Defining entertainment: an approach

McKee, A; Collis, C; Nitins, T; Ryan, M; Harrington, S; Duncan, B; Carter, J; Luck, E; Neale, L; Butler, D; Backstrom, M

Defining entertainment: an approach

McKee, A

Collis, C Nitins, T Ryan, M Harrington, S Duncan, B Carter, J Luck, E Neale, L Butler, D Backstrom, M

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Publication Type:: Journal Article
Citation:: Creative Industries Journal, 2014, 7 (2), pp. 108 - 120
Issue Date:: 2014-07-03

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Field	Value	Language
dc.contributor.author	McKee, A https://orcid.org/0000-0003-0577-2061	en_US
dc.contributor.author	Collis, C	en_US
dc.contributor.author	Nitins, T	en_US
dc.contributor.author	Ryan, M	en_US
dc.contributor.author	Harrington, S	en_US
dc.contributor.author	Duncan, B	en_US
dc.contributor.author	Carter, J	en_US
dc.contributor.author	Luck, E	en_US
dc.contributor.author	Neale, L	en_US
dc.contributor.author	Butler, D	en_US
dc.contributor.author	Backstrom, M	en_US
dc.date.issued	2014-07-03	en_US
dc.identifier.citation	Creative Industries Journal, 2014, 7 (2), pp. 108 - 120	en_US
dc.identifier.issn	1751-0694	en_US
dc.identifier.uri	http://hdl.handle.net/10453/122509
dc.description.abstract	© 2014 Taylor & Francis. Entertainment is a key cultural category. Yet the definition of entertainment can differ depending upon whom one asks. This article maps out understandings of entertainment in three key areas. Within industrial discourses, entertainment is defined by a commercial business model. Within evaluative discourses used by consumers and critics, it is understood through an aesthetic system that privileges emotional engagement, story, speed and vulgarity. Within academia, entertainment has not been a key organizing concept within the humanities, despite the fact that it is one of the central categories used by producers and consumers of culture. It has been important within psychology, where entertainment is understood in a solipsistic sense as being anything that an individual finds entertaining. Synthesizing these approaches, the authors propose a cross-sectoral definition of entertainment as ‘audience-centred commercial culture’.	en_US
dc.relation.ispartof	Creative Industries Journal	en_US
dc.relation.isbasedon	10.1080/17510694.2014.962932	en_US
dc.title	Defining entertainment: an approach	en_US
dc.type	Journal Article
utslib.citation.volume	2	en_US
utslib.citation.volume	7	en_US
utslib.for	2001 Communication and Media Studies	en_US
utslib.for	15 Commerce, Management, Tourism and Services	en_US
utslib.for	19 Studies in Creative Arts and Writing	en_US
utslib.for	20 Language, Communication and Culture	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/FASS Faculty Administration
utslib.copyright.status	open_access
pubs.issue	2	en_US
pubs.publication-status	Published	en_US
pubs.volume	7	en_US

Abstract:

© 2014 Taylor & Francis. Entertainment is a key cultural category. Yet the definition of entertainment can differ depending upon whom one asks. This article maps out understandings of entertainment in three key areas. Within industrial discourses, entertainment is defined by a commercial business model. Within evaluative discourses used by consumers and critics, it is understood through an aesthetic system that privileges emotional engagement, story, speed and vulgarity. Within academia, entertainment has not been a key organizing concept within the humanities, despite the fact that it is one of the central categories used by producers and consumers of culture. It has been important within psychology, where entertainment is understood in a solipsistic sense as being anything that an individual finds entertaining. Synthesizing these approaches, the authors propose a cross-sectoral definition of entertainment as ‘audience-centred commercial culture’.

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http://hdl.handle.net/10453/122509