Abstract
The purpose of this doctoral dissertation and the research presented herein is to test and refine a general method of observing, capturing, describing and comparing subjective viewpoints on entertainment value. Of particular interest and equally important is the effort to provide a theoretical foundation for the conceptualization, operationalization, and empirical testing of the entertainment value concept, adopting the perspective of those experiencing performance-based and screen-based entertainment. This dissertation is also a crossover study between and among amusement, recreation, entertaining experiences, audience research, and events and live performances. Results will be integrated into the broader study of entertainment, where the core phenomenon under investigation is the entertainment experience. Entertainment value is a multi-faceted concept, widely used but poorly, or at least not effectively, operationalized for use in scholarly and commercial research. It is proposed herein that entertainment value refers to the type of value that screen-based products and live performances yield to those who experience these generic forms of entertainment. Entertainment value is perceived consumer value, experiential and subjective, a multi-dimensional concept and construct intrinsic to the entertainment experience. In three complementary studies, respondents are grouped based on shared subjective experiences resulting from the consumption of three different kinds of innovative entertainment products: a) an animated, short documentary film, b) one episode a described video television comedy; and c) a live cultural performance. In an innovative way, Stephenson’s Q Methodology (1953) and Typology of Consumer Value proposed by Morris Holbrook (1999) are adopted, tested and refined to empirically identify, describe and compare the subjective viewpoints of those who experience entertainment. The Q Methodology allowed for a rich description of a range of entertainment experiences from almost three hundred respondents. Interpretation of subjective reactions and self-reports, and the differences among these viewpoints, have been facilitated by and pointed to corresponding types of perceived entertainment value. In this sense, Holbrook’s (1999) typology for consumer value proved useful, by complementing in a number of ways the design and implementation of this exploratory research with Q methodology.
Highlights
In this dissertation, Stephenson’s Q methodology (1953) and Typology of Consumer Value proposed by Morris Holbrook (1999) are adopted, tested and refined to empirically identify, describe and compare the subjective viewpoints of those who experience entertainment
Of particular interest in this dissertation is the effort to provide a theoretical foundation for the conceptualization and operationalization, as well as empirical testing of the concept of entertainment value, adopting the perspective of those experiencing performance-based and screen-based entertainment
The “four key factors”23 to be considered in describing television content are: a) focus on narrative and describe only those elements “which help people with vision restrictions to understand and appreciate the story as it unfolds on the screen,” b) congruence, seeking to “ensure that what we describe is occurring on screen,” c) respect for the soundtrack, and d) emotional resonance of narrators, to “make the narrative a smoothly integrated part of the experience rather than a detached and distracting add-on” (Pedersen & Aspevig, 2009: 147)
Summary
Stephenson’s Q methodology (1953) and Typology of Consumer Value proposed by Morris Holbrook (1999) are adopted, tested and refined to empirically identify, describe and compare the subjective viewpoints of those who experience entertainment. The different viewpoints on entertainment value reflect shared subjective experiences resulting from the consumption of three different kinds of innovative entertainment products: a) Ryan, an animated, short documentary film and the 2005 winner of the Academy Award® for Best Animated Short film; b) one episode of the series The Kids in the Hall: Death Comes to Town, a described video television comedy, and c) a live cultural performance such as the U2 live rock concert in Toronto or the performance of The Metropolitan Opera in New York broadcast live in high definition (HD) in cinemas worldwide (The Met: Live in HD) This introductory chapter provides an overview of the scholarly investigation performed for this dissertation. The last two sections in this chapter include a review of publications from a range of disciplines and professional fields which should explain the scholarly contribution and, at the end, an outline of the organization and structure of the dissertation
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