As entertainment becomes a trillion-dollar-a-year industry worldwide, as our modern era increasingly lives up to its label of the "entertainment age," and as economists begin to recognize that entertainment has become the driving force of the new world economy, it is safe to say that scholars are beginning to take entertainment seriously. The scholarly spin on entertainment has been manifested in traditional ways, as well as innovative ones. Representing the current state of theory and research, Psychology of Entertainment promises to be the most comprehensive and up-to-date volume on entertainment. It serves to define the new area of study and provides a theoretical spin for future work in the area. Divided into three basic parts, this book: *addresses the fundamental mechanisms and processes involved in orienting to and selecting entertainment fare, as well as receiving and processing it; *explores the mechanisms and processes by which we are entertained by the media messages we select and receive; and *provides an opportunity for the application of well-established as well as emerging psychological and psychobiological theories to be applied to the study of entertainment in ways that seldom have been utilized previously. Psychology of Entertainment will appeal to scholars, researchers, and graduate students in media studies and mass communication, psychology, marketing, and other areas contributing to the entertainment studies area.

This collection represents a systematic exploration of media entertainment from an academic perspective. Editors Zillmann and Vorderer have assembled scholars from psychology, sociology, and communication to provide a broad examination of the primary function of media entertainment--the attainment of gratification. Chapters included here address vital aspects of media entertainment and summarize pertinent findings, providing an overview of what is presently known about the appeal and function of the essential forms of media entertainment, and offering some degree of integration. Written in a clear, non-technical style, this volume provides a lively and entertaining study of media entertainment for academic study and coursework.

First Published in 2012. Routledge is an imprint of Taylor & Francis, an informa company.

This book provides an introduction and overview of the increasingly important topic of gamer psychology and behavior by presenting a range of theoretic perspectives and empirical evidence casting new light on understanding gamer behavior and designing interactive gaming experiences that maximize fun. This book aims to provide a snapshot on research approaches/advances in player psychology and behavior, discuss issues, solutions, challenges, and needs for player behavior research, and report gameplay experience and lessons as well as industry case studies from both social sciences and engineering perspectives. The nine chapters in this book, which are divided into three sections: Neuro-Psychology and Gaming; Player Behavior and Gameplay; Player Psychology and Motivations, do not represent all the topics in the psychology of gaming, however, they include a variety of topics in this field: the effects of violent video games on cognitive processes, the reward systems in the human brain and the concept of 'fun', goal-directed player behavior and game choices, psychological player profiling techniques, game design requirements and player psychology, motivational gamer profiles, and many more. This book is suitable for students and professionals with different disciplinary backgrounds such as computer science, design, software engineering, psychology, interactive media, and information systems. Students will be interested in the theory of gamer psychology and its impact on game design. Professionals will be interested in the fundamentals of gamer behavior and how interactive virtual environments can improve user experience.

Introduction to Positive Media Psychology summarizes and synthesizes the key concepts, theories, and empirical findings on the positive emotional, cognitive, and behavioral effects of media use. In doing so, the book offers the first systematic overview of the emerging field of positive media psychology. The authors draw on a growing body of scholarship that explores the positive sides of media use, including fostering one’s own well-being; creating greater connectedness with others; cultivating compassion for those who may be oppressed or stigmatized; and motivating altruism and other prosocial actions. The authors explore these issues across the entire media landscape, examining the ways that varying content (e.g., entertainment, news) delivered through traditional (e.g., film, television) and more recent media technologies (e.g., social media, digital games, virtual reality) can enhance well-being and promote other positive outcomes in viewers and users. This book serves as a benchmark of theory and research for current and future generations of advanced undergraduate students, graduate students, and scholars in communication, psychology, education, and social work.

America is fascinated by violence--where it comes from in ourselves, how it spreads through society, what effect it has on younger generations, and how it looks, in all its chilling and sanguine detail. This arresting collection of essays examines numerous facets of violence in contemporary American culture, ranging across literature, film, philosophy, religion, fairy tales, video games, children's toys, photojournalism, and sports. Lively and jargon-free, Why We Watch is the first book to offer a careful look at why we are drawn to depictions of violence and why there is so large a market for violent entertainment. The distinguished contributors, hailing from fields such as anthropology, history, literary theory, psychology, communications, and film criticism, include Allen Guttmann, Vicki Goldberg, Maria Tatar, Joanne Cantor, J. Hoberman, Clark McCauley, Maurice Bloch, Dolf Zillmann, and the volume's editor, Jeffery Goldstein. Together, while acknowledging that violent imagery has saturated western cultures for millennia, they aim to define what is distinctive about America's contemporary culture of violence. Clear, accessible and timely, this is a book for all concerned with the multiple points of access to violent representation in 1990s America.

What impact can video games have on us as players? How does psychology influence video game creation? Why do some games become cultural phenomena? The Psychology of Video Games introduces the curious reader to the relationship between psychology and video games from the perspective of both game makers and players. Assuming no specialist knowledge, this concise, approachable guide is a starter book for anyone intrigued by what makes video games engaging and what is their psychological impact on gamers. It digests the research exploring the benefits gaming can have on players in relation to education and healthcare, considers the concerns over potential negative impacts such as pathological gaming, and concludes with some ethics considerations. With gaming being one of the most popular forms of entertainment today, The Psychology of Video Games shows the importance of understanding the human brain and its mental processes to foster ethical and inclusive video games.

Celebrity culture surrounds us. We are inundated with information about actors and actresses, athletes, musicians, and others who have become famous or infamous. Although we never will likely meet or get to know them, our interest in them seems boundless. We are literally obsessed with being entertained as well as with the people who entertain us. Who our celebrities are has also shifted; in the past, celebrity status was bestowed on men and women of great accomplishment, those who had given the world something to be proud of and to celebrate. Conversely, today’s celebrities are generally people involved in entertainment—from TV newscasters to people who appear on reality television programs, as well as some who are simply famous for being famous. What remains an enigma is why we, as a society, are so infatuated with being entertained, as well as with those who entertain us and appear in the media. This book makes sense of this spectacle by explaining the reasons for this obsession from a psychological, social, and historical perspective. It suggests that we have become addicted in much the same way that a person becomes addicted to drugs or alcohol. Finally, the author offers his observations on how to free our minds from this captivation. Anyone interested in understanding more about our need to live vicariously through the rich and famous will find answers in this book.

As entertainment becomes a trillion-dollar-a-year industry worldwide, as our modern era increasingly lives up to its label of the "entertainment age," and as economists begin to recognize that entertainment has become the driving force of the new world economy, it is safe to say that scholars are beginning to take entertainment seriously. The scholarly spin on entertainment has been manifested in traditional ways, as well as innovative ones. Representing the current state of theory and research, Psychology of Entertainment promises to be the most comprehensive and up-to-date volume on entertainment. It serves to define the new area of study and provides a theoretical spin for future work in the area. Divided into three basic parts, this book: *addresses the fundamental mechanisms and processes involved in orienting to and selecting entertainment fare, as well as receiving and processing it; *explores the mechanisms and processes by which we are entertained by the media messages we select and receive; and *provides an opportunity for the application of well-established as well as emerging psychological and psychobiological theories to be applied to the study of entertainment in ways that seldom have been utilized previously. Psychology of Entertainment will appeal to scholars, researchers, and graduate students in media studies and mass communication, psychology, marketing, and other areas contributing to the entertainment studies area.

This volume is the first to illustrate the application of rhetorical theory and critical perspectives to explain public relations practices. It provides a systematic and coherent statement of the critical guidelines and philosophical underpinnings of public relations and as such should guide pedagogy and practice. It also supplies pedagogic and critical standards with which to meet the needs of an increasingly sophisticated society that tends to reject all of public relations as propaganda. With the enormous amount of money spent on product publicity and public policy debates, this book gives practitioners a sense of whether their public relations campaigns make a contribution to the organizational bottom line by means of achieving the timeless standards of the art of rhetoric.