Good Entertainment Research Articles

Online gaming and its effect on academic performance of Bangladeshi university students: A cross-sectional study.

Due to the availability of more sophisticated cell phones with top-notch gaming functions, the present generation is more active. The available literature indicates that adolescents experience a variety of psychological issues, like low self-control brought on by an addiction to mobile games. Because of this, the aim of this study is to control the prevalence of, and factors that contribute to, online gaming addiction and its effects on academic performance in Bangladeshi university students. Convenient sampling was adopted to collect primary data from 399 Bangladeshi university students utilizing a prestructured questionnaire. Descriptive statistics, the χ 2 test, binary logistic regression, and multinomial logistic regression were also used to accomplish the study's objective. According to this study, 62.7% of students play online games over 30 h every week. The findings also show that male students are more inclined than female students to show signs of addiction. Also, regular online gaming can result in long-term problems, and that factor including age, internet access, educational background, and frequency of play can influence the likelihood of these problems. The findings shows that a lower cumulative grade point average (CGPA), less physical activity, and less study time are associated with playing online games for at least 30 h per week. Moreover, the study found that playing online games, playing for long time, and skipping class can all have an adverse effect on a student's academic performance. The authors recommend that the authorities set up a good entertainment environment and take into account the findings of this article to discourage students from playing online games. Furthermore, encouragement of extracurricular activities such as sports or other pursuits is also essential in assisting Bangladeshi students in overcoming their addiction to mobile games.

An Analysis of the Phenomenon of "Collapsing Persona" of Chinese Celebrities through Goffman's Dramaturgical Theory

In the current context of the rapid development of China's entertainment industry, the creation of a popular celebrity "persona" has become a shortcut for celebrities and their agencies to gain benefits, and celebrities can quickly gain attention and a large number of fans by constructing a "persona". However, with the rapid development of the Internet, the real face behind the celebrity's "persona" is gradually exposed to the public, and the collapse of the celebrity's "persona" is a common occurrence. The phenomenon of the collapse of celebrity "persona" has serious implications at the personal, interactive and social levels, and the communication and sociological logic and issues behind it are worth exploring and reflecting on. Therefore, this paper analyses the causes of the phenomenon and its negative effects from the perspective of Goffman's mimesis theory and makes suggestions and reflections on how to avoid the negative effects brought about by the collapse of celebrities' "personas". The study found that the collapse of celebrities' "persona" was caused by capital guidance from agencies, the uneven quality of the celebrities themselves, the rapid development of the Internet, the alienation of symbolic consumption, and the addition of fan groups to the drama class. The collapse of a celebrity's "persona" will in turn have a negative impact on these factors, not only affecting the circulation and reproduction of capital, but also deeply affecting the role perception and cultural identity of fans and society at large, fostering a negative social climate and hindering social progress and development. Therefore, in order to eliminate this phenomenon, the entire drama class needs to work together, with stars, agencies, the media, the public, especially fans and the government, and other rights holders sharing their respective social responsibilities to build a good entertainment culture and a healthy popular culture.

Factors Driving The Tourists Choice of Alcohol and Drinkscapes: An Exploratory Study

This study analyses the crucial dimension of variables influencing visitors' choice of drinkscapes and alcohol among those who visited Goa. This research also aims to examine the influence of tourists' knowledge and past experiences regarding alcohol consumption on the choice of alcoholic beverages and the choice of drinkscapes at tourist destinations. Respondents were asked to rate provided attributes on a 5-point Likert scale according to their preferences in selecting alcohol or drinkscapes. Four hundred and eighty-one questionnaires collected from a web-based survey at popular drinkscapes in Goa were analyzed. The research ranks attribute based on the mean values used by consumers when selecting a drinkscape or ordering alcohol. Based on the results of factor analysis, the study found that the most important factors influencing the choice of alcohol were taste, quality, quantity to be consumed, the brand of the alcoholic beverage and the level of intoxication desired. Whereas ambience, entertainment, safe environment, comfortable seating and clean surroundings were the critical factors indicating the choice of drinkscapes for the respondents. Regression analysis also suggested a significant impact of tourists' knowledge and past experiences regarding alcohol consumption on the choice of alcoholic beverages and the choice of drinkscapes. Regarding the implications for drinkscape management, this study suggests placing a stronger emphasis on providing drinkscapes having a beverage list that stands out with good brands and a variety of quality alcoholic beverages, a good ambience that emphasized a safe and clean environment and good entertainment to attract customers to stand out in this competitive industry. This study also contributes to the field by providing practical information that will enable bar managers to facilitate memorable drinking experiences better.

Simplified Beam Element Model of Badminton Batting Process Based on Motion Differential Equation

Badminton is not only a traditional sport in China, but also an advantage sport in China. It has good entertainment, appreciation, and exercise, as well as a very broad mass base in China. Badminton racket as the key equipment of badminton, its production and design has a very critical impact on the development of the sport; the current existing research lacks the analysis of badminton batting moment. In order to more intuitively and clearly understand the force and displacement relationship of the racket net at the moment of badminton hitting, this study is based on the differential equation of motion, combined with the finite element analysis method to build a simplified beam element model. In order to verify the reliability of the model, the displacement of the beam element and the rod element of the badminton racket under the same load is constructed. Through the research results, it can be seen that the beam element model is more reliable for the numerical calculation of badminton batting moment. The in-depth analysis of badminton batting process has a certain reference significance for the production and design of badminton racket.

Research and Design of Shooting Games Based on Unity

This paper is based on design and implementation of the Unity3D shooting game. From the point of view of design, it is analyzed for the shooting game design ideas,the key of the game experience design, game design, as well as the details of the design details and interactive details .It is focus on the design and implementation process of unity3d development of mobile phone game and developed a mobile game.the game has a good entertainment and interactivity.

Reflections of Legal Culture in Television Comedy: Social Critique and Schadenfreude in the US Series \u201cFrasier\u201d

Traces of law can be found in all aspects of life, law is ubiquitous. People relate law to some of their most desperate life situations, and sometimes law serves them well. It is no wonder that law features prominently in popular comedies. There also is a tradition to ridicule authorities and social institutions, and the law, courts and legal professionals are no exemption. In order to be understandable and “funny”, there needs to be at least a fleeting familiarity of the audience with them. Popular tv comedies thus offer a unique window into popular legal culture: they show elements of law and aspects of its workings, of the behaviour of lawyers, which the public relates to. For example, previous media coverage, other lawyer television and movies, or indeed personal experience, may have introduced them and something made this information stick, perhaps a rather objectionable practice. “Law” in this context has to be taken in its widest possible meaning as “living law” (Eugen Ehrlich), which means including those non-statutory rules by which society is organized, by which people live their daily lives. A further dimension which lends itself to good entertainment is rule-breaking behaviour, which often testifies for the validity of laws, only that they are inconvenient in certain situations. Again, a constellation that invites mockery, humour and Schadenfreude. The manuscript will apply a cultural and socio-legal perspective to the depiction of things legal in one of the most outstanding US television comedies, shown to audiences internationally: “Frasier” (1993–2004).

Development of e-service virtual museum tours in Poland during the SARS-CoV-2 pandemic.

Dynamically developing ICT technologies have become a tool to accelerate the creation of information societies around the world. Thanks to it, many traditional services have found a new digital space to function and thus achieve a global dimension. One example can be virtual museums, which provide access to their resources for every interested person having Internet connection. There is no doubt that the most spectacular and effective representation of digital museums are virtual walks, bringing, apart from cognitive aspects and good entertainment. In the era of the pandemic caused by the SARS-CoV-2 coronavirus and international quarantine which limits mobility, e-services gave humanity the opportunity and a substitute for normal existence. The interest in e-services has increased, which has been directly translated into increased informational awareness. Favourable conditions as well as relatively low costs and technical complexity of creating virtual walks have led the authors to adopt the following hypothesis: during the period of the quarantine caused by the SARS-CoV-2 coronavirus pandemic, museums are actively and dynamically developing virtual walks services. In the presented article, on the basis of research and analysis, the authors will test the hypothesis, as well as asses the level of virtual walks around monuments and museum centres in Poland.

Football in Brazil: what brings fans/consumers to stadiums and arenas in the city of São Paulo

This article aims to identify the reasons/motives that influence attendance of football games in the stadiums. The Motives for Attendance Scale (MAS) questionnaire was applied to a sample of 369 fans who attended the stadiums/arenas in the city of Sao Paulo, Brazil. We employed Exploratory Factor Analysis to analyse the data and used the Cronbach's alpha coefficient to measure the reliability of the extracted factors. Five of the identified factors accounted for 73.89% of the total variance: 1) entertainment and socio-psychological motives; 2) price; 3) marketing actions; 4) football quality and 5) enjoyment of watching a football match at the stadium. The findings reveal new insights into the behaviour of the Brazilian football consumer. In line with the global trends, the desires expressed by the fans/consumers are multivariate, ranging from good entertainment experience, being with family and friends, affordable ticket prices and comfort to safety and accessibility.

Research and Design of Cross Screen Display Interactive Game Platform Based on IOS Device

This article is based on the design and implementation of IOS cross-screen mobile game. From the point of view of design, this paper analyzes the design idea, the key point of game experience design, the way of game realization, and the design details and interaction details of the game production example. This paper focuses on the design and implementation process of developing cross screen mobile games with IOS. Finally, an across the screen mobile phone game is developed. This cross screen game has good entertainment and interactivity.

“The advent of a genre”: Crime fiction and the state of the nation in South Africa

This article focuses on how South African crime fiction reflects and critiques the state of the nation. It recapitulates the history of the genre under apartheid, referring particularly to Wessel Ebersohn and James McClure, before reviewing its subsequent development, which is characterized in part by a concern to embrace the social and political problems of post-apartheid society. Taking account of crime statistics, and of the ambivalence some writers feel about their writing in such a violent society, this article illustrates the genre’s engagement with issues like fear of crime, loss of faith in the police, widespread corruption, abuse of women and children, the legacy of colonialism and apartheid, and the complexities of social transition. The success of the work of Angela Makholwa, Deon Meyer, Mike Nicol and Margie Orford lies in the way they reconcile the demands of good entertainment with searching social and psychological insights.

Psychiatry in the cinema

The portrayal of mental illness in film has been a favorite topic of discussion on the College of Psychiatric and Neurologic Pharmacists listserv for many years. This movie review compares and contrasts two such films, one a classic (One Flew Over the Cuckoo’s Nest) and the other (Shutter Island) a relatively new addition to the filmographic registry of the psychiatric genre. Further, this review is provided from two different perspectivesthat of a veteran psychiatric pharmacist and a fourth year Pharm.D. student. Spoiler Alertif you have not seen these pictures, some significant aspects of the plot lines of both movies are revealed below.

Are You Smarter Than a Fifth Grader?

Of course you are. If you are reading this column, you are most likely a college-educated, twenty-first-century information professional who is engaged in assisting members of your community navigate through, find, and understand complex information resources. This takes skills far beyond those of a fifth-grade education. So why am asking? At the time of the writing of this column, a new television game show was rising in popularity. For those of you who stay out of touch with current popular culture or who may be reading this in future years long after this particular show has been cancelled, it is based upon an interesting premise. Hosted by Jeff Foxworthy (who despite his blue collar, redneck humor is a graduate of Georgia Tech and was formerly employed by IBM), adults compete against a team of fifth-grade students to answer factual questions compiled from grade school textbooks. Questions are rated in difficulty from the first through fifth grade. Topics are grouped in categories ranging in supposedly increasing levels of difficulty, from first-grade science to third-grade spelling to fifth-grade geometry. Answering all of the questions correctly results in a reward of $1,000,000, whereas failing to complete that task requires the adult to say: I am not smarter than a fifth grader. Needless to say, the producer's money at the Fox network is pretty safe, and most adults end up admitting their ignorance. Admittedly, the show picks some pretty smart fifth graders to compete against the adults. The children answer the questions correctly much more frequently than the adults do, and there is obvious joy when they get the answers right. In fact, at least one member of the current cast has already demonstrated the potential to become a future RUSA member. The children's desire to show off their intelligence by matching wits with adults is refreshing, demonstrating to other young people that learning is not only cool, but that it can literally pay off with some big money. The fact that the adults can cheat off the kids lends an extra air of respect to the children, although it also sends the negative message that cheating on tests is acceptable behavior. Overall, the program takes knowledge of basic facts and turns it into some pretty good entertainment As a reference librarian, this program has caught my attention for a number of reasons. The idea that adults who have presumably completed their K-12 schooling cannot beat a group of fifth graders on a quiz show says something about our society The fact that we--that I--actually watch such programming probably says even more. And the fact that most adults fail to correctly answer all of the questions says something about how we measure the success and failure of information queries. The entire success of this show depends on measuring intelligence through correct or incorrect answers to factual questions. Although the nature of the questions is a little different, the process sounds a lot like the popular image of reference service. As with Katherine Hepburn in the 1950s film Desk Set, people come to the library with questions and librarians find answers. As in that film, some questions might be easy, such as finding the names of Santa's reindeer. Some are more difficult, such as determining whether the King of the Watusis drives an automobile (and, if so, what make and model). In this version of reference service, the librarian serves as the definitive, correct arbitrator of factual information. This is very often the popular image of the reference librarian. However, it is not the reality. With the development of the Internet and such Web tools as Yahoo! and Google, people are able to find accurate factual information on their own. …

NFOG and its Congress in 2006

The Nordic Federation of Societies of Obstetrics and Gynecology (NFOG) is a federation of the five national societies of obstetricians and gynecologists in the Nordic countries: DSOG (Denmark), NGF (Norway), SGY (Finland), FIK (Iceland) and SFOG (Sweden). All individual members of these societies are members of the NFOG. The board of NFOG is composed of the chairpersons of the five national societies, as well as the offices of President, Secretary General and Treasurer. The officers are elected at the NFOG assembly, wich convenes every other year. The aim of NFOG is to promote the scientific and practical cooperation between obstetricians and gynecologists of the Nordic countries, and to develop the speciality by supporting education at all levels. NFOG has established two standing committees to handle central activities of the Federation: A Scientific Committee and an Educational Committee. In addition, NFOG has had ad hoc committies working on quality assessments within the speciality NFOG owns and publishes Acta Obstetricia et Gynecologica Scandinavica, with 12 issues a year. The Chief Editor is appointed by the NFOG Board, as are the national editors after nomination by the national societies. NFOG arranges a scientific congress every other year. The 35th Nordic Congress of Obstetrics and Gynecology will be held in Göteborg, Sweden, 20–23 May 2006. Through its website (http://www.nfog.org) NFOG informs its members and others about the activities of the Federation. The President of the 2006 NFOG Congress, Professor Ian Milsom, has conveyed the following message to the members of the national societies of the Nordic countries: You are cordially invited to attend the XXXV Congress of the Nordic Federation of Societies of Obstetrics and Gynecology (NFOG) which is to be held on May 20–23 2006 in the city of Göteborg, Sweden. The scientific programme for this congress has been carefully chosen by the local organising committee in cooperation with NFOG's scientific committee and will provide an important update on the latest developments within our fascinating medical specialty of obstetrics and gynecology. Presentations will cover virtually the whole of our specialty and subspecialties and there will be ample opportunity for colleagues both young and old to present their latest data as a free communication or as a poster. We also promise you an interesting and exciting social programme where there will be an opportunity to meet and mingle with your colleagues and friends after the completion of the day's scientific activities. Göteborg is centrally positioned within the Nordic countries and has become one of Europe's leading event cities, beautifully situated on the west coast of Sweden. It has a well known University and it also has rich cultural attractions such as the Swedish National Orchestra and one of Europe's most modern Opera houses as well as important industrial infrastructure. Göteborg is easily accessible by air, train or ferry from all the Nordic countries as well as the remainder of Europe. The congress venue is located in the city centre with easy walking distance to most hotels and you will find, in addition, many gourmet restaurants and good entertainment. The atmosphere in Göteborg is known to be open and friendly and we are confident that you as our guests will have an enjoyable stay in our city. For further information about the congress such as how one registers, abstract deadline, etc, please go to our home page: http://www.nfog2006.se It is my hope that also non-Nordic colleagues will find their way to Göteborg next May and participate in this English language congress with both Nordic and international speakers! Acta will cover the highlights of the congress!

Max Weber at Home and in Japan: On the Troubled Genesis and Successful Reception of His Work

The literature on Max Weber diverges drastically in the assessment of his beliefs and actions and the evaluation of his oeuvre. Much depends on whether one sees him mainly as a man of his times, his generation, academic status group, and bourgeois class affiliation, or perceives him in more individual terms. Along the latter dimension there are again two perspectives: the person struggling against severe mental and physical hand icaps1 or the person who time and again transcends his personal limitations and the social and political majority views. In Germany the controversies have recently been renewed in the two leading daily newspapers. The "Sueddeutsche Zeitung" in Munich published a full-page article by the historian Gregor Schoellgen under the caption: "Titanic Efforts Leading Nowhere. Max Weber's Failure. What Remains of the 'Greatest German' of this Century?" (Aug. 22,1998).2 Taking equal space, the battle-hardened political theorist Wilhelm Hennis vigorously counterattacked in the "Frank furter Allgemeine Zeitung" of Oct. 6, 1998 under the heading "He Was the Living One Among the Shadows. But Among His Interpreters are Grave-Diggers and Necrophiles." Such exuberant polemics provide good intellectual entertainment but make it difficult for general readers to gain a sense of balance. Two recent

‘Good entertainment & good family life’: Listener readings and responses to Gwen Meredith's the Lawsons and blue hills

‘Good entertainment & good family life’: Listener readings and responses to Gwen Meredith's the Lawsons and blue hills

Effects of a TV drama series upon public impressions about psychiatrists.

A survey was conducted among a nationally representative sample of over 2,800 UK television viewers to examine audience reactions towards a drama series about psychiatry. Whilst the majority of respondents agreed that the drama Shrinks was good entertainment and gave a realistic view of the field of psychiatry, those who reportedly had a close association with a mentally ill person were less likely to find the characterisations of the patients and psychiatrists credible. Despite the misgivings of practising psychiatrists and clinical psychologists, however, no evidence was found to support the idea that watching the drama resulted in misconceptions about the real world of psychiatric medicine.

Shakespeare in St John’s

Shakespeare, like everything else, is different in Newfoundland. Most notably Shakespeare is important in a way that he seldom seems to be elsewhere. People like Shakespeare, produce Shakespeare, and go to Shakespeare, not because plays are presented under the sanctified auspices of a mass-audience Shakespearean festival in a place inevitably called Stratford, or because they are being done in fringe productions by terribly exciting experimental directors, but because they are good entertainment, good theatre, and good box-office. Within the last twelve months in St John’s, there have been four significant Shakespearean productions, all of them reasonably successful in attracting the audiences, and sustaining the enthusiasm, that support and have supported a number of different traditions of Shakespearean production in St John’s over a considerable period of time. Interesting as productions in their own right, and as approaches to the larger issues of Shakespearean production, they also provide a microcosm of the larger world of theatre in St John’s.

Shakespeare in the German Democratic Republic

Schwedt is a town in the northeast of this country. By the time the Second World War broke out, there were 8,000 people living there, picking up their livelihood in the town's tobacco industry. At the end of the war the whole place lay in ruins and only 17 inhabitants were left. Schwedt is now a center of the GDR's chemical industry, with 52,000 permanent and another 6,500 temporary residents. Until late in 1978 the town did not have a theatre of its own. Its cultural needs were regularly catered to by touring companies, visiting orchestras, ballet troupes, etc. There had been a theatre once for 18 years, 200 years ago, when a local prince, following the fashion of some of his fellows, developed a craze for the theatre and, probably, actresses. Far ahead of its time, the prince's theatre even offered free access to the more respectable burghers, provided they turned up in proper apparel. But the theatre did not survive the feudal patron it had helped to keep amused. Two centuries later Schwedt set up the second theatre in its history, housed in a new, functional building whose wide-spaced glass facade is a standing invitation to theatre and music lovers. The new theatre opened with a performance of Twelfth Night, which was not insignificant, considering the outstanding role Shakespeare has played in Germany ever since the Age of Enlightenment. If the production broke no new ground, it was nevertheless a solid debut on the part of the young company, who gave good entertainment to a well-satisfied audience. A lack of stagehands, a perennial problem in this country but even more marked in the case of a company just starting, may have helped to persuade director Goetz Langer to use a bare stage with a complete absence of superfluous display of any kind, the actors themselves carrying the highly selective and effective props on and off stage. There was just a touch of eccentricity, including a rather broadly suggested copulation scene between Sir Toby (Wolfgang Sonnefeld) and Maria (Andrea Gelhaar), with Sir Andrew (Roland Moser) and Feste (Gert Krause) lustfully looking on and beating time-hardly something indicated in the text. Yet on the whole Twelfth Night emerged in a remarkably straightforward condition. The same might be said of two 1979 productions of King Lear. The first of these, directed by Karl Kayser in Leipzig, told the story in clear outline with an almost brutal directness. Lucid groupings in a functional setting helped to establish communication with the audience. However, here too (as in the other production of Lear in Bautzen) some of the leading characters failed to reveal the complexity which makes for an outstanding performance. Previous GDR productions of Lear had contributed to discovering more than one side to Cordelia, revealing a woman of rank with qualities of far-sighted leadership as well as the deeply devoted and tender daughter. In Leipzig, Heidemarie Gohde reduced Cordelia to conventional passivity. Similarly, Gunter Grabbert's Lear tended to stress the personal traits of the King's good nature from the start, so that the youngest daughter's explusion and a number of subsequent events were hard to understand. If Lear's problem is shown to be mere senility, audiences may find reason for identification with the daughters against him, which was made easier in Leipzig by the dissolute behavior of the King's train, again more conventional than remarkable. One character who managed to maintain a delicate balance of contradictory qualities of bitterness and human warmth, thereby serving both the play and the audience's enjoyment, was Gert GUtschow's Fool. Although the press was respectful rather than enthusiastic, both Lears were solid Shakespearean productions of the kind which make up an important part of everyday theatre life in this country. Theatres usually find it difficult to give adequate reasons for their choice of plays, but in the case of four almost simultaneous productions of All's Well That Ends Well (in Anklam, Berlin, Brandenburg, and Halle)-a play as rarely performed in this country as elsewhere-a quest for discovery seems to have been the main driving force. Of these productions, the one at Anklam

Radio Plays as Literature

fying danger as well as a rich hope. Radio is the newest and greatest of these media, and although fifty years are not yet up, its danger is certainly still with us-and the hope has certainly not yet been extinguished. My concern here is with one facet of this hope, a very exciting one, the alliance of the radio play with literature shown by the printing of numerous radio plays in the last two or three years. The greatest days of the theater were those when it was the medium of the poet and wit; it went to the bad in the eighteenth century when it went over to the actor, and when the actor was joined by the stage designer, musician, and producer, it slid into the pit of a Victorian hades, since when only a few heads have peered over the verge, one of them waggling a red beard. But here, on the radio, the writer has come into his own again, having only the actor to stand between him and his audience (the word is once again etymologically exact), whenever his mercantile Maecenas permits-Throw out the Lifebuoy, Jergens is coming to save! When, therefore, these playwrights consider their plays of sufficient merit to justify publication in the literary medium of print, it is very proper to become excited, and just as proper to examine their literary claims. The aspiration to literature and the sovereignty of the author are the greatest hopes of the radio play, for even if they are not realized in any particular one, they are still the way to salvation from the dreary triviality of the modern theater. This is not to deny that a spectacle may achieve high artistry; but a spectacle and a play are not the same. By the same token, a radio play may be good entertainment when supported by the arts of the actor, the musician, and the sound-effects man, but it is likely to be less a good play as it leans more heavily on them. A play, I swear, is not a good play unless it reads as a good play. So here are one man's rather discursive opinions on the literary values of the radio plays he has read.1 The opin-