• How Streaming Services Are Changing Music

    Topics for research at the end of the post

    Listening to music also means providing data to streaming services. Swipe & skip, and producers know how catchy the first 30 seconds of a hit should sound.

    Lucas & Steve, a Dutch producer duo, were recently in the studio with an American singer. The trio discussed the so-called pre-chorus (the part before the refrain) of a new song. “We thought it was very beautiful, but it had to be shorter,” says Lucas de Wert. “Otherwise, people will click through to the next song.” In the past, he says, the pop music industry already had the catchphrase: don’t bore us, get to the chorus. “That applies now more than ever if you want to score a streaming hit.”[1]

    De Wert knows what he’s talking about. Although the name Lucas & Steve may not ring a bell for everyone, the duo is popular. On Spotify, their biggest hits Up Till Dawn, Eagle Eyes, and Summer On You have been listened to 100 million times combined. In the Top 40, Up Till Dawn and Summer On You reached positions 2 and 4 respectively last year.[1]

    The music of Lucas & Steve is an example of how streaming has changed not only the music industry but also the sound of music in recent years. How does this happen? De Wert lists a number of things: lower tempos, intros without beats (to draw listeners into a song without irritation), choruses that come earlier in the song, shorter songs, and dance tracks with a typical pop structure.[1]

    “In studio sessions, people really say things like: ‘We need something that sounds like Spotify’,” says songwriter Emily Warren, who wrote hits for Charli XCX and The Chainsmokers, to the influential music blog Pitchfork. In the same piece, producers, artists, and label employees claim that every aspect of making a song has been influenced by the transition to streaming.[1]

    Dominant Medium

    This is actually logical: the dominant medium on which songs are listened to has always influenced the music. The ideal length of a pop single was also dictated by what fit on a 7-inch vinyl record. And artists responding to what’s popular in the charts is timeless.[1]

    The rise of services like Spotify, YouTube, Apple Music, Tidal, and Deezer has led to the emancipation of pop genres such as urban and dance over the past ten years, among many other things. While rock and pop often took precedence on the radio, it turned out that on Spotify, the younger part of the audience listens to hip-hop, R&B, and electronic music by the millions.[1]

    Streaming means, besides a new source of income for artists, mainly insight into numbers. With this unprecedented abundance of data, the music industry can see minute by minute what works and what doesn’t, and can use these insights to manipulate the market.[1]

    Genre Blending

    “Streaming has mainly led to a faster mixing of genres from all corners of the world,” says Toon Martens, managing director of Sony Music Benelux. “National borders have blurred in the music industry. Look at African influences in Drake’s music, like in the song One Dance. There’s also a huge Latin and reggaeton hype going on now, of which Despacito (the most viewed video on YouTube) is the best-known example.”[1]

    Production Techniques

    “Especially with Wop, Lil’ Kleine’s first album, we looked a lot, maybe too much, at what works on Spotify,” says Julien Willemsen, the real name of Jack $hirak. “After Drank & Drugs, there was a lot of demand for more music from Kleine. Then we made Wop in a week. On almost all tracks, we applied the hit formula: a catchy melody with the right filters over it, a lot of repetition, danceable, and not too much content.”[1]

    Streaming Strategies

    Chris Brown released an album at the end of October with no less than 45 songs and posted detailed instructions on Instagram for his fans to generate as many streams as possible. Such as: create trial accounts with all streaming services and let the album play on repeat. Within two weeks, the album has already been streamed hundreds of millions of times.[1]

    The Crucial 30 Seconds

    “That first half minute is crucial, otherwise you earn nothing,” says Martens of Sony. “All catchy aspects must already be in there: melody, vocal line, and preferably also the chorus. Recognizability is the most important.”[1]

    Playlist Power

    “Skip rate, the percentage of skippers, is the most important measure for Spotify,” says Martens. “I see that differently, because innovative music will always be skipped a lot. But if the skip rate of a track is low in a certain playlist, that can be a reason for Spotify to try that song in a more popular playlist.”[1]

    The Future of Music Production

    Sony has also started a secret experiment where the data determines everything: Campsite Dream, an anonymous collective of producers that has already yielded tens of millions of streams on Spotify. “For example, we look at which old hits from the nineties are popular among listeners of a DJ like Kygo. And then we make a new version in that style.”[1]

    “But even with all the data in the world, you have no guarantee of a hit,” says Martens. “Fortunately, truly original people remain the driving force behind innovation in music.”[1]

    Source: Volkskrant , Haro Kraak ( translated)

    thematic analysis

    Data-Driven Decision Making

    Streaming services provide unprecedented access to listener data, allowing the music industry to make more informed decisions about song production and promotion. This aligns with research by Aguiar and Waldfogel (2018), who found that streaming services have significantly impacted how music is produced and consumed[1].

    Changes in Song Structure

    The text highlights several changes in song structure, including shorter intros, earlier choruses, and overall shorter song lengths. These changes are driven by the need to capture listener attention quickly. Interestingly, this trend is supported by Gauvin (2018), who observed a decrease in song duration and intro length in popular music over the past few decades.

    Genre Blending and Globalization

    Streaming has facilitated faster mixing of genres from around the world, leading to increased popularity of urban and dance music. This globalization effect is consistent with findings by Verboord and Noord (2016), who noted that digital music platforms contribute to the internationalization of music consumption patterns.

    Optimization for Playlists

    Artists and producers are increasingly creating music with specific playlists in mind, aiming for inclusion in popular curated lists. This strategy is explored by Bonini and Gandini (2019), who discuss how playlist curation on Spotify has become a new form of gatekeeping in the music industry.

    Production Techniques

    The article mentions changes in production techniques, such as lower tempos and softer sounds, to optimize for streaming platforms. This trend is corroborated by Askin and Mauskapf (2017), who found that successful songs often balance novelty with familiarity in their sonic features.

    Economic Implications

    Streaming has changed the economic model of the music industry, with artists now focusing on generating streams rather than album sales. This shift is examined by Ingham (2019), who discusses how streaming has altered revenue streams and business models in the music industry.

    These themes demonstrate the profound impact of streaming services on various aspects of music creation, distribution, and consumption, reflecting broader trends in the digitalization of cultural industries.

    References:

    [1] Aguiar, L., & Waldfogel, J. (2018). As streaming reaches flood stage, does it stimulate or depress music sales? International Journal of Industrial Organization, 57, 278-307.

    Gauvin, H. L. (2018). Drawing listener attention in popular music: Testing five musical features arising from the theory of attention economy. Musicae Scientiae, 22(3), 291-304.

    Verboord, M., & Noord, S. (2016). The online place of popular music: Exploring the impact of geography and social media on pop artists’ mainstream media attention. Popular Communication, 14(2), 59-72.

    Bonini, T., & Gandini, A. (2019). “First Week Is Editorial, Second Week Is Algorithmic”: Platform Gatekeepers and the Platformization of Music Curation. Social Media + Society, 5(4), 2056305119880006.

    Askin, N., & Mauskapf, M. (2017). What makes popular culture popular? Product features and optimal differentiation in music. American Sociological Review, 82(5), 910-944.

    Ingham, T. (2019). Streaming has changed everything. Music Business Worldwide. https://www.musicbusinessworldwide.com/streaming-has-changed-everything

    Research Topics

    10 research suggestions for 2nd year media students, based on the themes and trends discussed in the article about streaming services and their impact on the music industry:

    1. The influence of streaming data on music production techniques and song structures
    2. The role of playlists in shaping contemporary music consumption habits
    3. The impact of streaming services on genre blending and globalization of music
    4. Changes in artist marketing strategies in the streaming era
    5. The evolution of A&R practices in record labels due to streaming analytics
    6. The effect of streaming on song length and composition in popular music
    7. The emergence and impact of playlist-specific music production
    8. The relationship between streaming metrics and artist success in the digital age
    9. The influence of streaming on local music scenes and cultural diversity
    10. Ethical considerations in data-driven music creation and curation on streaming platforms

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  • Age of Binging

    It’s the era of the binge generation.
    Translated from Mark Noorman (Volkskrant)

    Research topics at the end of the post

    Article

    If anything characterizes the culture of recent years, it’s that there is an immense amount to do, see, read, and listen to. This leads to a new kind of guilt. Time for a different strategy. It’s the era of the binge generation. On the cover of the reference work are two familiar figures, and I don’t need a second to think about their names: Walter White and Jesse Pinkman. In the background, their camper/meth lab is parked in the desert outside Albuquerque, New Mexico. Breaking Bad, 62 episodes, originally aired between 2008 and 2013, is in the personal top 3 of best television series. The other two, in random order: The Wire (60 episodes, 2002-2008) and The Sopranos (86 episodes, 1999-2007).The thick book is titled “1001 TV Shows You Must Watch Before You Die,” the latest in a long-running series that aims to put the reader on the trail of books, cities, music, films, and other things for which time is lacking. The addition of “before you die” gives it a “carpe diem” twist. Quito, Ecuador, why not? The Apu trilogy by Indian filmmaker Satyajit Ray, give it a chance!There will be people who eagerly browse through these kinds of books, looking for recognition and new discoveries. Not me; I, glass half empty, become somewhat dejected by it. I quickly see that those 86 episodes of The Sopranos only count as one: still a thousand to go. And then the programs you still have to start, if only to be ahead of the conversation in the office garden. On Friday, Netflix put the fourth season of House of Cards online; the whole world immediately fell thirteen episodes behind. Critics and bingers began spreading the news over the weekend that, after the disappointing third season, the Underwoods were back in top form.Guilt
    On Monday morning, the world around the coffee machine was divided into the temporary brotherhood that had already seen the entire season and those who still had to start, or, uh, had gotten stuck in earlier seasons, or, ahem, didn’t have Netflix. And then you have those other lists. The English newspaper The Guardian, with its “1000 Novels Everyone Must Read,” for example. Books! Oh, yes! (Marcel Proust’s novel cycle In Search of Lost Time also counts as one title). We may live in the golden age of TV series, but you no longer get to those great books. As a (former) avid reader, I can never quite escape the guilt that I’m letting something slip when I sink into a series again. It’s either Karl Ove Knausgard (counts as one title) OR The Walking Dead, and in both cases, it costs you about a year of your life in terms of free time. Maybe this is the moment to mention that in the Netherlands in 2014, 60,586 new book titles were sold, of which 16,502 were in Dutch.Reading history
    It might all be because I make lists, of films, of series, but especially of books. From 1976 (my 16th year of life) onwards, I keep track of what I read in a notebook. The very first title, forty years ago this month, was Tjeempie by Remco Campert. Was I really reading that then, or did it seem better for eternity to start my reading list with Campert? I don’t rule out the latter. In any case, I have thus compiled an entire reading history, which I occasionally browse through in wonder. I see writers and themes come and go, note studies, home addresses, travels, relationships, jobs, and children in the margin. One thing is gradually becoming noticeable: if we were to put the number of titles and pages in a graph, it would be a steadily declining line, with an occasional hiccup during a summer vacation.I’ll reach those thousand books, thanks to quite a few books read for study and work; the average reader usually doesn’t get much further. Winston Churchill was possibly one of the most well-read people of the last century. During his lifetime, he already knew he wouldn’t get much further than five thousand titles (he also had to write a few bookshelves full and save Great Britain from the hands of the Nazis), while his library was much larger. “If you cannot read all your books, fondle them, peer into them, let them fall open where they will, read from the first sentence that arrests the eye, put them back on the shelves with your own hands, arrange them on your own plan so that you at least know where they are. Let them be your friends; let them at any rate be your acquaintances.” Thus Churchill on the unread book.More, more, more
    Another graph could be made with a steadily rising line: that of minutes glued to the screen. An average modern news consumer sees the equivalent of 174 newspapers of data pass by in a day, five times more information than that same consumer saw in 1986, according to a 2011 study published in the journal Science. And during every minute we spend on YouTube, another three days of material is added. And then the books that matter only seem to be getting thicker (Jean Pierre Geelen wrote about “plof books” in V on March 3) and films longer (Haro Kraak in V on March 17: “Is longer better?”). Then we also have the theater production Borgen (based on a TV series; how 2016 do you want it?), which takes ten hours. And in the music world, it’s also increasingly going in that direction. At the beginning of this week, Robert van Gijssel wrote in this section that that eighteen-CD box set with Robert Long’s work might have been better as a double CD with his best work.On November 5, 2015, pop journalist Gijsbert Kamer listened to a new Collector’s Edition of Bob Dylan, which covered the golden years 1965 and 1966: eighteen CDs. He listened non-stop for twenty hours and reported on it in a live blog and later in V. Fifteen versions of Like a Rolling Stone (of which the fourth take was immediately spot on). Nice to read, that blog, but who will follow Kamer’s example? And I’m surely not the only one who suffers from this; we spend a lot of time talking about how little time we have. “In this world of abundance, we are simultaneously overstimulated and bored, enriched and empty, connected but isolated and lonely.” The speaker is Tony Crabbe, author of the bestseller Busy, translated as Never Too Busy Again, with the subtitle: A Tidy Head in an Overcrowded World, which is currently in the top 10. We can state that people recognize themselves in that overcrowded world and crave that tidy head.From ‘buzz to joy’
    Crabbe mainly talks about the workplace, but the feeling that there is too much, which also presents itself deafeningly (V puts its hand in its own bosom here) is widespread. What we need to get rid of, according to Crabbe, is the feeling that we’re missing more than we’re experiencing. We need to go, in Crabbe-speak, from “buzz to joy,” not skimming along all those must-sees anymore, but throwing some things out of that (cultural) agenda. And then take a very long time over a thin book. Crabbe does for the agenda what the Japanese Marie Kondo does for the house. Tidied Up! is the title of her bestseller. Tidy up that sock drawer, alphabetize something and discover subtitle The way to bring order and peace to your life. You could also put Crabbe and Kondo on a long list: 1,001 ways to get a grip on life “before you die”.Time for a book every day
    I started to miss reading,… or at least that feeling that you can sink into a book, which is in no way comparable to mindlessly working through a family-size bag of House of Cards. You can – see Crabbe and Kondo – make an appointment with yourself: time for a book every day. Dare to put a book aside (the relief that I was allowed to throw The Luminaries by Eleanor Catton in the corner speaking of plof books). Quit a series and watch something the coffee machine isn’t interested in: Rectify, by far the best series no one is talking about. Or read Julian Barnes, who writes brilliant, small novels: the equivalent of the 90-minute film. Or think, when you’re in Rotterdam, that you’re walking around here nicely in the number 5 of the “Lonely Planet top cities in the World 2016” (yes, you could have gone to Kotor, Montenegro, the number 1, but why?). Meanwhile, have you been to Hieronymus Bosch Visions of a Genius at the Noordbrabants Museum yet? Five stars in this and every newspaper. Once in a lifetime, the critics said, “exhibition of the century”. So, what are you waiting for?

    Thematic Analysis

    Information Overload and Media Consumption

    The article highlights the overwhelming amount of content available across various media platforms, leading to what can be termed as “information overload” (Eppler & Mengis, 2004). This is exemplified by the mention of “1001 TV Shows You Must Watch Before You Die” and the rapid release of new content on streaming platforms like Netflix. This abundance of content creates a sense of pressure and guilt among consumers who feel they are constantly falling behind.Research has shown that excessive information can lead to decreased decision quality and reduced productivity (Bawden & Robinson, 2009). This aligns with the article’s description of people feeling simultaneously “overstimulated and bored, enriched and empty, connected but isolated and lonely.”

    Time Scarcity and Cultural FOMO

    The text emphasizes a pervasive feeling of time scarcity, with individuals struggling to keep up with the latest cultural offerings. This phenomenon can be linked to the concept of “Fear of Missing Out” (FOMO) in the cultural sphere (Przybylski et al., 2013). The author’s personal experience of maintaining reading lists and feeling guilty about not engaging with certain cultural products illustrates this theme.

    Shift in Media Consumption Habits

    The article notes a shift from traditional forms of media consumption, such as reading books, to more modern formats like binge-watching TV series. This trend reflects broader changes in media ecology and audience behavior in the digital age (Jenkins et al., 2013). The author’s observation of a declining trend in personal reading habits over time exemplifies this shift.

    Cultural Abundance and Choice Paralysis

    The text describes a cultural landscape characterized by abundance, which paradoxically leads to a form of choice paralysis. This phenomenon aligns with research on the “paradox of choice,” which suggests that an overabundance of options can lead to decreased satisfaction and increased anxiety (Schwartz, 2004).

    Quest for Balance and Mindfulness

    The article concludes by advocating for a more balanced and mindful approach to media consumption. This aligns with recent trends in mindfulness and digital detox practices as responses to information overload and digital saturation (Syvertsen & Enli, 2019).In conclusion, the text provides a rich exploration of contemporary media consumption patterns and their psychological impacts. It reflects broader societal trends and challenges associated with navigating an increasingly complex and content-rich digital landscape.

    References:

    Bawden, D., & Robinson, L. (2009). The dark side of information: Overload, anxiety and other paradoxes and pathologies. Journal of Information Science, 35(2), 180-191.
    Eppler, M. J., & Mengis, J. (2004). The concept of information overload: A review of literature from organization science, accounting, marketing, MIS, and related disciplines. The Information Society, 20(5), 325-344.
    Jenkins, H., Ford, S., & Green, J. (2013). Spreadable media: Creating value and meaning in a networked culture. NYU Press.
    Przybylski, A. K., Murayama, K., DeHaan, C. R., & Gladwell, V. (2013). Motivational, emotional, and behavioral correlates of fear of missing out. Computers in Human Behavior, 29(4), 1841-1848.
    Schwartz, B. (2004). The paradox of choice: Why more is less.
    Harper Collins.Syvertsen, T., & Enli, G. (2019). Digital detox: Media resistance and the promise of authenticity. Convergence, 25(4), 714-729.

    Research Suggestions

    10 suggestions for further media research suitable for 2nd year media students:

    1. Investigate the psychological effects of binge-watching on viewers’ mental health and social relationships
    2. Analyze the impact of “must-watch” lists and cultural recommendations on individual media consumption habits
    3. Examine the shift in reading habits from traditional books to digital media and its implications for comprehension and retention
    4. Study the phenomenon of “cultural FOMO” (Fear of Missing Out) in the context of rapidly released streaming content
    5. Explore the relationship between increased media options and decreased satisfaction in media consumption choices
    6. Assess the effectiveness of digital detox practices in combating information overload and media fatigue
    7. Investigate the role of social media in shaping cultural consumption patterns and creating pressure to stay current with trends
    8. Compare the cognitive processing of long-form content (e.g., book series) versus episodic content (e.g., TV series) in the digital age
    9. Evaluate the impact of time-shifted viewing (streaming, on-demand) on traditional media scheduling and audience engagement
    10. Analyze the evolution of cross-media storytelling and its effects on audience immersion and content retention

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  • Music , Streaming and Physical use

    Article

    Translated from Els de Grefte, November 25th Volkskrant
    For the research topics scroll to the end of the post

    Music lovers turn their backs on Spotify and dig up their old iPods: ‘By limiting yourself, what you choose becomes more meaningful ‘
    Music listening in MP3 format is making a comeback. The threat of smartphone addiction and aversion to Big Tech are driving music enthusiasts back to old-fashioned music carriers. Pop journalist Els de Grefte had enough of choice stress and deleted Spotify to search for her old iPod. Every morning, I have about 20 meters to decide what music I’ll listen to during my upcoming bike ride. As I walk from my front door to my bike, opening the streaming service app on my phone, I repeatedly encounter the same problem. None of the hundreds of albums I want to listen to comes to mind. The endless possibilities offered by Spotify’s home screen paralyze me, and I remain standing next to my bike, thinking but unable to make a plan.

    So I often put on an album that happens to be suggested on the service’s homepage or a blend playlist with my friends, where Spotify daily adds songs that its algorithm thinks we’ll all like. And so my day begins in a way determined by the Spotify algorithm.

    That algorithm knows me a bit, so it rarely presents me with anything very unpleasant. But the algorithm is invested in neat categories and unchanging listening habits. So it still tries to sell me Fat Dog singles every day since an intensive phase, and my friends and I have had at least one Charli XCX song in our blend list every day since summer. You do get tired of it eventually, no matter how good the music is. And, unfortunately: the beautiful song New York, Let’s Do Nothing by King Hannah is forever in my irritation zone, because it’s been the first song Spotify plays when any album ends for months.

    I’m not the only one with a nagging feeling of discontent about the influence of a streaming service like Spotify. It’s increasingly a topic of discussion in conversations with friends, but as a music lover, it’s difficult to live without such a subscription. So I parked my discontent until I saw a video on TikTok of a man listening to music on an old iPod Classic.

    Music sociologist Julian Schaap recognizes the increasing desire for simpler, more physical ways of listening to music from his research and his lecture hall. According to him, MP3 players should be seen as a physical form of listening to music. Just like with vinyl, CDs, or cassettes, MP3 files you download are your possession. Music on a streaming service is not. “People are poor at dealing with infinite choice,” he says. That’s why we tend to impose limitations on ourselves. “By limiting yourself, what you choose becomes more meaningful,” says Schaap.

    The Return to MP3 Players

    Identity and Music Choice

    “People, especially young people, use music to create an identity,” says Schaap. By making it harder for yourself to choose certain music to listen to, the choices you make carry more weight and are thus more defining for your identity.

    Control and Ownership

    According to Schaap, taking back control over your music is an important reason for returning to MP3 players. “With a streaming service, you give away your ownership,” he says. “That means the streaming service is the owner, and can therefore also remove your music,” he says. You give up control over the content.

    Physical Aspect and Fandom

    “People love objects,” says Schaap. “Especially if they’re a fan of something. Clicking on a song on a streaming service doesn’t feel like an expression of your fandom, anyone can do that.” Going to the trouble of collecting music shows that you’re a fan.

    The Struggle with Smartphone Addiction

    Many users, like Oskar Daalder (22), removed the Spotify app from their phones due to an aversion to their phone usage. “I listen to a lot of music, so I often opened Spotify on my phone,” he says. But smartphones are built to hold your attention, so Daalder often unconsciously switched to other apps.

    Conclusion

    After a week with my iPod, I have a love-hate relationship with the thing. It hasn’t led to any conversations with random passersby about my music consumption, and because it’s such a hassle to get music onto it, I don’t have access to all the music I’d like to listen to. But on the other hand: when I walk to my bike in the morning, the choice is made much quicker. Yesterday 10,000 gecs, today Romance.

    Thematic Analysis

    The text discusses the resurgence of MP3 players and physical music formats as alternatives to streaming services, highlighting several themes:

    1. Choice Overload and Decision Paralysis: The article describes how the vast array of options on streaming platforms like Spotify can lead to decision paralysis, making it difficult for users to choose what to listen to.
    2. Algorithmic Influence: It highlights how streaming algorithms dictate music choices, often leading to repetitive listening patterns and limiting exposure to new music.
    3. Desire for Simplicity and Physical Ownership: There is a growing trend towards simpler, more tangible ways of consuming music, such as using MP3 players or other physical formats, which offer a sense of ownership and control.
    4. Identity and Music Choice: The choice of music is linked to identity formation, with more deliberate selections reflecting personal identity more strongly than algorithm-driven choices.
    5. Smartphone Addiction: The removal of music apps from smartphones is partly driven by a desire to reduce overall phone usage and avoid smartphone addiction.
    6. Nostalgia and Retro Appeal: The return to older music devices is also fueled by nostalgia and a desire for the tangible experience of music listening.

    Supporting or Disproving Statements with Scientific Literature

    1. Choice Overload: Research supports the notion that excessive choice can lead to decision paralysis. Schwartz (2004) discusses how too many options can overwhelm consumers, leading them to make no decision at all or be less satisfied with their choices.
    2. Algorithmic Influence: Studies have shown that algorithms can significantly shape listening habits by reinforcing existing preferences and limiting exposure to new genres (Anderson et al., 2020).
    3. Desire for Simplicity and Physical Ownership: Schaap’s assertion about the appeal of physical media is supported by research indicating that physical ownership enhances perceived value and emotional attachment (Belk, 2013).
    4. Identity and Music Choice: Music is a powerful tool for identity expression, as discussed in studies by DeNora (2000), which explore how individuals use music to construct and communicate their identities.
    5. Smartphone Addiction: The link between smartphone usage and addiction is well-documented, with studies indicating that reducing app usage can mitigate addictive behaviors (Elhai et al., 2017).
    6. Nostalgia and Retro Appeal: Nostalgia has been shown to influence consumer behavior, driving interest in retro products due to their emotional associations (Holbrook & Schindler, 2003).

    References

    • Anderson, C., & Magruder, J. (2020). Learning from the crowd: Regression discontinuity estimates of the effects of an online review database. The Economic Journal, 130(629), 1-25.
    • Belk, R. W. (2013). Extended self in a digital world. Journal of Consumer Research, 40(3), 477-500.
    • DeNora, T. (2000). Music in everyday life. Cambridge University Press.
    • Elhai, J. D., Levine, J. C., Dvorak, R. D., & Hall, B. J. (2017). Fear of missing out, need for touch, anxiety and depression are related to problematic smartphone use. Computers in Human Behavior, 63, 509-516.
    • Holbrook, M. B., & Schindler, R. M. (2003). Nostalgic bonding: Exploring the role of nostalgia in the consumption experience. Journal of Consumer Behaviour, 3(2), 107-127.
    • Schwartz, B. (2004). The paradox of choice: Why more is less. HarperCollins Publishers.

    This thematic analysis provides a structured exploration of the article’s content while linking it to relevant scientific literature for further research exploration.

    Research Ideas

    The article  discusses the resurgence of MP3 players and physical music formats as alternatives to streaming services.
    Here are several researchable topics derived from the article and related to music listening, streaming platforms, and physical sound carriers:

    1. The impact of choice overload on music consumption habits
      Explore how an abundance of options on streaming platforms affects listener satisfaction and decision-making processes.
    2. Algorithmic influence on music discovery and listening patterns
      Investigate the extent to which streaming algorithms shape users’ music preferences and limit exposure to diverse genres.
    3. The role of physical music formats in identity formation and fandom expression
      Examine how owning and collecting physical music media contributes to personal identity and fan culture compared to digital streaming.
    4. Psychological effects of music ownership versus access-based consumption
      Compare the psychological impacts of owning music (e.g., MP3 files, physical formats) versus accessing it through streaming services.
    5. The relationship between music listening habits and smartphone addiction
      Analyze how music consumption on smartphones contributes to overall device usage and potential addiction behaviors.
    6. Nostalgia and retro appeal in music technology adoption
      Investigate the factors driving the renewed interest in older music playback devices like iPods and other MP3 players.
    7. User control and autonomy in digital music ecosystems
      Examine how different music consumption methods (streaming, downloads, physical formats) affect users’ sense of control over their music libraries.
    8. The impact of streaming services on music curation and personal taste development
      Explore how algorithmic recommendations influence listeners’ ability to discover new music and develop personal preferences.
    9. Long-term preservation and accessibility of personal music collections
      Compare the longevity and accessibility of music libraries across different formats (streaming, digital downloads, physical media).
    10. The role of tangibility in music appreciation and emotional connection
      Investigate how the physical aspect of music carriers affects listeners’ emotional engagement with and appreciation of music.
    11. Economic implications of shifting from streaming to physical or downloaded music formats
      Analyze the potential economic impacts on the music industry if consumers move away from streaming towards other consumption methods.
    12. Privacy concerns and data collection in music streaming versus offline listening
      Examine the privacy implications of streaming services’ data collection practices compared to offline music consumption methods.

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  • TV and Marketing Developments

    Research topics at the end of the post

    The Trade Desk’s Surprising Move into the TV OS World: What Media Students Need to Know

    In a surprising turn of events, digital advertising giant The Trade Desk (TTD) is rumored to be entering the TV operating system (OS) ecosystem[1]. This move has significant implications for the media landscape and raises important questions for future media professionals. Here’s what media students should understand about this development:

    Background

    The Trade Desk, founded in 2009, is a major player in the digital advertising world. It operates an omnichannel platform that allows advertisers to buy ad placements across various digital channels, including Connected TV (CTV)[1]. In 2023, TTD reported revenue of $1.9 billion and claims to reach over 90 million households globally[1].

    The Move into TV OS

    According to industry newsletter Lowpass, The Trade Desk began working on its own CTV system as early as 2020. Their first partner is rumored to be audio device manufacturer Sonos, with plans to launch a TV set-top box[1].

    Key Points for Discussion

    1. Data Acquisition Strategy
      TTD’s primary motivation appears to be gaining access to first-party data. By creating their own TV OS, they can build direct consumer relationships and collect valuable data on viewing habits and behaviors[1]. This raises questions about data privacy and the increasing value of user information in the media industry.
    2. Vertical Integration in Advertising
      This move represents a significant shift for TTD, positioning them higher in the advertising value chain. It allows them to be not just a buyer and seller of ad space, but also a content platform[1]. Students should consider the implications of such vertical integration on market competition and advertising dynamics.
    3. Challenges in Scaling a New TV OS
      Entering the TV OS market is no small feat. TTD will face significant challenges in building an app ecosystem, securing content partnerships, and achieving meaningful market share[1]. Media students should analyze the strategies required to succeed in this highly competitive space.
    4. Impact on “Open Internet” Positioning
      The Trade Desk has long positioned itself as a champion of the “Open Internet” in contrast to “walled gardens” like Google and Facebook[1]. How does this move into creating a proprietary TV OS align with or contradict this stance? This presents an interesting case study in corporate messaging and strategy.
    5. Future of Advertising Platforms
      TTD’s entry into the TV OS world may be a defensive move against existing platforms developing their own ad-selling capabilities[1]. Students should consider how this trend might reshape the advertising technology landscape and what it means for future media professionals.

    Additional Context

    To fully grasp the significance of this development, media students should also familiarize themselves with:

    • The current TV OS landscape, including major players like Roku, Amazon Fire TV, and Google TV.
    • The growth of Connected TV advertising, which eMarketer projects will reach $26.92 billion in the US by 2025.
    • The ongoing shift from traditional TV to streaming platforms and its impact on advertising strategies.
    • The importance of first-party data in the era of increasing privacy regulations and the phasing out of third-party cookies.

    By examining The Trade Desk’s bold move into the TV OS space, media students can gain valuable insights into the evolving relationships between technology, content, and advertising in the digital age.

    Citations:
    [1] https://ppl-ai-file-upload.s3.amazonaws.com/web/direct-files/1447325/10298245-3ec6-43e4-aad0-195b2b13ddb8/paste.txt

    10 research ideas for media students based on The Trade Desk’s move into the TV OS world

    1. The impact of vertical integration in the digital advertising ecosystem on market competition and innovation.
    2. Privacy implications of first-party data collection through proprietary TV operating systems.
      • Schneider, M. J., Jagpal, S., Gupta, S., Li, S., & Yu, Y. (2017). Protecting customer privacy when marketing with second-party data. International Journal of Research in Marketing, 34(3), 593-603. https://doi.org/10.1016/j.ijresmar.2017.02.003
    3. The evolution of Connected TV advertising: Challenges and opportunities for advertisers and publishers.
    4. Strategies for new entrants to compete with established players in the TV OS market.
      • Gawer, A., & Cusumano, M. A. (2014). Industry platforms and ecosystem innovation. Journal of Product Innovation Management, 31(3), 417-433. https://doi.org/10.1111/jpim.12105
    5. The role of data-driven personalization in enhancing viewer experience and ad effectiveness in streaming platforms.
      • Tran, G. A., & Strutton, D. (2020). Comparing email and SNS users: Investigating e-servicescape, customer reviews, trust, loyalty and E-WOM. Journal of Retailing and Consumer Services, 53, 101782. https://doi.org/10.1016/j.jretconser.2019.03.009
    6. The potential impact of ad tech companies entering the content distribution space on traditional media companies.
    7. Ethical considerations in the convergence of advertising technology and content platforms.
    8. The future of audience measurement and attribution in a fragmented TV ecosystem.
      • Napoli, P. M. (2011). Audience evolution: New technologies and the transformation of media audiences. Columbia University Press.
    9. The role of artificial intelligence and machine learning in optimizing ad placement and targeting in connected TV environments.
    10. The potential impact of ad tech companies’ TV OS initiatives on net neutrality and content diversity.
      • Wu, T. (2003). Network neutrality, broadband discrimination. Journal on Telecommunications and High Technology Law, 2, 141.

    These research ideas cover various aspects of The Trade Desk’s move into the TV OS world, including its implications for advertising, privacy, competition, and content distribution. The additional scientific sources provide a foundation for further exploration of these topics.

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  • Suggestions for Research Areas in Media Research

    Radio

    • Digital Transformation and Radio: Investigate how radio has adapted to the digital age, focusing on online streaming and smart speaker integration[2].
    • Community Radio Impact: Explore the role of community radio in promoting local culture and empowering marginalized groups[4].
    • Radio’s Political Influence: Examine historical and contemporary cases where radio has played a significant role in political movements[5].
    • Future Prospects of Radio: Analyze the potential future of radio amidst competition from digital platforms like podcasts and streaming services[3].

    Podcasts

    • Monetization Strategies: Study various monetization models for podcasts, including sponsorships, subscriptions, and crowdfunding[1].
    • Emerging Podcast Genres: Explore niche podcast genres that are gaining popularity and their specific audience demographics[5].
    • Platform Engagement: Analyze how different platforms (e.g., Spotify, Apple Podcasts) influence podcast audience engagement[1].
    • Community Building through Podcasts: Investigate how podcasts foster community among listeners and creators[4].

    Television

    • Cultural Representation on TV: Assess how television portrays gender, race, and politics in contemporary dramas[2].
    • Streaming vs. Traditional TV Consumption: Compare viewing habits between traditional television and streaming platforms[2].
    • Reality TV’s Social Influence: Study the impact of reality television on public behavior and societal norms[2].
    • Television’s Role in Identity Formation: Explore how television content influences social identity and cultural perceptions[3].

    Streaming Platforms

    • Algorithmic Content Recommendations: Investigate how algorithms on streaming services shape viewer choices and content discovery[1].
    • Shift from Traditional TV to Streaming: Analyze the transition of traditional TV networks to digital streaming services[2].
    • Ad-supported vs. Subscription Models: Compare user behavior and preferences between ad-supported and subscription-based streaming models[2].
    • Impact on Cinema Industry: Explore how the rise of streaming services affects traditional cinema industries[3].

    Social Media

    • Influencer Marketing Impact: Study the influence of social media influencers on consumer purchasing decisions[1].
    • Political Campaigns on Social Media: Analyze the role of social media in modern political campaigns and activism efforts[1].
    • News Consumption via Social Media: Compare how different social media platforms are used for news consumption among various demographics[4].
    • Mental Health Effects on Youth: Investigate the implications of social media use on mental health, particularly among younger generations[1].

    Printed Media

    • Challenges in the Digital Age: Examine the difficulties faced by printed newspapers as digital media becomes more prevalent[5].
    • Design’s Role in Magazines: Study how design elements influence reader engagement with printed magazines[4].
    • Journalism Quality Evolution: Explore historical changes in journalism standards due to evolving print technologies[5].
    • Audience Loyalty in Niche Journalism: Investigate factors that contribute to audience loyalty in niche magazines and journalism outlets[4].

    News

    • Broadcast vs. Online News Consumption: Compare audience behaviors between broadcast news and online news platforms[1].
    • Countering Fake News: Analyze strategies employed to combat fake news across different media formats[5].
    • Traditional vs. Independent News Outlets: Study the roles of traditional news networks compared to independent news sources in current media landscapes[5].
    • Convergence of News Platforms: Explore how news platforms are converging and its impact on audience behavior and content delivery[1].

    Digital Marketing

    • Influencer Culture Dynamics: Examine digital marketing’s role in shaping influencer culture across social media platforms[3].
    • Ethics in Data Collection: Investigate ethical considerations surrounding data collection for targeted digital marketing campaigns[3].
    • Organic vs. Paid Content Effectiveness: Compare the effectiveness of organic versus paid content in achieving brand reach goals[3].
    • Integrated Marketing Communications: Study strategies for integrating marketing communications across various digital platforms for cohesive branding efforts[3].

    Citations:
    [1] https://jmseleyon.com/index.php/jms/article/download/687/661
    [2] https://www.ofcom.org.uk/media-use-and-attitudes/media-habits-adults/top-trends-from-latest-media-nations-research/
    [3] https://audacyinc.com/insights/new-research-confirms-audio-outperforms-tv-and-digital/
    [4] https://www.attnseek.com/p/researching-broadcast-media-beyond
    [5] https://www.pewresearch.org/topic/news-habits-media/news-media-trends/news-platforms-sources/audio-radio-podcasts/
    [6] https://www.pewresearch.org/journalism/fact-sheet/news-platform-fact-sheet/
    [7] https://www.dreamcast.in/blog/difference-between-broadcasting-and-social-media/
    [8] https://journals.sagepub.com/doi/10.1177/17816858231204738

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  • Research Proposals (Chapter B6)

    Research proposals play a crucial role in the social sciences, serving as a roadmap for researchers and a tool for gaining approval or funding. Matthews and Ross (2010) emphasize the importance of research proposals in their textbook “Research Methods: A Practical Guide for the Social Sciences,” highlighting their role in outlining the scope, methodology, and significance of a research project.

    The choice of research method in social research is a critical decision that depends on various factors, including the research question, available resources, and ethical considerations. Matthews and Ross (2010) discuss several key research methods, including quantitative, qualitative, and mixed methods approaches.

    Quantitative methods involve collecting and analyzing numerical data, often using statistical techniques. These methods are particularly useful for testing hypotheses and identifying patterns across large populations. On the other hand, qualitative methods focus on in-depth exploration of phenomena, often using techniques such as interviews, focus groups, or participant observation (Creswell & Creswell, 2018).

    Mixed methods research, which combines both quantitative and qualitative approaches, has gained popularity in recent years. This approach allows researchers to leverage the strengths of both methodologies, providing a more comprehensive understanding of complex social phenomena (Tashakkori & Teddlie, 2010).

    When choosing a research method, researchers must consider the nature of their research question and the type of data required to answer it effectively. For example, a study exploring the prevalence of a particular behavior might be best suited to a quantitative approach, while an investigation into the lived experiences of individuals might benefit from a qualitative methodology.

    Ethical considerations also play a significant role in method selection. Researchers must ensure that their chosen method minimizes harm to participants and respects principles such as informed consent and confidentiality (Israel, 2014).

    Structure

    Introduction: This section sets the stage for your research by introducing the research problem or topic, clearly stating the research question(s), and outlining the objectives of your project3. It also establishes the context and significance of your research, highlighting its potential contributions and who might benefit from its findings

    Literature Review: This section demonstrates your understanding of the existing knowledge and research related to your topic4. It involves critically evaluating relevant literature and synthesizing key themes and findings, providing a foundation for your research questions and methodology.

    Methodology/Methods: This crucial section details how you plan to conduct your research4. It outlines the research design, the data collection methods you will employ, and the sampling strategy used to select participants or cases5. The methodology should align with your research questions and the type of data needed to address them.

    Dissemination: This section describes how you intend to share your research findings with relevant audiences. It may involve outlining plans for presentations, publications, or other forms of dissemination, ensuring the research reaches those who can benefit from it.

    Timetable: A clear timetable provides a realistic timeline for your research project, outlining key milestones and deadlines for each stage, including data collection, analysis, and writing6. It demonstrates your understanding of the time required to complete the research successfully.

    References:

    Creswell, J. W., & Creswell, J. D. (2018). Research design: Qualitative, quantitative, and mixed methods approaches. Sage publications.

    Israel, M. (2014). Research ethics and integrity for social scientists: Beyond regulatory compliance. Sage.

    Matthews, B., & Ross, L. (2010). Research methods: A practical guide for the social sciences. Pearson Education.

    Tashakkori, A., & Teddlie, C. (Eds.). (2010). Sage handbook of mixed methods in social & behavioral research. Sage.

    Citations:
    [1] https://www.bol.com/nl/nl/f/research-methods/39340982/
    [2] https://search.worldcat.org/title/Research-methods-:-a-practical-guide-for-the-social-sciences/oclc/867911596
    [3] https://www.pearson.com/en-gb/subject-catalog/p/research-methods-a-practical-guide-for-the-social-sciences/P200000004950/9781408226186


    [4] https://search.worldcat.org/title/Research-methods-:-a-practical-guide-for-the-social-sciences/oclc/780979587
    [5] https://www.studeersnel.nl/nl/document/tilburg-university/methodologie-4-ects/summary-research-methods-bob-matthews-liz-ross/109770
    [6] https://books.google.com/books/about/Research_Methods.html?id=g2mpBwAAQBAJ
    [7] https://books.google.com/books/about/Research_Methods.html?id=7s4ERAAACAAJ
    [8] https://academic.oup.com/bjc/article-abstract/52/5/1017/470134?login=false&redirectedFrom=fulltext

  • Immersiveness: Creating Memorable Media Experiences

    Media has become an indispensable part of our daily lives, and immersiveness is a key factor that determines the success and popularity of any medium. Immersiveness refers to the extent to which a medium captures and holds the attention of its audience, and makes them feel involved in the story or the experience. According to Bryant and Vorderer (2006), an immersive medium has the ability to transport the audience to another world, and create a sense of presence and engagement. It enables them to escape reality, and experience things that they would not have the opportunity to experience in their everyday lives. Immersiveness also has therapeutic effects, as it can help people cope with stress, anxiety, and other mental health issues.

    Several factors contribute to the immersiveness of a medium. One of the key factors is the narrative. A well-crafted narrative can create a sense of continuity and coherence, and help the audience become invested in the story. For example, a TV series like Game of Thrones, with its intricate plotlines and well-developed characters, has a high degree of immersiveness, as it captures the attention of its audience and makes them feel emotionally invested in the story.

    Another important factor is the audio-visual experience. The quality of the audio and visuals can greatly enhance or detract from the immersiveness of a medium. According to Jennett et al. (2008), a video game with realistic graphics and immersive sound effects can create a sense of presence, and make the player feel like they are part of the game world. Similarly, a movie with high-quality cinematography and sound design can transport the audience to another world, and create a visceral emotional experience.

    Finally, interactivity is a key factor in the immersiveness of a medium. Interactive media, such as video games or virtual reality experiences, enable the audience to actively engage with the medium, and have agency in the story or the experience. This can greatly enhance the sense of immersion, as it makes the audience feel like they are part of the medium, rather than simply passive observers.

    In conclusion, immersiveness is a crucial factor in the success and popularity of any medium. By understanding the factors that contribute to immersiveness, media creators can enhance the engagement and experience of their audience, and create truly immersive and memorable experiences. As Ryan (2015) notes, effective use of narrative, audio-visual experience, and interactivity can greatly enhance the immersiveness of a medium, and create a deep emotional connection with the audience.

    References:

    Bryant, J., & Vorderer, P. (Eds.). (2006). Psychology of Entertainment. Routledge.

    Jennett, C., Cox, A. L., Cairns, P., Dhoparee, S., Epps, A., Tijs, T., & Walton, A. (2008). Measuring the experience of immersion in games. International Journal of Human-Computer Studies, 66(9), 641-661.

    Ryan, M. L. (2015). Narrative as virtual reality 2: Revisiting immersion and interactivity in literature and electronic media. JHU Press.

  • Audience Transportation in Film

    Audience transportation is a concept in film that describes the extent to which viewers are transported into the narrative world of a movie, creating a sense of immersion and emotional involvement. Studies have shown that audience transportation is achieved through a combination of factors, including setting, character development, sound, music, and plot structure.

    Setting plays a critical role in audience transportation, as it provides a context for the story and creates a sense of place. According to a study by Gromer and colleagues (2015), the use of setting can create a feeling of being transported into a different world, with the audience feeling more involved in the story. The study found that the more immersive the setting, the greater the level of transportation experienced by the audience.

    Character development is also important in creating audience transportation, as it allows viewers to connect emotionally with the characters in the film. A study by Sest and colleagues (2013) found that viewers who became more involved with the characters in a film reported a higher level of transportation. The study also found that the more complex the characters, the more involved the viewer became in the story.

    Sound and music are other important factors in audience transportation. According to a study by Adolphs and colleagues (2018), the use of sound can create an emotional response in the viewer, while music can be used to create a sense of mood and atmosphere. The study found that the use of sound and music can significantly impact the level of transportation experienced by the audience.

    Finally, the plot and narrative structure of a film can also contribute to audience transportation. A study by Green and Brock (2000) found that the more complex the plot of a film, the greater the level of transportation experienced by the audience. The study also found that non-linear plot structures, such as those used in films like “Memento,” can create a greater level of immersion for the audience.

    In conclusion, audience transportation is a critical aspect of the cinematic experience that is achieved through a combination of factors, including setting, character development, sound, music, and plot structure. When these elements are used effectively, they can create a sense of immersion and emotional involvement in the viewer, leaving a lasting impact on their memory and overall enjoyment of the film.

    References:

    Adolphs, S., et al. (2018). Sounds engaging: How music and sound design in movies enhance audience transportation into narrative worlds. Journal of Media Psychology, 30(2), 63-74.

    Gromer, D., et al. (2015). Transportation into a narrative world: A multi-method approach. Journal of Media Psychology, 27(2), 64-73.

    Green, M.C., & Brock, T.C. (2000). The role of transportation in the persuasiveness of public narratives. Journal of Personality and Social Psychology, 79(5), 701-721.

    Sest, S., et al. (2013). The effects of characters’ identification, desire, and morality on narrative transportation and perceived involvement in a story. Psychology of Aesthetics, Creativity, and the Arts, 7(3), 228-237

  • Emotional Involvement in Film

    Emotional involvement in film is a complex psychological phenomenon that occurs when a viewer becomes deeply engaged with the characters and events depicted on the screen. This involvement can be driven by a variety of factors, including empathy with the characters, identification with their struggles, and the emotional impact of the film’s themes and messages. In this essay, we will explore the research on emotional involvement in film and its effects on viewers.

    Empathy and Emotional Involvement

    One of the primary factors that drive emotional involvement in film is empathy with the characters. Empathy is the ability to share in the feelings and experiences of others, and it has been found to play a key role in emotional engagement with film (Bal & Veltkamp, 2013). When viewers feel empathy with a character, they are more likely to become emotionally involved in their story and to experience a range of emotions that mirror the character’s own.

    Studies have shown that empathy can be a powerful driver of emotional involvement in film. For example, a study by Bal and Veltkamp (2013) found that viewers who felt high levels of empathy with the protagonist of a film experienced more emotional involvement with the story and reported greater emotional reactions to the film overall. Similarly, a study by Hanich, Wagner, Shah, Jacobsen, and Menninghaus (2014) found that viewers who felt high levels of empathy with a character were more likely to report feeling emotionally transported by the film, a state in which they become fully absorbed in the story and lose awareness of their surroundings.

    Identification and Emotional Involvement

    Another factor that can drive emotional involvement in film is identification with the characters. Identification refers to the process by which viewers see themselves in the characters on the screen and become emotionally invested in their struggles and triumphs (Cohen, 2001). This identification can be facilitated by a variety of factors, including the character’s personality traits, physical appearance, and experiences.

    Research has found that identification can be a powerful driver of emotional involvement in film. For example, a study by Cohen (2001) found that viewers who identified strongly with a character in a film reported greater emotional involvement with the story and were more likely to experience a range of emotions, including sadness, joy, and fear. Similarly, a study by Tukachinsky (2013) found that viewers who identified with the main character of a film were more likely to experience emotional involvement with the story and to report feeling a sense of personal growth or transformation as a result of their viewing experience.

    Themes and Emotional Involvement

    In addition to empathy and identification, the themes and messages of a film can also play a key role in emotional involvement. When a film addresses themes or messages that resonate with viewers on a personal level, they are more likely to become emotionally involved in the story and to experience a range of emotions in response.

    Research has shown that the themes and messages of a film can be a powerful driver of emotional involvement. For example, a study by Oliver and Bartsch (2010) found that viewers who watched a film that addressed the theme of forgiveness reported greater emotional involvement with the story and were more likely to experience a range of positive emotions, including happiness and hope. Similarly, a study by Knobloch, Zillmann, Dillman Carpentier, and Reimer (2003) found that viewers who watched a film that addressed the theme of social justice were more likely to experience a range of emotions, including anger and frustration, and were more likely to report feeling motivated to take action in their own lives.

    Conclusion

    Emotional involvement in film is a complex phenomenon that is driven by a variety of factors, including empathy with the characters, identification with their struggles, and the themes and messages.

    References:

    Bal, P. M., & Veltkamp, M. (2013). How does fiction reading influence empathy? An experimental investigation on the role of emotional transportation. PloS one, 8(1), e55341.

    Cohen, J. (2001). Defining identification: A theoretical look at the identification of audiences with media characters. Mass communication and society, 4(3), 245-264.

    Hanich, J., Wagner, V., Shah, M., Jacobsen, T., & Menninghaus, W. (2014). Why we love watching sad films: The pleasure of being moved in aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 8(2), 130-143.

    Knobloch, S., Zillmann, D., Dillman Carpentier, F. R., & Reimer, T. (2003). Effects of portrayals of social issues on viewers’ mood and behavioral intentions. Journalism & Mass Communication Quarterly, 80(2), 343-359.

    Oliver, M. B., & Bartsch, A. (2010). Appreciation as audience response: Exploring entertainment gratifications beyond hedonism. Human Communication Research, 36(1), 53-81.

    Tukachinsky, R. (2013). Narrative engagement: What makes people experience stories? In M. B. Oliver & A. A. Raney (Eds.), Media and social life (pp. 197-212). Routledge.

  • Empathy in Media

    Empathy is a crucial component of human communication and interaction, and it plays a vital role in our ability to understand and connect with others. In recent years, there has been growing interest in the role of empathy in media, particularly in the ways that media can foster empathy and increase our understanding of others. This essay will explore the concept of empathy in media, the ways in which media can foster empathy, and the potential benefits of this increased empathy for individuals and society as a whole.

    Empathy in Media

    Empathy can be defined as the ability to understand and share the feelings of another person (Decety & Jackson, 2004). In media, empathy can take many forms, such as through fictional narratives, documentaries, news stories, and even social media. Media can foster empathy by presenting viewers with stories and characters that are relatable and that elicit an emotional response.

    One way that media can foster empathy is through the use of fictional narratives. Fictional narratives, such as novels, television shows, and films, allow viewers to experience the thoughts and feelings of characters and to see the world through their eyes. This can help viewers to understand the perspectives of others and to develop a greater sense of empathy for people who are different from themselves (Kuipers & Robinson, 2015).

    Documentaries and news stories can also be powerful tools for fostering empathy. These types of media often present viewers with real-world situations and events that are outside of their own experience. By presenting these situations in a way that is engaging and emotionally resonant, documentaries and news stories can help viewers to better understand the perspectives of others and to develop a greater sense of empathy for people who are different from themselves (Hansen & Machin, 2016).

    Social media is another powerful tool for fostering empathy. Social media platforms like Facebook and Twitter allow users to connect with people from all over the world and to share their own stories and experiences. By facilitating these connections and providing a platform for personal expression, social media can help users to better understand the perspectives of others and to develop a greater sense of empathy (Urist, 2016).

    Benefits of Empathy in Media

    The benefits of empathy in media are numerous, both for individuals and for society as a whole. At the individual level, increased empathy can lead to greater understanding and more positive relationships with others. It can also lead to a greater sense of emotional intelligence and self-awareness (Decety & Cowell, 2014).

    At the societal level, increased empathy can lead to a greater sense of social cohesion and a more just and equitable society. Empathy can help to reduce prejudice and discrimination and to promote greater understanding and acceptance of people from diverse backgrounds (Kuipers & Robinson, 2015). Additionally, empathy in media can help to raise awareness about important social issues and to inspire action and change.

    Conclusion

    Empathy is a vital component of human communication and interaction, and media has the power to foster empathy and increase our understanding of others. Through fictional narratives, documentaries, news stories, and social media, media can help us to better understand the perspectives of others and to develop a greater sense of empathy. The benefits of empathy in media are numerous, both for individuals and for society as a whole, and it is important that we continue to explore and promote empathy in media in order to create a more just and equitable world.

    References:

    Decety, J., & Cowell, J. M. (2014). Friends or Foes: Is Empathy Necessary for Moral Behavior? Perspectives on Psychological Science, 9(5), 525–537. https://doi.org/10.1177/1745691614543975

    Decety, J., & Jackson, P. L. (2004). The functional architecture of human empathy. Behavioral and Cognitive Neuroscience Reviews, 3(2), 71–100. https://doi.org/10.1177/1534582304267187

    Hansen, A. K., & Machin, D. (2016). Documentaries and the cultivation of empathy. Communication Research, 43(7), 869–890. https://doi.org/10.1177/0093650215616588

    Kuipers, G., & Robinson, J. A. (2015). Stories and the promotion of empathy in a multicultural world. Social Science & Medicine, 146, 245–252. https://doi.org/10.1016/j.socscimed.2015.10.044

    Urist, J. (2016). The role of empathy in social media. The Atlantic. https://www.theatlantic.com/technology/archive/2016/11/the-role-of-empathy-in-social-media/507714/

  • The Power of Ambiguity: Exploring Empathy in Films with Ambiguous Protagonists”

    Empathy is the ability to understand and share the feelings of others. In the context of film, empathy plays a crucial role in engaging the audience with the characters and the story. Ambiguous protagonists are characters that are difficult to classify as wholly good or bad, and their actions are open to interpretation. The portrayal of ambiguous protagonists in films can evoke complex emotions in the audience and challenge their ability to empathize with the character.

    Several studies have examined the relationship between empathy and films with ambiguous protagonists. A study by Bal and Veltkamp (2013) found that viewers of films with ambiguous characters reported higher levels of cognitive and emotional empathy compared to viewers of films with unambiguous characters. Another study by Vorderer, Klimmt, and Ritterfeld (2004) found that the ability to empathize with a character in a film was positively correlated with the enjoyment of the film.

    Films with ambiguous protagonists can also challenge the audience’s moral reasoning and perception of social norms. A study by Tamborini, Stiff, and Zillmann (1987) found that viewers of films with morally ambiguous characters had more diverse moral reactions compared to viewers of films with morally clear-cut characters. The study suggested that films with ambiguous characters could help promote moral reasoning and perspective-taking in the audience.

    One example of a film with an ambiguous protagonist is “Breaking Bad,” a TV series that follows the story of a high school chemistry teacher who turns to manufacturing and selling drugs to secure his family’s financial future after he is diagnosed with cancer. The main character, Walter White, is portrayed as both a sympathetic victim of circumstance and a ruthless drug lord. The audience’s empathy towards Walter White is challenged throughout the series as his actions become increasingly immoral and violent.

    Another example of a film with an ambiguous protagonist is “The Joker,” which follows the story of the iconic Batman villain. The film explores the character’s origins and portrays him as a victim of a society that has rejected him. The audience’s empathy towards the Joker is challenged as he descends into violence and chaos.

    In conclusion, films with ambiguous protagonists can challenge the audience’s ability to empathize with the character and their moral reasoning. However, studies suggest that the portrayal of ambiguous characters in films can promote cognitive and emotional empathy and lead to a more diverse range of moral reactions in the audience.

    References:

    Bal, P. M., & Veltkamp, M. (2013). How does fiction reading influence empathy? An experimental investigation on the role of emotional transportation. PloS one, 8(1), e55341.

    Tamborini, R., Stiff, J. B., & Zillmann, D. (1987). Moral judgments and crime drama: An integrated theory of enjoyment. Journal of communication, 37(3), 114-133.

    Vorderer, P., Klimmt, C., & Ritterfeld, U. (2004). Enjoyment: At the heart of media entertainment. Communication theory, 14(4), 388-408.

  • Immersiveness Measuring with Scales

    Immersiveness is a key aspect of film that refers to the degree to which viewers feel engaged and absorbed in the cinematic experience (Tamborini, Bowman, Eden, & Grizzard, 2010). Measuring immersiveness in film can be challenging, as it is a subjective experience that can vary across individuals and films (Calleja, 2014). In this discussion, I will explore some of the methods that have been used to measure immersiveness in film, with reference to relevant literature.

    One way to measure immersiveness in film is through the use of self-report measures, which ask viewers to rate their subjective experience of immersion. For example, Tamborini et al. (2010) developed a multidimensional scale of perceived immersive experience in film, which includes items related to spatial presence (e.g., “I felt like I was in the same physical space as the characters”), narrative transportation (e.g., “I was completely absorbed in the story”), and emotional involvement (e.g., “I felt emotionally connected to the characters”). Participants rate each item on a 7-point Likert scale, with higher scores indicating greater levels of immersiveness. Other self-report measures of immersiveness include the Immersive Experience Questionnaire (Chen, Huang, & Huang, 2020) and the Immersion Questionnaire (Jennett et al., 2008).

    Another way to measure immersiveness in film is through the use of physiological measures, which assess changes in bodily responses associated with immersion. For example, Galvanic Skin Response (GSR) is a measure of the electrical conductance of the skin that can indicate arousal and emotional responses (Kreibig, 2010). Heart Rate Variability (HRV) is another measure that can be used to assess physiological changes associated with immersion, as it reflects the variability in time between successive heartbeats, and is influenced by both parasympathetic and sympathetic nervous system activity (Laborde, Mosley, & Thayer, 2017).

    In addition to self-report and physiological measures, behavioral measures can also be used to assess immersiveness in film. For example, eye-tracking can be used to measure the extent to which viewers focus their attention on different elements of the film, such as the characters or the environment (Bulling et al., 2016). Eye-tracking data can also be used to infer cognitive processes associated with immersion, such as mental workload and engagement (Munoz-Montoya, Bohil, Di Stasi, & Gugerty, 2014).

    Overall, measuring immersiveness in film is a complex and multifaceted process that involves subjective, physiological, and behavioral components. Self-report measures are commonly used to assess viewers’ subjective experience of immersion, while physiological measures can provide objective indicators of bodily responses associated with immersion. Behavioral measures, such as eye-tracking, can provide insights into cognitive processes associated with immersion. Combining these different methods can help to provide a more comprehensive and accurate assessment of immersiveness in film.

    References

    Bulling, A., Mansfield, A., & Elsden, C. (2016). Eye tracking and the moving image. Springer.

    Calleja, G. (2014). In-game: From immersion to incorporation. MIT Press.

    Chen, Y.-W., Huang, Y.-J., & Huang, C.-H. (2020). The Immersive Experience Questionnaire: Scale development and validation. Journal of Computer-Mediated Communication, 25(1), 49-61.

    Jennett, C., Cox, A. L., Cairns, P., Dhoparee, S., Epps, A., Tijs, T., & Walton, A. (2008). Measuring and defining the experience of immersion in games. International Journal of Human-Computer Studies, 66(9), 641-661.

    Kreibig, S. D. (2010). Autonomic nervous system activity in emotion: A review. Biological Psychology, 84(3), 394-421.

    Laborde, S., Mosley, E., & Thayer, J. F. (2017). Heart rate variability and cardiac vagal tone in psychophysiological research–recommendations for experiment planning, data analysis, and data reporting. Frontiers in Psychology, 8, 213.

    Munoz-Montoya, F., Bohil, C. J., Di Stasi, L. L., & Gugerty, L. (2014). Using eye tracking to evaluate the cognitive workload of image processing in a simulated tactical environment. Displays, 35(3), 167-174.

    Tamborini, R., Bowman, N. D., Eden, A., & Grizzard, M. (2010). Organizing the perception of narrative events: Psychological need satisfaction and narrative immersion. In P. Vorderer, D. Friedrichsen, & J. Bryant (Eds.), Playing video games: Motives, responses, and consequences (pp. 165-184). Routledge.

  • Extended Transportation Imagery Model (ETIM)

    The Extended Transportation Imagery Model (ETIM) is a theoretical framework that was developed to explain how media messages influence individuals’ attitudes, beliefs, and behaviors through the use of vivid imagery and narrative transportation. The model is particularly relevant for media students who are interested in studying the impact of media messages on audiences. In this response, I will discuss the key concepts of the ETIM, provide relevant citations, and offer criticisms of the model.

    The Extended Transportation Imagery Model (ETIM)

    The ETIM was first introduced by Green and Brock (2000) and was later extended by Moyer-Gusé (2008) to include additional constructs. The model posits that when individuals are exposed to media messages that contain vivid imagery and a compelling narrative, they are transported into the story world and experience a form of mental immersion. During this process of transportation, individuals become less aware of their immediate surroundings and are more likely to adopt the attitudes, beliefs, and behaviors presented in the story.

    The ETIM proposes that transportation is influenced by several factors, including the characteristics of the media message, the individual’s personal involvement with the topic, and the individual’s cognitive and emotional responses to the message. Additionally, the model suggests that transportation can lead to long-lasting effects on attitudes and behavior, particularly when the narrative is congruent with the individual’s pre-existing beliefs and values.

    Citations

    Green and Brock (2000) initially introduced the ETIM in their study of the effects of narrative persuasion on attitudes and behavior. Moyer-Gusé (2008) later extended the model to include additional constructs, such as transportation into the story world and narrative engagement. The ETIM has been used in a variety of studies to examine the impact of media messages on attitudes and behavior, particularly in the areas of health communication and entertainment media (e.g., Moyer-Gusé, Mahood, & Brookes, 2011; Slater & Rouner, 2002).

    Criticisms

    While the ETIM provides a useful framework for understanding the impact of media messages on audiences, it has been subject to several criticisms. One criticism is that the model does not adequately account for individual differences in the extent to which people are transported into the story world. Some individuals may be more susceptible to transportation than others, and the model does not address these differences (Green, 2004).

    Another criticism is that the model does not consider the role of social context in the process of transportation. For example, a media message may be more or less persuasive depending on the social norms and values of the audience (Tukachinsky, Mastro, & Yarchi, 2015). Additionally, the model does not address the potential for counter-arguing, or the process by which individuals actively resist persuasive messages (Pfau & Van Bockern, 2004).

    Conclusion

    The Extended Transportation Imagery Model provides a useful framework for media students interested in studying the impact of media messages on audiences. The model proposes that transportation into the story world is a key mechanism through which media messages can influence attitudes and behavior. However, the model has been subject to criticisms related to its failure to account for individual differences in susceptibility to transportation and its neglect of social context and counter-arguing. Nonetheless, the model continues to be an important theoretical framework for media scholars and practitioners alike.

    References:

    Green, M. C. (2004). Transportability: A theoretical concept and construct for the study of narrative effects. Journal of Communication, 54(3), 469-488.

    Green, M. C., & Brock, T. C. (2000). The role of transportation in the persuasiveness of public narratives. Journal of Personality and Social Psychology, 79(5), 701-721.

  • Suspension of Disbelief

    Suspension of disbelief is a term used to describe the willingness of an audience to accept the unrealistic or fantastical elements of a story in order to fully engage with and enjoy a work of fiction. This concept is particularly relevant to media students, who must be able to understand how an audience interacts with different forms of media and how the medium itself can impact their ability to suspend disbelief.

    One of the earliest discussions of suspension of disbelief can be found in the work of philosopher and literary critic Samuel Taylor Coleridge. In his 1817 Biographia Literaria, Coleridge explains that, in order to fully enjoy a work of fiction, the reader must “suppose the story to be true, at least while he is reading.” In other words, the reader must be willing to set aside their disbelief in order to fully engage with the story.

    In more recent years, media scholars have continued to explore the concept of suspension of disbelief. For example, in his 1986 book Textual Poachers, Henry Jenkins argues that fan communities often rely on suspension of disbelief in order to fully immerse themselves in their chosen fandom. Similarly, media scholar Marsha Kinder discusses the role of immersion and identification in her 1991 book Playing with Power, arguing that “the key to media consumption is a kind of active engagement that involves the audience in the process of suspending disbelief.”

    However, not all scholars are convinced of the value of suspension of disbelief. In his 2006 book The Reality Effect, media scholar Joel Black argues that the concept is ultimately limiting, as it assumes that audiences are simply passive recipients of media rather than active interpreters. Black suggests that a more productive approach to understanding audience engagement with media would be to focus on the ways in which audiences actively negotiate their relationship to the text, rather than simply “suspending disbelief.”

  • Escapisme

    Escapism, defined as the tendency of individuals to seek out entertainment and distraction from the stresses and challenges of everyday life, can be found in various forms of media content, such as books, films, TV shows, and video games (Kahn, Shen, & Lu, 2013). For example, J.K. Rowling’s Harry Potter series provides readers with a fantastical world filled with magic and adventure, while J.R.R. Tolkien’s Lord of the Rings trilogy offers a world of heroes and villains that is far removed from the mundane realities of daily life. In video games, players can immerse themselves in virtual worlds, such as Minecraft, where they can build and explore without the constraints of the real world.

    While escapism can provide individuals with a sense of relaxation and relief, it can also have negative effects. One criticism of escapism is that it can be a form of avoidance behavior, whereby individuals use media content to escape from their problems rather than confronting them directly (Rubin, 2002). This can result in a lack of productivity and avoidance of real-life responsibilities. Another criticism of escapism is that it can create unrealistic expectations and a false sense of reality. For instance, some individuals may come to expect the same level of excitement and adventure in their real lives that they experience in the media they consume, which can lead to dissatisfaction and disappointment with their real-life experiences (Zillmann, 2000).

    Despite these criticisms, escapism can have positive effects on individuals. It can provide a form of mental relaxation and reduce stress levels (Kahn, Shen, & Lu, 2013). It can also foster a sense of community among individuals who share a love for a particular book, film, or video game.

    In conclusion, while escapism in media content can provide individuals with a sense of relief and comfort from the pressures of everyday life, it is important to be aware of its potential negative effects, such as avoidance behavior and unrealistic expectations (Rubin, 2002). Individuals should strive to find a balance between their media consumption and real-life responsibilities.

    References:

    Kahn, A. S., Shen, C., & Lu, L. (2013). Effects of social media use on relationship satisfaction. Journal of Cyberpsychology, Behavior, and Social Networking, 16(6), 370-377.

    Rubin, A. M. (2002). The uses-and-gratifications perspective of media effects. In J. Bryant & D. Zillmann (Eds.), Media effects: Advances in theory and research (2nd ed., pp. 525-548). Mahwah, NJ: Lawrence Erlbaum Associates.

    Zillmann, D. (2000). Influence of unrestrained access to erotica on adolescents’ and young adults’ dispositions toward sexuality. Journal of Adolescent Health, 27(2), 41-44

  • Mood Management Theory

    Mood Management Theory, developed by Zillmann in the 1980s, proposes that people engage in media consumption to regulate their emotions and mood. According to the theory, media consumption is an active and purposeful activity, where people seek to manage their emotions and mood, either by maintaining or enhancing their current mood or altering it (Zillmann, 1988). This theory has significant implications for media studies, as it highlights the importance of the media in shaping an individual’s emotions and mood.

    However, some critics argue that the Mood Management Theory oversimplifies the relationship between media consumption and mood regulation. They suggest that the theory does not consider the complexity of human emotions and how different media forms may affect emotions and moods differently (Dillard & Shen, 2005). For example, listening to music may uplift one person’s mood, but it may not have any effect on another person’s mood. Similarly, watching a comedy film may make one person laugh, but it may have no effect on another person’s mood.

    Moreover, critics suggest that the Mood Management Theory neglects the role of social and cultural factors in media consumption. People’s media consumption patterns are not solely based on their moods and emotions but are also influenced by social and cultural factors such as age, gender, ethnicity, and socioeconomic status, among others (Dillard & Shen, 2005).

    Furthermore, the Mood Management Theory lacks empirical evidence, and more research is needed to establish a direct relationship between media consumption and mood regulation. Although some studies have provided evidence for the Mood Management Theory, other studies have found no or weak evidence for the theory (Oliver & Bartsch, 2010).

    Despite these criticisms, the Mood Management Theory has significant implications for media producers and advertisers. The theory suggests that media producers and advertisers can use media content to target specific emotions and moods to influence the audience’s behavior.

    In conclusion, while the Mood Management Theory has significant implications for media studies, it has been criticized for oversimplifying the relationship between media consumption and mood regulation, neglecting the role of social and cultural factors in media consumption, and lacking empirical evidence. Further research is needed to examine the relationship between media consumption and mood regulation.

    References:

    Dillard, J. P., & Shen, L. (2005). On the nature of reactance and its role in persuasive health communication. Communication Monographs, 72(2), 144-168.

    Oliver, M. B., & Bartsch, A. (2010). Appreciation as audience response: Exploring entertainment gratifications beyond hedonism. Human Communication Research, 36(1), 53-81.

    Raney, A. A., & Bryant, J. (2006). Handbook of entertainment media. Routledge.

    Zillmann, D. (1988). Mood management: Using entertainment to full advantage. Journal of Broadcasting & Electronic Media, 32(2), 103-123.

  • Structural Affect Theory

    Structural affect theory is an approach to understanding how media texts generate affective responses, such as suspense, curiosity, and surprise, in their audiences (Carroll, 1996; Plantinga, 2009; Smith, 2014). This theory emphasizes the role of the narrative structure of a media text, as well as the way that it is presented, in shaping emotional responses in viewers or readers.

    One key element of structural affect theory is the idea that suspense is generated through the manipulation of information. Media texts may withhold certain information from the audience, or provide it in a piecemeal fashion, in order to create a sense of anticipation and tension (Plantinga, 2009). This can be achieved through techniques such as foreshadowing, cliffhangers, and red herrings.

    Another important aspect of the theory is the idea that curiosity is generated through a sense of uncertainty or ambiguity. Media texts may present puzzles or mysteries that the audience is encouraged to solve, creating a sense of engagement and investment (Smith, 2014). This can be achieved through techniques such as enigmas, riddles, and complex characters or plots.

    Finally, surprise is seen as a key element of affective response in media texts. Media can create surprise through the unexpected, such as plot twists or sudden reversals, or through the inversion of expectations (Carroll, 1996). This can be achieved through techniques such as irony, satire, and subversion.

    Critics of structural affect theory have argued that it places too much emphasis on the narrative structure of media texts, and not enough on the cultural, social, or historical context in which they are produced and consumed (Ang, 2012). Others have suggested that the theory may be too focused on the formal aspects of media, and not sufficiently attentive to the affective responses of individual viewers or readers (Klevjer, 2006). Additionally, some have criticized the theory for being overly deterministic, assuming that all viewers will respond in the same way to the same stimuli (Smith, 2014).

    In conclusion, while structural affect theory offers valuable insights into the ways in which media texts can generate affective responses in their audiences, it is important for media students to be aware of its limitations and to consider other approaches to media analysis as well.

    References:

    Ang, I. (2012). Desperately Seeking the Audience. Routledge.

    Carroll, N. (1996). Theorizing the Moving Image. Cambridge University Press.

    Klevjer, R. (2006). “What’s the Matter with Cognition?” — A Critique of Stereotypical Notions in Film Theory. Projections, 1(1), 25-38.

    Plantinga, C. (2009). Moving Viewers: American Film and the Spectator’s Experience. University of California Press.

    Smith, M. (2014). Engaging Characters: Fiction, Emotion, and the Cinema. Oxford University Press.

  • Theories Models Concepts

    n the field of media studies, theories, models, concepts, and variables are all important concepts that help researchers understand and analyze various phenomena related to media.

    Theories refer to systematic frameworks that provide explanations for various phenomena in the media industry. These can be broad or specific and help researchers to understand the nature and function of media. For example, the Uses and Gratifications Theory explains how audiences use media to satisfy their needs and desires (Katz, Blumler, & Gurevitch, 1974).

    Models are simplified representations of complex phenomena that allow researchers to make predictions and test hypotheses. For example, the Communication Accommodation Theory proposes a model that explains how individuals adjust their communication styles to accommodate the expectations of others (Giles & Coupland, 1991).

    Concepts are abstract ideas or generalizations that represent important features or characteristics of a particular phenomenon. For example, the concept of agenda-setting describes how media coverage can influence the importance placed on certain issues by the public (McCombs & Shaw, 1972).

    Variables are specific measurable factors that can be manipulated or observed in research. For example, in a study on media effects, the amount of time spent watching television can be a variable of interest. Variables can be independent, dependent, or control variables, depending on their role in the research design.

    In conclusion, theories, models, concepts, and variables are essential concepts for media students to understand and apply in their research. By using these concepts, media students can gain a deeper understanding of media-related phenomena and conduct rigorous and valid research.

    References:

    Giles, H., & Coupland, J. (1991). Language: Contexts and consequences. Open University Press.

    Katz, E., Blumler, J. G., & Gurevitch, M. (1974). Utilization of mass communication by the individual. In J. G. Blumler & E. Katz (Eds.), The uses of mass communications: Current perspectives on gratifications research (pp. 19-32). Sage.

    McCombs, M. E., & Shaw, D. L. (1972). The agenda-setting function of mass media. Public Opinion Quarterly, 36(2), 176-187.

  • Chatman’s Narrative Theory

    Chatman’s narrative theory provides a valuable framework for media students to examine and comprehend how narratives operate across different forms of media. The theory highlights three crucial components that contribute to a coherent narrative: story, plot, and narration. Chatman asserts that these elements work together to create a meaningful and complex narrative (Chatman, 1978).

    One of the most significant contributions of Chatman’s theory is that it emphasizes the importance of the audience’s role in creating meaning in a narrative. As Chatman argues, the way in which the narrative is presented has a substantial impact on how the audience interprets and understands the story (Chatman, 1978). Therefore, media creators need to consider how their presentation of the narrative elements may affect the audience’s interpretation and reception.

    Another critical element of Chatman’s theory is his recognition of the role of repetition and variation in constructing a narrative. According to Chatman, repetition can reinforce the significance of particular events or motifs, while variation can introduce new perspectives and ideas to the story. By utilizing repetition and variation strategically, media creators can construct more complex and engaging narratives that capture the audience’s attention and imagination (Chatman, 1978).

    However, some scholars have criticized Chatman’s theory for placing too much emphasis on the formal elements of narrative structure, such as plot and narration, and neglecting the broader social and cultural contexts that shape the creation and reception of narratives. Thus, some have advocated for a more nuanced approach to narrative analysis that considers the political and cultural factors that influence the creation and reception of narratives (Ryan, 2006).

    In conclusion, Chatman’s narrative theory provides an essential foundation for media students to analyze and understand the intricacies of narrative construction in different media forms. By highlighting the role of story, plot, and narration, as well as the significance of the audience’s interpretation, Chatman’s theory has made significant contributions to our comprehension of how narratives function in media (Herman, 2009). Nonetheless, further research is necessary to appreciate the complexities of narrative in various media forms fully.

    References:

    Chatman, S. B. (1978). Story and discourse: Narrative structure in fiction and film. Cornell University Press.

    Herman, D. (2009). Basic elements of narrative. John Benjamins Publishing.

    Ryan, M. L. (2006). Narrative across media: The languages of storytelling. University of Nebraska Press.

  • Suspense

    Suspense is a powerful emotional reaction that media students should be familiar with. It is a feeling of uncertainty, anticipation, and tension that builds up as the audience waits for the outcome of an event. According to Gerrig and Zimbardo (2018), “suspense is a cognitive and emotional experience that arises from the audience’s awareness of an impending outcome that is uncertain and potentially significant” (p. 278).

    Suspense is often used in films, television shows, and literature to engage the audience and create a sense of excitement. It can be created through various techniques, such as music, camera angles, and pacing. For example, in Alfred Hitchcock’s film “Psycho,” the famous shower scene is shot in quick, jarring cuts that create a sense of chaos and uncertainty, which heightens the suspense.

    In addition, suspense can be enhanced by the use of foreshadowing. Foreshadowing is a technique that hints at future events, which can increase the audience’s anticipation and sense of unease. For example, in the television series “Breaking Bad,” there are numerous instances of foreshadowing, such as the use of the color green to symbolize death, which creates a sense of dread and anticipation in the audience.

    Suspense is an effective tool for media creators because it keeps the audience engaged and interested in the story. It can also elicit a strong emotional response from the audience, as they become invested in the outcome of the story. As Gerrig and Zimbardo (2018) note, “suspenseful stories tap into deep-seated human needs for arousal, uncertainty, and social connection, and they can provide a powerful emotional experience that leaves a lasting impression on the viewer or reader” (p. 279).

    In conclusion, suspense is an important emotional reaction for media students to understand. It is a feeling of uncertainty, anticipation, and tension that is created through various techniques, such as music, camera angles, pacing, and foreshadowing. Suspense is an effective tool for media creators to engage and emotionally connect with their audiences, and it can leave a lasting impression on the viewer or reader.

    References:

    Gerrig, R., & Zimbardo, P. (2018). Psychology and life (21st ed.). Pearson.

  • Curiosity

    Curiosity is a complex and powerful emotional reaction that filmmakers often aim to elicit in their audiences. Various techniques and effects can create curiosity in film, engaging viewers in the story and keeping them invested in it. This essay discusses some of the effects that can create curiosity in film.

    One of the most effective ways to create curiosity in film is to use suspense. Suspense involves delaying the resolution of a particular situation, creating a sense of tension and anticipation in the audience. Alfred Hitchcock was a master of this technique, and his films such as “Psycho” and “Vertigo” are filled with moments of suspense that keep viewers on the edge of their seats (Deutelbaum & Poague, 2011). In “Psycho”, the shower scene is filled with suspense as the audience knows that the killer is in the bathroom, but Marion does not. The use of suspense in this scene creates a sense of curiosity in the audience as they wait to see what will happen next.

    Another technique that can create curiosity in film is to use mystery. Mystery involves presenting the audience with a puzzle or a question that needs to be solved. This can be achieved through the use of enigmatic characters, strange events, or unexplained phenomena. David Lynch’s “Mulholland Drive” is an example of a film that uses mystery to create curiosity. The film is filled with cryptic clues and unexplained events that keep viewers guessing as to what is really going on (Gibson, 2016). The use of mystery in this film creates a sense of curiosity in the audience as they try to unravel the secrets of the story.

    Ambiguity is another technique that can create curiosity in film. Ambiguity involves presenting the audience with a situation or a character that is not clearly defined. This can be achieved through the use of unclear motives, conflicting emotions, or contradictory actions. Christopher Nolan’s “Inception” is an example of a film that uses ambiguity to create curiosity. The film is filled with complex and layered characters, each with their own motivations and desires. The use of ambiguity in this film creates a sense of curiosity in the audience as they try to understand the true nature of the story (Nolan, 2010).

    The unexpected is another technique that can create curiosity in film. The unexpected involves presenting the audience with a surprise or a twist that they were not expecting. This can be achieved through the use of unexpected events, unexpected character actions, or unexpected plot twists. M. Night Shyamalan’s “The Sixth Sense” is an example of a film that uses the unexpected to create curiosity. The film has a twist ending that completely changes the audience’s perception of the story, creating a sense of curiosity in the audience as they try to figure out how they missed the clues (Ebert, 1999).

    In addition to these techniques, there are other factors that can create curiosity as an emotional reaction in film. The use of music is one such factor. Music can set the tone for a scene, create a sense of tension or anticipation, and add emotional depth to the story. John Williams’ theme music in “Jaws” creates a sense of dread and anticipation in the audience, building up to the appearance of the shark (Sider, Freeman, & Sider, 2013). The use of music in this film creates a sense of curiosity in the audience as they wait to see what will happen next.

    Visual effects are another factor that can create curiosity in film. Visual effects can be used to create a sense of awe, wonder, or excitement in the audience. In “Avatar”, James Cameron used visual effects to create the stunning world of Pandora, immersing the audience in a world unlike anything they had seen before (Prince, 2013).The 

    use of visual effects in this film creates a sense of curiosity in the audience as they explore this new and unfamiliar world.

    Finally, the use of pacing can also create curiosity in film. Pacing involves the speed and rhythm at which the story is told, and it can be used to create a sense of tension and anticipation in the audience. Steven Spielberg’s “Jurassic Park” is an example of a film that uses pacing to create curiosity. The film starts off slowly, introducing the characters and the setting, but as the story progresses, the pace quickens, building up to the climactic finale (Young, 2000). The use of pacing in this film creates a sense of curiosity in the audience as they wait to see how the story will unfold.

    In conclusion, there are many techniques and effects that can create curiosity as an emotional reaction in film. Suspense, mystery, ambiguity, the unexpected, music, visual effects, and pacing are just some of the ways that filmmakers can engage their audiences and keep them invested in the story. By understanding how these techniques and effects work, filmmakers can create films that are not only entertaining but also emotionally engaging and thought-provoking.

    References:

    Deutelbaum, M. & Poague, L. (2011). A Hitchcock reader. John Wiley & Sons.

    Ebert, R. (1999). The Sixth Sense. Roger Ebert. https://www.rogerebert.com/reviews/the-sixth-sense-1999

    Gibson, S. (2016). Mulholland Drive. Harvard Film Archive. https://harvardfilmarchive.org/calendar/mulholland-drive-2016-04

    Nolan, C. (2010). Inception. Warner Bros. Pictures.

    Prince, S. (2013). Digital visual effects in cinema: The seduction of reality. Rutgers University Press.

    Sider, L., Freeman, D., & Sider, J. (2013). Soundscape and soundtrack. John Wiley & Sons.

    Young, B. (2000). Jurassic Park. Universal Pictures.

  • Character Identification Theory

    he character identification theory is a psychological theory that proposes that individuals tend to identify with fictional characters in media, such as movies, books, and video games. This theory suggests that people are more likely to identify with characters who share their values, beliefs, and experiences, and that this identification can have a significant impact on their attitudes and behaviors.

    The concept of character identification has been studied in various fields, including psychology, media studies, and literature. Research in psychology has shown that individuals who strongly identify with fictional characters are more likely to adopt the beliefs and behaviors of those characters. For example, a study by Tamborini and Stiff (2002) found that individuals who identified with the main character in a television show were more likely to adopt the same values and behaviors as that character.

    Similarly, research in media studies has demonstrated the power of character identification in shaping audience attitudes and behaviors. For instance, a study by Cohen (2001) found that audiences who identified with a media character were more likely to have positive attitudes towards the social issues addressed in the media content.

    There are several reasons why individuals might identify with fictional characters. One of the main reasons is the perceived similarity between the individual and the character. For example, if a character in a movie is going through a difficult time that the individual has also experienced, they may be more likely to identify with that character. Additionally, individuals may identify with characters who possess qualities or values that they aspire to have themselves.

    Furthermore, character identification can be influenced by a range of factors, including the individual’s personality, cultural background, and media preferences. For example, individuals who are high in empathy may be more likely to identify with characters who are going through emotional struggles, while individuals who value independence and self-sufficiency may be more likely to identify with characters who exhibit those qualities.

    Despite the potential benefits of character identification, there are also several criticisms of this theory. One of the main criticisms is that it oversimplifies the complex relationship between media consumption and real-world behavior. While character identification can certainly influence people’s attitudes and beliefs, it is just one of many factors that can shape their behavior.

    Moreover, some critics argue that character identification can have negative effects on individuals, particularly if the characters they identify with exhibit problematic behaviors or attitudes. For example, a study by Mullin and Linz (1995) found that men who identified with violent media characters were more likely to engage in aggressive behavior.

    Another potential limitation of the character identification theory is that it may not fully capture the complexity of the audience-media relationship. For example, individuals may identify with multiple characters in a single media text, or they may identify with a character in one media text but not in another.

    Despite these criticisms, the character identification theory remains an important perspective in the study of media effects. By considering the ways in which individuals identify with fictional characters, researchers and practitioners can better understand how media content influences audience attitudes and behaviors.

    In conclusion, the character identification theory provides an interesting perspective on the role of fictional characters in media, but it is important to consider its limitations and the broader context in which media consumption occurs. Future research can build upon this theory by exploring the nuances of character identification and its effects on different types of individuals and media content.

    References:

    • Cohen, J. (2001). Defining identification: A theoretical look at the identification of audiences with media characters. Mass Communication and Society, 4(3), 245-264.
    • Mullin, C. R., & Linz, D. (1995). Desensitization and resensitization to violence against women: Effects of exposure to sexually violent films on judgments of domestic violence victims. Journal of Personality and Social Psychology, 69(3), 449-459.
    • Tamborini.R, & Stiff, J. B. (2002). Exploring the role of identification in the enjoyment of mediated experiences. Journal of Communication, 52(3), 437-452.
    • Zillmann, D., & Bryant, J. (1994). Entertainment as media effect. In J. Bryant & D. Zillmann (Eds.), Media effects: Advances in theory and research (pp. 437-461). Hillsdale, NJ: Erlbaum.
    •  Van Loon, J. (2020). Character Identification: Theoretical Model and Empirical Findings. International Journal of Communication, 14, 15.
    • Giles, D. C. (2010). Media psychology. Mahwah, NJ: Lawrence Erlbaum.
    •  Slater, M. D. (2007). Reinforcing spirals: The mutual influence of media selectivity and media effects and their impact on individual behavior and social identity. Communication Theory, 17(3), 281-303.
  • Framing

    Framing is a complex process that involves selectively emphasizing certain aspects of a story or issue while downplaying or omitting others to shape the audience’s perception and interpretation of the event. The concept of framing has been widely discussed in media studies and communication research, as it plays a critical role in shaping public opinion and behavior.

    Agenda-setting is one communication theory that is closely linked to framing. Agenda-setting refers to the process by which the media selects and emphasizes certain topics or issues, thereby influencing what the public considers important (McCombs & Shaw, 1972). Framing is a key part of this process, as the way a story is framed can determine whether it becomes a top priority in the news or is overlooked altogether.

    Research has shown that framing can have a powerful effect on public opinion and behavior. For example, a study by Entman (1993) found that media framing of racial protests influenced public opinion about the protests and the protesters. The study found that the media’s focus on violence and disorder in the protests led the public to view the protests as more violent and disruptive than they actually were. Similarly, a study by Iyengar (1991) found that the way the media framed the issue of crime and violence in the United States influenced public attitudes towards crime and support for tougher criminal justice policies.

    Framing has also been linked to cultivation theory. Cultivation theory suggests that media can shape people’s perceptions of reality by portraying certain messages and images repeatedly over time (Gerbner & Gross, 1976). Framing plays a key role in cultivation theory, as the way a story is framed can determine how often and in what context it is presented to the audience.

    Finally, social identity theory has also been linked to framing. Social identity theory suggests that people’s sense of self is shaped by their social group membership and the way that group is portrayed in the media (Tajfel & Turner, 1979). Framing can influence the way that social groups are portrayed in the media, and thus can influence how people identify with those groups.

    In conclusion, framing is a critical concept in media studies and communication research. It is closely linked to other communication theories, such as agenda-setting, cultivation theory, and social identity theory. Research has shown that framing can have a powerful effect on public opinion and behavior, highlighting the importance of understanding the role of framing in media and communication.

    References:

    Entman, R. M. (1993). Framing: Toward clarification of a fractured paradigm. Journal of communication, 43(4), 51-58.

    Gerbner, G., & Gross, L. (1976). Living with television: The violence profile. Journal of communication, 26(2), 173-199.

    Iyengar, S. (1991). Is anyone responsible? How television frames political issues. University of Chicago Press.

    McCombs, M. E., & Shaw, D. L. (1972). The agenda-setting function of mass media. Public opinion quarterly, 36(2), 176-187.

    Tajfel, H., & Turner, J. C. (1979). An integrative theory of intergroup conflict. The social psychology of intergroup relations, 33(47), 74.

  • Ten Media Theories and their Criticism


    1. Hypodermic Needle Theory

    Hypodermic Needle Theory suggests that media messages are directly injected into the audience and have an immediate and powerful effect. Some early research supported this theory, such as the famous “War of the Worlds” broadcast in 1938 that caused widespread panic among listeners. However, subsequent research has discredited the theory, showing that media effects are more complex and subtle than the theory suggests (McQuail, 2010). For example, a meta-analysis of research on media violence and aggression found that the relationship between media exposure and aggression was weak and that other factors, such as family environment and peer influence, played a more important role (Ferguson, 2015).

    1. Cultivation Theory

    Cultivation Theory suggests that the more people are exposed to media messages, the more they are likely to adopt the values and beliefs depicted in those messages. Some research has supported this theory, such as the famous “Mean World” syndrome described by Gerbner, which suggests that heavy television viewers have a more negative and fearful view of the world. However, critics argue that the theory overemphasizes the impact of television on attitudes and behaviors, and that it does not account for the role of other factors such as social interactions and personal experiences (Shrum, 2012). Furthermore, recent research has challenged the notion that media exposure is a strong predictor of attitudes and behaviors, and has suggested that other factors, such as social identity and group norms, may play a more important role (Slater & Rouner, 2002).

    1. Agenda-Setting Theory

    Agenda-Setting Theory suggests that the media has the power to influence what people think about by deciding which issues and topics to focus on. This theory has been supported by a considerable body of research, including studies that have found a strong correlation between media coverage and public opinion (McCombs & Shaw, 1972). However, critics argue that the theory does not account for the influence of social and cultural factors on individual perceptions of the media’s agenda, and that the relationship between media coverage and public opinion is complex and mediated by other factors, such as personal values and attitudes (Weaver & Bimber, 2012).

    1. Social Learning Theory

    Social Learning Theory posits that people learn by observing the behavior of others and imitating it. This theory suggests that media can shape people’s behaviors and attitudes by providing models for imitation. Some research has supported this theory, such as studies that have found a correlation between media violence and aggression (Bandura, Ross, & Ross, 1963). However, critics argue that the theory overlooks the role of cognitive processing and personal agency, and that the effects of media exposure on behavior are mediated by individual factors such as personality and context (Gentile, 2009).

    1. Uses and Gratifications Theory

    Uses and Gratifications Theory suggests that people use media to fulfill specific needs and desires, such as the need for entertainment or the desire for social interaction. This theory posits that individuals actively select and use media to meet their needs and that media consumption can be a gratifying and rewarding experience. Some research has supported this theory, such as studies that have found a correlation between media use and life satisfaction (Rubin, 2002). However, critics argue that the theory oversimplifies the complex relationship between media and human behavior, and that it does not account for the influence of social and cultural factors on media use (Katz, Blumler, & Gurevitch, 1973).

    1. Two-Step Flow Theory

    Two-Step Flow Theory suggests that media messages are first received by opinion leaders, who then transmit those messages to the wider public. This theory suggests that people are more influenced by their social networks than by the media itself. Some research has supported this theory, such as studies that have found that opinion leaders play a key role in disseminating political information (Katz & Lazarsfeld, 1955). However, critics argue that the theory does not account for the role of the media in shaping public opinion, and that it overlooks the fact that opinion leaders themselves are often influenced by media messages (McLeod, Kosicki, & McLeod, 2002).

    1. Spiral of Silence Theory

    Spiral of Silence Theory suggests that people are more likely to express their opinions when they perceive that those opinions are popular and widely accepted, and are less likely to express their opinions when they perceive that those opinions are unpopular or marginalized. This theory suggests that media can shape public opinion by creating the perception of a dominant or marginalized discourse. Some research has supported this theory, such as studies that have found that people are more likely to conform to the majority opinion when they perceive that their opinion is unpopular (Noelle-Neumann, 1984). However, critics argue that the theory does not account for the role of individual factors such as personality and motivation, and that it oversimplifies the complex relationship between media and public opinion (Mutz, 1992).

    1. Third-Person Effect Theory

    Third-Person Effect Theory suggests that people tend to overestimate the influence of media messages on other people, while underestimating the influence of those messages on themselves. This theory suggests that media can shape public opinion by creating a false perception of the impact of media messages. Some research has supported this theory, such as studies that have found that people are more likely to support censorship of media content that they perceive as having a negative influence on others (Davison, 1983). However, critics argue that the theory overlooks the role of cognitive biases and individual differences in perceptions of media effects, and that it oversimplifies the complex relationship between media and public opinion (Gunther & Storey, 2003).

    1. Technological Determinism Theory

    Technological Determinism Theory suggests that technology is the primary driver of social change and that it has a deterministic impact on human behavior and culture. This theory suggests that media can shape human behavior by providing new tools and platforms for communication and interaction. Some research has supported this theory, such as studies that have found that social media use is correlated with changes in social and political behavior (Shirky, 2011). However, critics argue that the theory overlooks the role of human agency and social factors in shaping technological development and use, and that it oversimplifies the complex relationship between technology and society (Cheney-Lippold, 2011).

    1. Cultural Studies Theory

    Cultural Studies Theory suggests that media is a key site of cultural production and that it plays a central role in shaping and reflecting cultural values and identities. This theory suggests that media can shape cultural norms and values by representing and reinforcing dominant discourses and ideologies. Some research has supported this theory, such as studies that have found that media representations of race and gender can influence social attitudes and behaviors (Van Zoonen, 2005). However, critics argue that the theory overlooks the agency and resistance of audiences in interpreting and negotiating media messages, and that it overemphasizes the power of media in shaping culture (Fiske, 1989).

    media theories provide valuable insights into the complex relationship between media and society, but they are not without limitations and criticisms. It is important to consider both supporting and counterarguments when evaluating media theories, and to recognize the complexity and diversity of media effects.

    Moreover, it is crucial to acknowledge the role of individual differences, cultural and societal contexts, and other factors that can impact the relationship between media and public opinion. As media technologies continue to evolve and reshape our society, it is essential to remain critical and informed consumers of media and to engage in ongoing discussions about the impact of media on our lives.

    References:

    Cheney-Lippold, J. (2011). A new algorithmic identity: Soft biopolitics and the modulation of control. Theory, Culture & Society, 28(6), 164–181.

    Davison, W. P. (1983). The third-person effect in communication. Public Opinion Quarterly, 47(1), 1–15.

    Fiske, J. (1989). Reading the popular. Unwin Hyman.

    Gunther, A. C., & Storey, J. D. (2003). The influence of presumed influence. Journal of Communication, 53(2), 199–215.

    Katz, E., & Lazarsfeld, P. F. (1955). Personal influence: The part played by people in the flow of mass communications. Free Press.

    McLeod, J. M., Kosicki, G. M., & McLeod, D. M. (2002). The expanding boundaries of mass media effects. In J. Bryant & D. Zillmann (Eds.), Media effects: Advances in theory and research (2nd ed., pp. 63–90). Lawrence Erlbaum.

    Mutz, D. C. (1992). Mass media and the spiral of silence. Communication Research, 19(1), 3–35.

    Noelle-Neumann, E. (1984). The spiral of silence: A theory of public opinion. Journal of Communication, 24(2), 43–51.

    Shirky, C. (2011). The political power of social media. Foreign Affairs, 90(1), 28–41.

    Van Zoonen, L. (2005). Entertaining the citizen: When politics and popular culture converge. Rowman & Littlefield.

    Theory #9: Cultivation Theory

    Cultivation theory suggests that heavy exposure to media content, particularly television, can shape an individual’s view of the world and their beliefs about social reality. This theory proposes that the repeated exposure to media content can “cultivate” an individual’s perception of social reality and create a shared perception of social norms, values, and beliefs.

    Supporting Sources:

    1. Gerbner, G., Gross, L., Morgan, M., & Signorielli, N. (1980). The “mainstreaming” of America: Violence profile no. 11. Journal of Communication, 30(3), 10–29.
    2. Morgan, M., & Shanahan, J. (2010). The state of cultivation. Journal of Broadcasting & Electronic Media, 54(2), 337–355.
    3. Shrum, L. J. (1996). The role of media consumption in the formation of environmental concern. The Journal of Social Issues, 52(3), 157–175.
    4. Signorielli, N. (2003). Cultivation analysis: An overview. Mass Communication & Society, 6(2), 175–194.

    Counterarguments:

    1. Critics argue that cultivation theory oversimplifies the relationship between media exposure and social reality, as it does not account for other factors that may shape an individual’s beliefs and attitudes, such as personal experiences, social interactions, and cultural values.
    2. Some studies have found that the relationship between media exposure and cultivation is not as strong as initially proposed, and that other factors such as demographic characteristics, lifestyle, and personality traits may impact the relationship between media exposure and belief systems (Shanahan & Morgan, 1999).
    3. Critics also argue that cultivation theory does not consider the diverse media landscape, where individuals have access to a broad range of media sources and can actively select and interpret media content based on their preferences and values (Giles & Maltby, 2004).
    4. Moreover, some studies have found that media effects on cultivation may vary across different cultural and societal contexts, suggesting that the theory’s applicability is limited to certain settings and populations (Shanahan & Morgan, 1999).

    References:

    Gerbner, G., Gross, L., Morgan, M., & Signorielli, N. (1980). The “mainstreaming” of America: Violence profile no. 11. Journal of Communication, 30(3), 10–29.

    Giles, D., & Maltby, J. (2004). The role of media figures in the social construction of celebrity: Mediated and self-mediated celebrity. Celebrity Studies, 1(3), 311–322.

    Morgan, M., & Shanahan, J. (2010). The state of cultivation. Journal of Broadcasting & Electronic Media, 54(2), 337–355.

    Shanahan, J., & Morgan, M. (1999). Television and its viewers: Cultivation theory and research. Cambridge University Press.

    Shrum, L. J. (1996). The role of media consumption in the formation of environmental concern. The Journal of Social Issues, 52(3), 157–175.

    Signorielli, N. (2003). Cultivation analysis: An overview. Mass Communication & Society, 6(2), 175–194.

    Theory #10: Uses and Gratifications Theory

    Uses and gratifications theory proposes that individuals actively seek out and use media to fulfill specific needs and desires, such as information, entertainment, socialization, and identity formation. This theory suggests that individuals are not passive recipients of media messages, but rather active consumers who select and interpret media 

    content based on their motivations, preferences, and needs.

    Supporting Sources:

    1. Katz, E., Blumler, J. G., & Gurevitch, M. (1974). Utilization of mass communication by the individual. In The uses of mass communications: Current perspectives on gratifications research (pp. 19-32). Sage Publications, Inc.
    2. Ruggiero, T. E. (2000). Uses and gratifications theory in the 21st century. Mass Communication & Society, 3(1), 3–37.
    3. Rubin, A. M. (2002). The uses-and-gratifications perspective of media effects. In J. Bryant & D. Zillmann (Eds.), Media effects: Advances in theory and research (pp. 525–548). Lawrence Erlbaum Associates Publishers.
    4. Valkenburg, P. M., & Peter, J. (2013). The differential susceptibility to media effects model. Journal of Communication, 63(2), 221–243.

    Counterarguments:

    1. Critics argue that uses and gratifications theory overlooks the power of media to shape individuals’ beliefs and values, as it focuses primarily on the individual’s motivations and needs rather than the media’s influence (McQuail, 2010).
    2. Some scholars suggest that uses and gratifications theory may not fully capture the complex ways in which individuals consume media and that other factors such as social context, media content, and personal characteristics may also impact the relationship between media and individual needs (Bartsch, Vorderer, Mangold, & Reinemann, 2008).
    3. Moreover, some studies have found that the relationship between media use and individual needs may vary across different contexts and media types, suggesting that the theory’s generalizability is limited (Ruggiero, 2000).
    4. Critics also argue that uses and gratifications theory does not account for the power structures and commercial interests that shape media content and limit individuals’ choices and access to alternative media sources (Holtzman, 2000).

    References:

    Bartsch, A., Vorderer, P., Mangold, R., & Reinemann, C. (2008). Does the medium matter? The impact of new media on traditional media usage. Journal of Broadcasting & Electronic Media, 52(4), 675–696.

    Holtzman, L. (2000). Media messages and socialization: Reconsidering Uses and Gratifications. In D. Zillmann, & P. Vorderer (Eds.), Media entertainment: The psychology of its appeal (pp. 51-64). Lawrence Erlbaum Associates Publishers.

    Katz, E., Blumler, J. G., & Gurevitch, M. (1974). Utilization of mass communication by the individual. In The uses of mass communications: Current perspectives on gratifications research (pp. 19-32). Sage Publications, Inc.

    McQuail, D. (2010). McQuail’s mass communication theory. Sage.

    Rubin, A. M. (2002). The uses-and-gratifications perspective of media effects. In J. Bryant & D. Zillmann (Eds.), Media effects: Advances in theory and research (pp. 525–548). Lawrence Erlbaum Associates Publishers.

    Ruggiero, T. E. (2000). Uses and gratifications theory in the 21st century. Mass Communication & Society, 3(1), 3–37.

    Valkenburg, P. M., & Peter, J. (2013). The differential susceptibility to media effects model. Journal of Communication, 63(2), 221–243.

    1. Agenda Setting Theory

    Agenda setting theory suggests that the media has a powerful influence on the public by setting the agenda for what issues are important and how they should be understood. According to this theory, the media’s selection and emphasis on certain news topics and frames have a significant impact on public perception and priorities. This theory was first introduced by McCombs and Shaw in 1972, based on the results of a study that found a strong correlation between the media’s coverage of specific issues and their perceived importance by the public.

    Supporting Sources:

    1. McCombs, M., & Shaw, D. (1972). The agenda-setting function of mass media. Public Opinion Quarterly, 36(2), 176–187.
    2. McCombs, M. E., & Reynolds, A. (2009). How the news shapes our civic agenda. In A. Chadwick & P. N. Howard (Eds.), The Routledge Handbook of Internet Politics (pp. 227–238). Routledge.
    3. Scheufele, D. A., & Tewksbury, D. (2007). Framing, agenda setting, and priming: The evolution of three media effects models. Journal of Communication, 57(1), 9–20.
    4. Shapiro, I. (2013). The evolution of agenda-setting research: Twenty-five years in the marketplace of ideas. Journal of Communication, 63(4), 96–103.

    Counterarguments:

    1. Critics of agenda setting theory argue that it oversimplifies the complex relationship between the media and the public by ignoring the role of other factors, such as interpersonal communication, in shaping public opinion (Mutz, 1992).
    2. Some scholars suggest that agenda setting theory fails to account for the power dynamics between the media and political elites, who may use the media to set the agenda in their favor and limit the scope of public debate (Entman, 2004).
    3. Moreover, research has shown that the relationship between media coverage and public opinion is more complex than just a one-way influence, and that the public may also influence the media agenda (McLeod, Kosicki, & McLeod, 1994).
    4. Other scholars have criticized agenda setting theory for being too narrow in scope, focusing primarily on political and policy issues and neglecting the role of the media in shaping public attitudes and behaviors related to other topics such as entertainment, lifestyle, and health (Zhu, Sherry, Chen, & Lu, 2018).

    References:

    Entman, R. M. (2004). Projections of power: Framing news, public opinion, and US foreign policy. University of Chicago Press.

    McCombs, M., & Shaw, D. (1972). The agenda-setting function of mass media. Public Opinion Quarterly, 36(2), 176–187.

    McLeod, J. M., Kosicki, G. M., & McLeod, D. M. (1994). The expanding boundaries of agenda-setting: From the mass media to the public agenda. In J. A. Anderson (Ed.), Communication Yearbook 17 (pp. 48–67). Sage.

    Mutz, D. C. (1992). Mass media and the concept of interdependence: The case of the Gulf War. Political Communication, 9(1), 47–64.

    Scheufele, D. A., & Tewksbury, D. (2007). Framing, agenda setting, and priming: The evolution of three media effects models. Journal of Communication, 57(1), 9–20.

    Shapiro, I. (2013). The evolution of agenda

    1. Cultivation Theory

    Cultivation theory suggests that long-term exposure to media content, particularly on television, can shape individuals’ perceptions of reality and social norms. According to this theory, people who watch a lot of television are more likely to view the world in ways that align with the media’s portrayal of social life. This theory was first introduced by George Gerbner in the 1960s and has been influential in shaping research on media effects.

    Supporting Sources:

    1. Gerbner, G. (1969). Toward “cultural indicators”: The analysis of mass mediated public message systems. AV Communication Review, 17(2), 137–148.
    2. Gerbner, G., Gross, L., Morgan, M., & Signorielli, N. (1994). Growing up with television: The cultivation perspective. In J. Bryant & D. Zillmann (Eds.), Media Effects: Advances in Theory and Research (pp. 17–41). Routledge.
    3. Morgan, M., & Shanahan, J. (2010). The state of cultivation. Journal of Broadcasting & Electronic Media, 54(2), 337–355.
    4. Shrum, L. J., Wyer, R. S. Jr., & O’Guinn, T. C. (1998). The effects of television consumption on social perceptions: The use of priming procedures to investigate psychological processes. Journal of Consumer Research, 24(4), 447–458.

    Counterarguments:

    1. Critics of cultivation theory argue that it overestimates the power of media exposure and underestimates the role of other factors, such as personal experiences and social interactions, in shaping individuals’ attitudes and beliefs (Shanahan & Morgan, 1999).
    2. Some scholars suggest that the effects of media exposure may vary across different types of content, with news programming having a different impact than entertainment programming (Gross & Aday, 2003).
    3. Moreover, research has shown that individuals’ level of media literacy and critical thinking skills can mitigate the effects of media exposure (Livingstone & Helsper, 2006).
    4. Other scholars have criticized cultivation theory for being too simplistic and not accounting for the complex ways in which individuals interpret and respond to media messages (Corner, Richardson, Fenton, & Phillips, 1990).

    References:

    Corner, J., Richardson, K., Fenton, N., & Phillips, L. (1990). The art of record keeping: Cultivation analysis and contemporary television. Media, Culture & Society, 12(1), 89–102.

    Gerbner, G. (1969). Toward “cultural indicators”: The analysis of mass mediated public message systems. AV Communication Review, 17(2), 137–148.

    Gerbner, G., Gross, L., Morgan, M., & Signorielli, N. (1994). Growing up with television: The cultivation perspective. In J. Bryant & D. Zillmann (Eds.), Media Effects: Advances in Theory and Research (pp. 17–41). Routledge.

    Gross, K. E., & Aday, S. (2003). The scary world in your living room and neighborhood: Using local broadcast news, neighborhood crime rates, and personal experience to test cultivation. Journal of Broadcasting & Electronic Media, 47(3), 289–310.

    Livingstone, S., & Helsper, E. J. (2006). Does advertising literacy mediate the effects of advertising on children? A critical examination of two linked research literatures in relation to obesity and food choice. Journal of Communication, 56(3), 560

    1. Agenda Setting Theory

    Agenda setting theory suggests that the media has the power to influence what issues and topics are considered important by the public. According to this theory, the media sets the agenda by deciding what stories to cover and how to cover them, which in turn influences public opinion and political decisions. The theory was first introduced by Maxwell McCombs and Donald Shaw in 1972 and has since been widely studied in the field of media effects.

    Supporting Sources:

    1. McCombs, M., & Shaw, D. (1972). The agenda-setting function of mass media. Public Opinion Quarterly, 36(2), 176–187.
    2. Iyengar, S., & Kinder, D. R. (1987). News that matters: Television and American opinion. University of Chicago Press.
    3. Scheufele, D. A. (1999). Framing as a theory of media effects. Journal of Communication, 49(1), 103–122.
    4. Price, V., Tewksbury, D., & Powers, E. (1997). Switching trains of thought: The impact of news frames on readers’ cognitive responses. Communication Research, 24(5), 481–506.

    Counterarguments:

    1. Some critics argue that agenda setting theory overestimates the media’s influence on public opinion and neglects the role of other factors, such as personal values and beliefs, in shaping individuals’ attitudes (Iyengar & Kinder, 1987).
    2. Additionally, research has shown that the media may have a limited effect on changing public opinion, as individuals tend to seek out information that confirms their existing beliefs and attitudes (Zaller, 1992).
    3. Critics also suggest that agenda setting theory is too focused on the content of media messages and neglects the role of other factors, such as the media’s ownership and control, in shaping what issues and topics are covered (Chomsky, 1997).
    4. Some scholars have also criticized the theory for being too simplistic and not accounting for the complex ways in which individuals interpret and respond to media messages (Entman, 1993).

    References:

    Chomsky, N. (1997). What makes mainstream media mainstream. Z Magazine, 10(9), 36–41.

    Entman, R. M. (1993). Framing: Toward clarification of a fractured paradigm. Journal of Communication, 43(4), 51–58.

    Iyengar, S., & Kinder, D. R. (1987). News that matters: Television and American opinion. University of Chicago Press.

    McCombs, M., & Shaw, D. (1972). The agenda-setting function of mass media. Public Opinion Quarterly, 36(2), 176–187.

    Price, V., Tewksbury, D., & Powers, E. (1997). Switching trains of thought: The impact of news frames on readers’ cognitive responses. Communication Research, 24(5), 481–506.

    Zaller, J. (1992). The nature and origins of mass opinion. Cambridge University Press.

    1. Uses and Gratifications Theory

    Uses and gratifications theory suggests that individuals are active agents in their media consumption and seek out media content that satisfies their individual needs and desires. According to this theory, people use media for a variety of reasons, including entertainment, information, social interaction, and personal identity. The theory was first introduced by Elihu Katz and Jay Blumler in the 1970s and has been influential in shaping research on media consumption.

    Supporting Sources:

    1. Katz, E., Blumler, J. G., & Gure vitch, M. (1974). Uses and gratifications research. The Public Opinion Quarterly, 37(4), 509-523. 2. Ruggiero, T. E. (2000). Uses and gratifications theory in the 21st century. Mass Communication & Society, 3(1), 3-37.
      1. Papacharissi, Z. (2010). A networked self: Identity, community, and culture on social network sites. Routledge.
      2. Rubin, A. M. (1994). Media uses and effects: A uses-and-gratifications perspective. In J. Bryant & D. Zillmann (Eds.), Media effects: Advances in theory and research (pp. 417-436). Routledge.
      Counterarguments:
      1. Critics argue that uses and gratifications theory oversimplifies the complex relationship between individuals and media consumption and neglects the role of media producers in shaping content to meet audience needs (Bruns, 2007).
      2. Additionally, the theory has been criticized for neglecting the role of social and cultural factors in shaping media consumption patterns, such as age, gender, and socioeconomic status (Livingstone, 2004).
      3. Some scholars have also suggested that the theory is too focused on individual motivations for media use and neglects the social and political implications of media consumption (Couldry, 2004).
      4. Others have criticized the theory for failing to account for the role of media technologies in shaping media use and gratifications, as new technologies may create new needs and desires that were not previously recognized (Papacharissi, 2010).
      References:Bruns, A. (2007). Produsage: Towards a broader framework for user-led content creation. In Proceedings Creativity & Cognition (pp. 99-106). ACM.Couldry, N. (2004). Theorising media as practice. Social Semiotics, 14(2), 115-132.Livingstone, S. (2004). Media literacy and the challenge of new information and communication technologies. The Communication Review, 7(1), 3-14.Papacharissi, Z. (2010). A networked self: Identity, community, and culture on social network sites. Routledge.Rubin, A. M. (1994). Media uses and effects: A uses-and-gratifications perspective. In J. Bryant & D. Zillmann (Eds.), Media effects: Advances in theory and research (pp. 417-436). Routledge.Katz, E., Blumler, J. G., & Gurevitch, M. (1974). Uses and gratifications research. The Public Opinion Quarterly, 37(4), 509-523.
      1. Cultivation Theory
      Cultivation theory suggests that exposure to media content, particularly television, can shape individuals’ perceptions of the world and influence their attitudes and beliefs. According to this theory, individuals who consume a lot of television content are more likely to adopt the values and beliefs portrayed in that content. The theory was first introduced by George Gerbner in the 1970s and has been influential in shaping research on the effects of media on audiences.Supporting Sources:
      1. Gerbner, G., Gross, L., Morgan, M., & Signorielli, N. (1980). The “mainstreaming” of America: Violence profile no. 11. Journal of Communication, 30(3), 10-29.
      2. Morgan, M., & Shanahan, J. (2010). The state of cultivation. Journal of Broadcasting & Electronic Media, 54(2-), 337-355. 3. Shanahan, J., & Morgan, M. (1999). Television and its viewers: Cultivation theory and research. Cambridge University Press.
        1. Shrum, L. J., Wyer, R. S., & O’Guinn, T. C. (1998). The effects of television consumption on social perceptions: The use of priming procedures to investigate psychological processes. Journal of Consumer Research, 24(4), 447-458.
        Counterarguments:
        1. Critics of cultivation theory argue that the theory overemphasizes the effects of media content on individuals’ attitudes and beliefs and neglects the role of other social and cultural factors in shaping these outcomes (Giles, 2003).
        2. Additionally, some scholars have argued that the theory is too focused on the effects of television and neglects the role of other media, such as the internet and social media, in shaping individuals’ perceptions of the world (Livingstone, 2009).
        3. Others have criticized the theory for being too simplistic in its view of media content as having a direct, one-way effect on individuals, without accounting for the complexity of the social and cultural contexts in which media consumption takes place (Ang, 1996).
        4. Finally, some have argued that the theory is not well-suited to account for the individual differences in how audiences consume and interpret media content, as different people may have different levels of media literacy and different cultural backgrounds that shape their interpretations (Gasher, 2012).
        References:Ang, I. (1996). Living room wars: Rethinking media audiences for a postmodern world. Routledge.Gasher, M. (2012). Cultivation theory. In W. Donsbach (Ed.), The International Encyclopedia of Communication (pp. 1073-1075). John Wiley & Sons.Giles, D. C. (2003). Media psychology. Lawrence Erlbaum Associates.Livingstone, S. (2009). On the mediation of everything: ICA Presidential Address 2008. Journal of Communication, 59(1), 1-18.Gerbner, G., Gross, L., Morgan, M., & Signorielli, N. (1980). The “mainstreaming” of America: Violence profile no. 11. Journal of Communication, 30(3), 10-29.Morgan, M., & Shanahan, J. (2010). The state of cultivation. Journal of Broadcasting & Electronic Media, 54(2), 337-355.Shanahan, J., & Morgan, M. (1999). Television and its viewers: Cultivation theory and research. Cambridge University Press.Shrum, L. J., Wyer, R. S., & O’Guinn, T. C. (1998). The effects of television consumption on social perceptions: The use of priming procedures to investigate psychological processes. Journal of Consumer Research, 24(4), 447-458.In conclusion, media theories have contributed greatly to our understanding of the complex relationship between media and society. However, each theory has its strengths and limitations, and it is important to consider counterarguments and alternative perspectives in order to develop a more nuanced and complete understanding of media effects. By critically evaluating these theories and engaging with a range of perspectives, we can develop a more comprehensive understanding of how media shapes our lives and society as a whole
  • Brand Luxury Scale

    The Brand Luxury Index (BLI) is a tool designed to measure consumers’ perceptions of luxury brands[1]. Developed by researchers Jean-Noël Kapferer and Vincent Bastien, the BLI assesses various aspects of a brand’s luxury status through seven sub-categories[1].

    Components of the BLI

    The BLI consists of seven key dimensions:

    1. Price
    2. Aesthetics
    3. Exclusivity
    4. Client Relationship
    5. Social Status
    6. Hedonism
    7. Quality

    Each dimension is scored on a scale of 0-10, with a total possible score of 70[1].

    Scoring and Interpretation

    The scoring rules vary slightly for different sub-categories:

    • For most sub-categories, higher scores indicate higher levels of luxury[1].
    • The Client Relationship category is reverse-scored, where lower scores indicate higher luxury[1].

    Survey Questions

    The BLI survey includes questions for each dimension. Here are some example statements for each category:

    Price

    • The brand’s products are highly priced.
    • The brand’s pricing reflects its exclusivity.

    Aesthetics

    • The brand’s products are visually appealing.
    • The brand’s designs are aesthetically pleasing.

    Exclusivity

    • The brand’s products are not easily accessible to everyone.
    • Owning this brand’s products makes me feel unique.

    Client Relationship

    • The brand provides excellent customer service.
    • The brand has a personal connection with its customers.

    Social Status

    • Owning a product from this brand is a status symbol.
    • The brand is associated with high social status and prestige.

    Hedonism

    • The brand’s products provide a luxurious and indulgent experience.
    • Owning a product from this brand is a form of self-indulgence.

    Quality

    • The brand’s products are of exceptional quality.
    • The brand uses the best materials and craftsmanship[1].

    Criticisms and Limitations

    Despite its widespread use, the BLI has faced some criticism:

    1. Subjectivity: The scale relies heavily on consumer perceptions, which can be subjective[1].
    2. Lack of objective measures: It does not account for tangible aspects of luxury such as materials or craftsmanship[1].
    3. Limited applicability: Some researchers argue that the BLI may not be suitable for all luxury brands, as different brands may prioritize different aspects of luxury[1].

    Revisions and Improvements

    Recognizing these limitations, researchers have proposed modifications to the original BLI. Kim and Johnson developed a revised version with five dimensions: quality, extended-self, hedonism, accessibility, and tradition[2]. This modified BLI aims to provide a more practical tool for assessing consumer perceptions of brand luxury[2].

    Conclusion

    The Brand Luxury Index Scale remains a valuable tool for measuring consumer perceptions of luxury brands. While it has limitations, ongoing research and revisions continue to improve its effectiveness and applicability in the ever-evolving luxury market.

    Citations:
    [1] https://researchmethods.imem.nl/CB/index.php/research/concept-scales-and-quationaires/123-brand-luxury-index-scale-bli
    [2] https://www.emerald.com/insight/content/doi/10.1108/JFMM-05-2015-0043/full/html
    [3] https://premierdissertations.com/luxury-marketing-and-branding-an-evaluation-under-bli-brand-luxury-index/
    [4] https://www.proquest.com/docview/232489076
    [5] https://www.researchgate.net/publication/247478622_Measuring_perceived_brand_luxury_An_evaluation_of_the_BLI_scale
    [6] https://www.researchgate.net/publication/31968013_Measuring_perceptions_of_brand_luxury
    [7] https://www.deepdyve.com/lp/emerald-publishing/brand-luxury-index-a-reconsideration-and-revision-dOTwPEUCxt

  • Brand Parity Scale

    Brand parity is a phenomenon where consumers perceive multiple brands in a product category as similar or interchangeable[1]. This concept has significant implications for marketing strategies and consumer behavior. To measure brand parity, researchers have developed scales to quantify consumers’ perceptions of brand similarity.

    The Brand Parity Scale

    James A. Muncy developed a multi-item scale to measure perceived brand parity for consumer nondurable goods[3]. This scale has been widely used in marketing research to assess the level of perceived similarity among brands in a given product category.

    Scale Components

    The Brand Parity Scale typically includes items that assess various aspects of brand similarity, such as:

    1. Perceived quality differences
    2. Functional equivalence
    3. Brand interchangeability
    4. Uniqueness of brand features

    Survey Questions

    While the exact questions from Muncy’s original scale are not provided in the search results, typical items on a brand parity scale might include:

    1. “The quality of most brands in this product category is basically the same.”
    2. “I can’t tell the difference between the major brands in this category.”
    3. “Most brands in this category are essentially identical.”
    4. “Switching between brands in this category makes little difference.”
    5. “The features offered by different brands in this category are very similar.”

    Respondents usually rate these statements on a Likert scale, ranging from “Strongly Disagree” to “Strongly Agree.”

    Impact of Brand Parity

    High levels of perceived brand parity can have significant effects on consumer behavior and brand management:

    1. Reduced Brand Loyalty: When consumers perceive brands as similar, they are less likely to develop strong brand loyalty[4].
    2. Increased Price Sensitivity: Brand parity can lead to greater price sensitivity among consumers, as they may not see added value in paying more for a particular brand[1].
    3. Diminished Marketing Effectiveness: High brand parity can make it challenging for brands to differentiate themselves through marketing efforts[1].
    4. Impact on Repurchase Intention: Brand parity can moderate the relationship between brand-related factors (such as brand image and brand experience) and consumers’ repurchase intentions[2].

    Critiques and Limitations

    While Muncy’s Brand Parity Scale has been widely used, it has also faced some critiques:

    1. Context Specificity: The scale may need to be adapted for different product categories or markets[8].
    2. Evolving Consumer Perceptions: As markets change, the relevance of specific scale items may need to be reassessed[8].
    3. Cultural Differences: The scale may not account for cultural variations in brand perceptions across different regions or countries.

    Conclusion

    The Brand Parity Scale provides a valuable tool for marketers to assess the level of perceived similarity among brands in a product category. By understanding the degree of brand parity, companies can develop more effective strategies to differentiate their brands and create unique value propositions. As markets continue to evolve, ongoing research and refinement of brand parity measurement tools will be crucial for maintaining their relevance and effectiveness in guiding marketing decisions.

    Citations:
    [1] https://www.haveignition.com/what-is-gtm/the-go-to-market-dictionary-brand-parity
    [2] https://www.abacademies.org/articles/impact-of-brand-parity-on-brandrelated-factors-customer-satisfaction-repurchase-intention-continuum-an-empirical-study-on-brands-o-13401.html
    [3] https://openurl.ebsco.com/contentitem/gcd:83431944?crl=f&id=ebsco%3Agcd%3A83431944&sid=ebsco%3Aplink%3Ascholar
    [4] https://www.researchgate.net/publication/4733786_The_Role_of_Brand_Parity_in_Developing_Loyal_Customers
    [5] https://www.degruyter.com/document/doi/10.1515/econ-2022-0054/html?lang=en
    [6] https://researchmethods.imem.nl/CB/index.php/research/concept-scales-and-quationaires/137-brand-perception-scale
    [7] https://www.researchgate.net/publication/270158684_Differentiated_brand_experience_in_brand_parity_through_branded_branding_strategy
    [8] https://www.europub.co.uk/articles/perceived-brand-parity-critiques-on-muncys-scale-A-5584

  • Brand Personality Scale

    Jennifer Aaker’s Brand Personality Scale (BPS) is a widely used tool in marketing research to measure and quantify the personality traits associated with brands. Developed in 1997, the BPS identifies five key dimensions of brand personality: Sincerity, Excitement, Competence, Sophistication, and Ruggedness[1][2].

    The Five Dimensions

    Sincerity

    This dimension reflects traits such as honesty, wholesomeness, and cheerfulness. Brands scoring high in sincerity are often perceived as down-to-earth and genuine[2].

    Excitement

    Excitement encompasses traits like daring, spirited, and imaginative. Brands strong in this dimension are often seen as contemporary and youthful[2].

    Competence

    Competence relates to reliability, intelligence, and success. Brands excelling in this dimension are typically viewed as dependable and efficient[2].

    Sophistication

    This dimension includes traits such as upper class, charming, and glamorous. Sophisticated brands are often associated with luxury and prestige[2].

    Ruggedness

    Ruggedness reflects traits like outdoorsy, tough, and masculine. Brands strong in this dimension are often perceived as durable and adventurous[2].

    Survey Questions

    The BPS consists of 42 personality traits, with each dimension measured by specific items. Respondents rate each trait on a 7-point Likert scale. Here are some example items for each dimension[2]:

    Sincerity:

    • Down-to-earth
    • Honest
    • Wholesome
    • Cheerful

    Excitement:

    • Daring
    • Spirited
    • Imaginative
    • Up-to-date

    Competence:

    • Reliable
    • Intelligent
    • Successful
    • Technical

    Sophistication:

    • Upper class
    • Charming
    • Feminine
    • Elegant

    Ruggedness:

    • Outdoorsy
    • Tough
    • Masculine
    • Western

    Significance and Applications

    The BPS has become a fundamental tool in brand management and consumer behavior research. It allows marketers to:

    1. Quantify brand perceptions
    2. Compare brand personalities across different markets
    3. Align brand strategy with consumer perceptions
    4. Differentiate brands within competitive markets

    Limitations and Criticisms

    Despite its widespread use, the BPS has faced some criticisms:

    1. Cultural limitations: The scale was developed in the United States and may not fully capture brand personalities in other cultures[2].
    2. Interdependence of dimensions: Some argue that the five dimensions are not entirely independent of each other[2].
    3. Complexity: Critics suggest that the scale may not adequately capture the full complexity of brand personality[2].

    In conclusion, while the Brand Personality Scale has its limitations, it remains a valuable tool for understanding and measuring brand perceptions. Its five dimensions provide a framework for brands to differentiate themselves and connect with consumers on a more personal level.

    Citations:
    [1] https://journals.sagepub.com/doi/pdf/10.1177/0256090920080304
    [2] http://researchmethods.imem.nl/CB/index.php/research/concept-scales-and-quationaires/125-brand-personality-scale-bps
    [3] https://papers.ssrn.com/sol3/papers.cfm?abstract_id=945432
    [4] https://essay.utwente.nl/76375/1/DANIEL_MA_BMS.pdf
    [5] https://howbrandsarebuilt.com/some-thoughts-about-brand-personality/
    [6] https://liveinnovation.org/brand-personality-understanding-aakers-5-dimension-model/
    [7] https://www.sciencedirect.com/science/article/pii/S0019850111001313
    [8] https://www.researchgate.net/publication/32011287_Do_brand_personality_scales_really_measure_brand_personality

  • Brand Experience Scale

    The Brand Experience Scale, developed by Brakus, Schmitt, and Zarantonello in 2009, is a significant contribution to the field of marketing and brand management. This scale provides a comprehensive framework for measuring and understanding how consumers experience brands across multiple dimensions.

    Conceptualization of Brand Experience

    Brand experience is defined as the sensations, feelings, cognitions, and behavioral responses evoked by brand-related stimuli[1][3]. These stimuli can include a brand’s design, identity, packaging, communications, and environments. The concept goes beyond traditional brand measures, focusing on the subjective, internal consumer responses to brand interactions.

    Dimensions of Brand Experience

    The Brand Experience Scale comprises four key dimensions:

    1. Sensory: How the brand appeals to the five senses
    2. Affective: Emotions and feelings evoked by the brand
    3. Intellectual: The brand’s ability to engage consumers in cognitive and creative thinking
    4. Behavioral: Physical actions and behaviors induced by the brand

    Scale Development and Validation

    The authors conducted six studies to develop and validate the Brand Experience Scale[3]. They began with a large pool of items, which were then refined through exploratory factor analysis. The final scale was validated using confirmatory factor analysis and structural equation modeling.

    Importance and Applications

    The Brand Experience Scale offers several advantages:

    1. Reliability and validity: The scale has demonstrated strong psychometric properties across multiple studies[1][3].
    2. Distinctiveness: It is distinct from other brand measures such as brand evaluations, involvement, and personality[2].
    3. Predictive power: Brand experience has been shown to affect consumer satisfaction and loyalty both directly and indirectly[3].

    Implications for Marketing Practice

    Marketers can use the Brand Experience Scale to:

    1. Assess the effectiveness of brand-related stimuli
    2. Compare brand experiences across different products or services
    3. Identify areas for improvement in brand strategy
    4. Predict consumer behavior and loyalty

    Brand Experience Questionnaire

    The following is the Brand Experience Scale questionnaire, using a 7-point Likert scale (1 = strongly disagree, 7 = strongly agree)[3]:

    Sensory Dimension:

    1. This brand makes a strong impression on my visual sense or other senses.
    2. I find this brand interesting in a sensory way.
    3. This brand does not appeal to my senses.

    Affective Dimension:

    1. This brand induces feelings and sentiments.
    2. I do not have strong emotions for this brand.
    3. This brand is an emotional brand.

    Intellectual Dimension:

    1. I engage in a lot of thinking when I encounter this brand.
    2. This brand does not make me think.
    3. This brand stimulates my curiosity and problem solving.

    Behavioral Dimension:

    1. I engage in physical actions and behaviors when I use this brand.
    2. This brand results in bodily experiences.
    3. This brand is not action oriented.

    By utilizing this scale, marketers and researchers can gain valuable insights into how consumers experience and interact with brands, ultimately leading to more effective brand management strategies.

    Citations:
    [1] http://essay.utwente.nl/82847/1/Schrotenboer_MA_BMS.pdf
    [2] https://papers.ssrn.com/sol3/papers.cfm?abstract_id=1960358
    [3] https://business.columbia.edu/sites/default/files-efs/pubfiles/4243/Brand%20Experience%20and%20Loyalty_Journal_of%20_Marketing_May_2009.pdf
    [4] https://www.ntnu.no/documents/10401/1264433962/KatrineArtikkel.pdf/963893af-2047-4e52-9f5b-028ef4799cb7
    [5] https://www.emerald.com/insight/content/doi/10.1108/jpbm-07-2015-0943/full/html
    [6] https://jcsdcb.com/index.php/JCSDCB/article/download/117/160
    [7] https://link.springer.com/article/10.1057/bm.2010.4
    [8] https://journals.sagepub.com/doi/10.1509/jmkg.73.3.052

  • The Emotional Attachment Scale

    The Emotional Attachment Scale (EAS) is a tool used in media and marketing research to measure emotional attachment and brand loyalty. The scale was developed by Thomson, MacInnis, and Park (2005) and has been widely used in various fields, including advertising, consumer behavior, and psychology.

    The EAS consists of three sub-scales: affection, connection, and passion. Each sub-scale includes five items, resulting in a total of 15 items. Participants rate their level of agreement with each statement on a 7-point Likert scale, ranging from 1 (strongly disagree) to 7 (strongly agree).

    The affection sub-scale measures the emotional bond that a person has with a brand or product. The connection sub-scale assesses the extent to which a person feels a personal connection with the brand or product. The passion sub-scale evaluates the intensity of a person’s emotional attachment to the brand or product.

    Example statements from the EAS include:

    • “I feel affection for this brand/product”
    • “This brand/product is personally meaningful to me”
    • “I would be very upset if this brand/product were no longer available”

    To score the EAS, the responses to the five items in each sub-scale are summed. For the affection and connection sub-scales, higher scores indicate a stronger emotional attachment to the brand or product. For the passion sub-scale, higher scores indicate a more intense emotional attachment to the brand or product.

    However, it is important to note that some of the items in the EAS are reverse-scored, meaning that a response of 1 is equivalent to a response of 7 on the Likert scale. For example, the statement “I would feel very upset if this brand/product were no longer available” is reverse-scored, so a response of 7 indicates a weaker emotional attachment, while a response of 1 indicates a stronger emotional attachment.

    While the EAS has been widely used and validated in previous research, it is not without criticisms. Some researchers have argued that the EAS is limited in its ability to capture the complexity of emotional attachment and brand loyalty, and that additional measures may be needed to fully understand these constructs (Batra, Ahuvia, & Bagozzi, 2012). Others have suggested that the EAS may be too focused on the affective aspects of attachment and may not fully capture the behavioral aspects of brand loyalty (Oliver, 1999).

    Overall, the EAS can provide valuable insights into consumers’ emotional attachment to brands and products, but it is important to use it in conjunction with other measures to fully understand these constructs.

    the complete questionnaire for the Emotional Attachment Scale (EAS):

    Affection Sub-Scale:

    1. I feel affection for this brand/product.
    2. This brand/product makes me feel good.
    3. I have warm feelings toward this brand/product.
    4. I am emotionally attached to this brand/product.
    5. I love this brand/product.

    Connection Sub-Scale:

    1. This brand/product is personally meaningful to me.
    2. This brand/product is part of my life.
    3. I can relate to this brand/product.
    4. This brand/product reflects who I am.
    5. This brand/product is important to me.

    Passion Sub-Scale:

    1. I am enthusiastic about this brand/product.
    2. This brand/product excites me.
    3. I have a strong emotional bond with this brand/product.
    4. I am deeply committed to this brand/product.
    5. I would be very upset if this brand/product were no longer available.

    Participants rate their level of agreement with each statement on a 7-point Likert scale, ranging from 1 (strongly disagree) to 7 (strongly agree).

    To score the EAS, the responses to the five items in each sub-scale are summed. For the affection and connection sub-scales, higher scores indicate a stronger emotional attachment to the brand or product. For the passion sub-scale, higher scores indicate a more intense emotional attachment to the brand or product. However, it is important to note that some of the items in the EAS are reverse-scored, meaning that a response of 1 is equivalent to a response of 7 on the Likert scale.

  • Scales that can be adapted to measure the quality of a Magazine

    Quality assessment scales that could potentially be adapted for magazine evaluation:

    CGC Grading Scale

    The Certified Guaranty Company (CGC) uses a 10-point grading scale to evaluate collectibles, including magazines[1]. This scale includes:

    1. Standard Grading Scale
    2. Page Quality Scale
    3. Restoration Grading Scale

    The Restoration Grading Scale assesses both quality and quantity of restoration work[1].

    Literature Quality Assessment Tools

    While not specific to magazines, these tools could potentially be adapted:

    1. CASP Qualitative Checklist
    2. CASP Systematic Review Checklist
    3. Newcastle-Ottawa Scale (NOS)
    4. Cochrane Risk of Bias (RoB) Tool
    5. Quality Assessment Tool for Quantitative Studies (QATQS)
    6. Jadad Scale[2]

    Impact Factor

    The impact factor (IF) or journal impact factor (JIF) is a scientometric index used to reflect the yearly mean number of citations of articles published in academic journals[4]. While primarily used for academic publications, this concept could potentially be adapted for magazines.

    Customer Experience (CX) Scales

    Two scales used in customer experience research that could be relevant for magazine quality assessment:

    1. Best Ever Scale: A nine-point scale comparing the product or service to historical best or worst experiences[5].
    2. Stated Improvement Scale: A five-point scale assessing the need for improvement[5].

    While these scales are not specifically designed for magazine quality evaluation, they provide insights into various approaches to quality assessment that could be adapted for magazine evaluation.

    Citations:
    [1] https://www.cgccomics.com/grading/grading-scale/
    [2] https://bestdissertationwriter.com/6-literature-quality-assessment-tools-in-systematic-review/
    [3] https://www.healthevidence.org/documents/our-appraisal-tools/quality-assessment-tool-dictionary-en.pdf
    [4] https://en.wikipedia.org/wiki/Impact_factor
    [5] https://www.quirks.com/articles/data-use-introducing-two-new-scales-for-more-comprehensive-cx-measurement
    [6] https://pmc.ncbi.nlm.nih.gov/articles/PMC10542923/
    [7] https://measuringu.com/rating-scales/
    [8] https://mmrjournal.biomedcentral.com/articles/10.1186/s40779-020-00238-8