the tendency to feel strongly about an issue; evaluate supportive arguments as stronger and more compelling than opposing arguments
87
Disconfirmation bias
people spend more time and cognitive resources denigrating and counter-arguing attitudinally incongruent than congruent arguments
88
confirmation bias
seek out attitude-consistent information over attitude-inconsistent information
89
Archie bunker effect
through identification with polarized characters, viewers on both sides of the political spectrum could watch and enjoy the show
90
psychological reactance theory
an unpleasant motivational arousal that emerges when people experience a threat to or loss of their free behaviours
91
descriptive norms
perception of numerous others' behaviours
92
injunctive norms
perceptions of others' approval of behaviours
93
fandom
one's identification with others who share a similar interest to them. socialising with other fans. Cultivating relationships with other fans.
94
fanship
one's identification with the interest. consuming the interest. spending on memorabilia.
95
social identity theory
identities are constructed in relation with others, by establishing similarities and differences. through identification with multiple in-groups, individuals can self-categorize, and thereby include the different sides to their overall identity
96
out-group homogeneity
out-group members are perceived as more similar to one another than in-group members
97
competence
prove you are good at this
98
knowledge
prove that you know as much as I do
99
passion
you're not motivated enough to be a fan
100
sexual misperception
you're doing it for 'attention' or 'you're not dressed as a true fan'
101
male proxy
you're a fan because of a male companion
102
gender policing
you're too feminine, be like us boys
103
anti-fandom
one's passionate dislike or hatred of said specific interest. considering it inane, stupid morally bankrupt and/or aesthetic drivel
104
user generated content
created by users/contributors of an online system. made publicly available on that online system
105
media and journalism
content that is voluntarily developed by an individual or a consortium and distributed through an online platform. conversational media
106
business
content made publicly available over the internet, which reflects a certain amount of creative effort and which is created outside of professional routines and practices
107
marketing
product of users' creation
108
tourism
when individual consumers are solicited to provide both quantitative and qualitative feedback on destinations, hotels or other travel experiences that they have visited
109
humanities
everything created by everybody
110
political science
amateur production of original content or editing of existing content and the act of sharing such content, publishing in different platforms
111
content
any material made available for sharing online, including photographs and videos, news and entertainment
112
extrinsic
seeking out recognition from others, self-promotion, finding like-minded producers
113
intrinsic
self-esteem, enjoyment and happiness
114
music
an acoustically-based form of communication with a set of rules for combining a limited number of sounds in an infinite number of ways. Universal among human cultures, music binds us in a collective identity as members of nations, religions, and other groups
115
media effects model
1. based on the blief that media have a direct impact on how people think, feel, and behave
2. exposure to music automatically primes individuals to think and feel in ways that are congruent with the message of the music
3. research shows both positive, negative, and associative mood effects
4. yet, criticisms: (not) positive recipients, individual differences, 2/3 self-selection
116
event-related fluctuations
older respondents reported that age and experience led them to better know how to use music to support themselves at challenging times, or to celebrate good times
117
retirement-related transitions
for some participants, their use of music was somewhat constant throughout their youth and adulthood, but meanings changed when they retired
