Audience Experiences and Emotional Economy

Annette Hill

Audience Experiences and Emotional Economy

Annette Hill

Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review

Abstract

This chapter explores trends in an emotional or experience economy as this relates to media management. The case of reality entertainment is used as an example of the tricky balancing act between the management and production of media content that has emotional resonance and audience engagement with such content. The research draws on quantitative and qualitative empirical audience data to illuminate the varying emotional and cultural values of reality entertainment talent formats within the context of the economic values of these formats. The research suggests a reality entertainment experience is an example of emotional co-work between producers, performers and audiences. This kind of interactive media signals evolving audience practices for immersive experiences. However, a note of caution for media managers can be found in the over production of the tight interactivity and emotional hubs that are a feature of talent formats. Contemporary audiences are aware of the commercialisation of feelings within media industries, and as such it is increasingly important that people can connect with content they can make their own, as shared moments, or collective experiences.

Original language	English
Title of host publication	Managing Media Firms and Industries
Subtitle of host publication	What's so special about media management?
Editors	Gregory Ferrell Lowe, Charles Brown
Publisher	Springer
Pages	pp277-292
Number of pages	15
ISBN (Print)	978-3-319-08514-2
Publication status	Published - 2015

Bibliographical note

Annette Hill is a Professor of Media and Communications at Lund University, Sweden, and Visiting Professor at the Communication and Media Research Institute, University of Westminster, UK. She is the author of seven books, the latest being Reality TV (Routledge 2015). Her research focuses on audiences, with interests in sociology of media, everyday life, genres and cultures of viewing, and media experiences.

Subject classification (UKÄ)

Media and Communications

Free keywords

audiences, reality television, emotional economy

Media Experiences
Hill, A. (PI) & Askanius, T. (Researcher)
Marianne och Marcus Wallenbergs Stiftelse
2013/06/03 → 2016/06/01
Project: Research

Cite this

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abstract = "This chapter explores trends in an emotional or experience economy as this relates to media management. The case of reality entertainment is used as an example of the tricky balancing act between the management and production of media content that has emotional resonance and audience engagement with such content. The research draws on quantitative and qualitative empirical audience data to illuminate the varying emotional and cultural values of reality entertainment talent formats within the context of the economic values of these formats. The research suggests a reality entertainment experience is an example of emotional co-work between producers, performers and audiences. This kind of interactive media signals evolving audience practices for immersive experiences. However, a note of caution for media managers can be found in the over production of the tight interactivity and emotional hubs that are a feature of talent formats. Contemporary audiences are aware of the commercialisation of feelings within media industries, and as such it is increasingly important that people can connect with content they can make their own, as shared moments, or collective experiences. ",

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AB - This chapter explores trends in an emotional or experience economy as this relates to media management. The case of reality entertainment is used as an example of the tricky balancing act between the management and production of media content that has emotional resonance and audience engagement with such content. The research draws on quantitative and qualitative empirical audience data to illuminate the varying emotional and cultural values of reality entertainment talent formats within the context of the economic values of these formats. The research suggests a reality entertainment experience is an example of emotional co-work between producers, performers and audiences. This kind of interactive media signals evolving audience practices for immersive experiences. However, a note of caution for media managers can be found in the over production of the tight interactivity and emotional hubs that are a feature of talent formats. Contemporary audiences are aware of the commercialisation of feelings within media industries, and as such it is increasingly important that people can connect with content they can make their own, as shared moments, or collective experiences.

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BT - Managing Media Firms and Industries

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A2 - Brown, Charles

PB - Springer

ER -

Audience Experiences and Emotional Economy

Abstract

Bibliographical note

Subject classification (UKÄ)

Free keywords

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Media Experiences

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