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4: Light Side of Entertainment (8-12 concrete-operational stage (pre…
4: Light Side of Entertainment
youth and entertainment
MODERATE DISCREPANCY THEORY
children prefer media content that differs moderately from what they know/can understand
the media children choose to use and prefer depends on their physiological cognitive, socio-emotional developments
5 development stages (entertainment needs and preferences)
0-2 sensorimotor stage
bright colors and sounds
3-4 pre operational stage (1)
friendly fantasy characters; familiar concepts; repitition
5-8 pre-operational stage (2)
adventure; remote concepts
8-12 concrete operational stage
realism; critical attitude; social relationships
13-16 early adolescents
peers & autonomy
0-2 sensorimotor stage
senses and motor movements develop; prefer sound and music; sight develops fast until 7 years old; prefer bright colors, music, and moving objects
3-4 pre operational stage (1)
identity development (need for imitation, verbal labeling, familiar contexts); limited information capacity (stimulus driven, short attention span, repetition, slow pace); fantasy and reality= same (animism); perceptual boundedness and centration (simple characters are most appealing- elmo is red)
LIMITED CAPACITY MODEL
using an entertaining structure that uses narrative conventions integrating educational content within it (using repetition) :pen:
exposure to prosocial content (btwn 3-5)
social interaction; less aggression/stereotyping
SOCIAL LEARNING/COGNITIVE THEORY
behavior learned through observation
behavioral consequences matter (rewarded behavior vs punished behavior); type of model matters (imitate attractive models)
4 processes must occur
attention, retention, motoric reproduction, motivation
5-8 pre operational stage (2)
high fantasy need, more adventure, attention span increases, no need for repetition, gender preferences (boys vs girls)
interest in action, adventure, violence
8-12 concrete-operational stage (pre pubertal)
reality becomes more clear; fantasy still there
girls--> real characters
more sensitive to emotions of others (empathy)
can recognize bad acting
understanding that good characters are good bc of their motives not bc of how they look
understanding social perspectives
seek for identification within characters
psychological similarity
less gender preferences
peer influence
how to behave
group norms and loyalty; avoid looking childish- no cartoon
strong rejection of childhood context
12-24 (varied) early adolescents
physical, cognitive, social changes interact to create developmental needs for age group
individuals explore who they really are through their psychological characteristics
digital natives
growing up with media environment
entertainment media must cater to their preference
provide media that is:
interactive (real-time changes to content)
navigability (control to how they move through content)
agency (modify and create content)
12-16 pubertal development
brain development
limbic (emotional needs)
SENSATION SEEKING
tendency to seek out novel, varied and high stimulating experiences
willingness to take risks to attain these experiences
leads to risky media use (sexting, horror)
prefrontal cortex (logic, planning)
cognitive development
critical; reasoning; fast ent. needed (multitasking, critical, complex real ent. ex. snapschat
socio-emotional development
autonomy (stable identity in every way)- self conscious, self esteem, gender intensification
media need: showing ideal version of life and how to deal with social issues
intimacy
sharing ideal version of yourself through social media-- peer recognition, comparison, and control/monitoring
sexuality
practice: reproduction and relating it to life
media need: revolve around sex and relationship guidance
boomerang effects: never tell adolescents what to do use peers instead
Comedy
TV
characteristics of comedy viewers
ppl with minor problems/slightly negative state
stressed
menstruating women/PMS
lighthearted people
MOOD MANAGEMENT: hedonistic motivation drives human behavior
regulates mood
positive state
already in positive state
reduces negative state
related to escapism
styles of comedy
slapstick
very physical ex. charlie chaplin (melodrama; character and character dev focused on)
less funny when viewer feels empathy- unacceptable physical humor
screwball
men vs women
family situation comedy
sitcom
problem every episode; set cast with guest starts
CASCADING REMINISCENCE: takes back to a different time
laugh tracks gives fourth wall + social contagion; cue viewers laughs
parody
exaggerated imitation
satire
criticize
scatological humor
audience cringes and laughs out of discomfort
humor and affective disposition theory: wanting good things to happen to good people
3 HUMOR THEORIES
superior
laughing at expense of others
relief
physiology response to tension, revolution, and discomfort
incongruity
logic; punchline
entertainment producers need to create content sensitive to target audience
:star:
not too specific and content driven bc this age is visual
:warning:
laughter: hedonic movement; can reduce stress/ ease sorrow; enhances quality of life