Cinema and the Theory of Entertainment
Keywords:
Film, EntertainmentAbstract
Even though cinema is an entertainment product, the theory of entertainment has rarely been debated in film studies. The past understanding of the film in this category is often based on a format of production, i.e., use of stars, huge investment, identification of film genres, etc., leading to explanation of the term “entertainment” in a business dimension.
With literal interpretation, entertainment film is no more than a moving image made in response to the audience’s need to be entertained. The feel of being entertained in this sense is not just common enjoyment, but possesses psychological profundity. It is the state of satisfaction happening after being emotionalized by the film’s content to be, for example, angry, excited, impressed, sad, or else. This sort of satisfaction occurs as a meta-emotion. Hence, entertainment film serves to fulfill the audience’s emotional expectation. When the audience is affected emotionally, they will immerse themselves in the story to absorb a given imagination. This is why film could be viewed as illusion. Varied case studies, including Thailand’s Bad Genius or 9 Satra, provide a protocol of entertainment for the modern audience. These cases help project that audiovisual designs and screenplays are done to accomplish emotional effects
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2. ข่าวไทยพีบีเอส. (2560). ปี 2560 หนังไทยยังน่าเป็นห่วง. กรุงเทพฯ: ไทยพีบีเอส.
3. ไทยรัฐ. (2558, 21 สิงหาคม). วิกฤติหนังไทยซบเซา ผู้สร้างถอดใจ?!, ภาพยนตร์ไทย. สืบค้นจาก
https://www.thairath.co.th/content/519593
4. ไทยรัฐ. (2559, 12 เมษายน). "หลวงพี่แจ๊ส 4G" แรงจริง วันแรกกวาดรายได้ทะลุ 50 ล้าน.
สืบค้นจาก https://www.thairath.co.th/content/604534
5. ไทยรัฐ. (2559, 22 มกราคม). จุดแข็งอาเซียน 'ผีไทย' ชูโรง! 'เวียดนาม' เรียนจาก 'เกาหลี' ไล่กวด 'หนัง
ไทย'. สืบค้นจาก https://www.thairath.co.th/content/566223
6. พฤทธิ์ ศุภเศรษฐศิริ. (2555). ภาพยนตร์ตลก : กรณีศึกษาภาพยนตร์ตลกของไทยในช่วงปี 2548-2552.
กรุงเทพฯ: วิทยาลัยนวัตกรรมสื่อสารสังคม มหาวิทยาลัยศรีนครินทรวิโรฒ.
7. ภาวิณี กาญจนาภา. (2559). พฤติกรรมผู้บริโภค. กรุงเทพฯ: สำนักพิมพ์มหาวิทยาลัยศิลปากร.
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9. Bartsch, A., & Viehoff, R. (2010). The Use of Media Entertainment and Emotional Gratification.
Procedia Social and Behavioral Sciences, 5, pp. 2247-2255.
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Popular Culture, 33(1), pp.1-20.
11. Dow, G. (2017). Codes and Conventions of the Romance Genre. Retrieved 28 February 2018,
from https://prezi.com/thwwuf9t8fjk/codes-and-conventions-of-the-romance-genre/
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Oxford University Press.
21. Kim, H. W. K. (2018). Could K-Film Ever Be As Popular As K-Pop In Asia? Forbes. Retrieved 1 March, 2018, from https://www.forbes.com/sites/outofasia/2018/01/11/along-with-the-gods-could-k-film-ever-be-as-popular-as-k-pop-in-asia/#7a724fa63594
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23. Mayer, J. D., & Gaschke, Y. N. (1988). The Experience and Meta-experience of Mood. Journal
of Personality and Social Psychology, 55, pp.102–111
24. Ritterfeld, U. (2004). Enjoyment: At the Heart of Media Entertainment. Communication Theory, 14(4), pp. 388–408.
25. Nielsen, J. I. (2007). Camera Movement in Narrative Cinema - Towards a Taxonomy of
Functions. Aarhus: Department of Information & Media Studies, Faculty of Arts,
University of Aarhus.
26. Oliver, M. B. (1993). Exploring the paradox of the enjoyment of sad films. Human
Communication Research, 19(3), pp. 315-342.
27. Prabhakar, B. (2014, 26 October). India Is a Very Important Market for Hollywood Movies: Frank
Rittman, MPAA The Economic Times. Retrieved from https://economictimes.indiatimes.com/opinion/interviews/india-is-a-very-important-market-for-hollywood-movies-frank-rittman-mpaa/articleshow/44934819.cms
28. Prokop, P. (2016). Universal Human Fears. In T. K. Shackelford & V. A. Weekes-Shackelford
(Eds.), Encyclopedia of Evolutionary Psychological Science. Cham: Springer International Publishing. Switzerland
29. Redfern, N. (2012). Correspondence Analysis of Genre Preferences in UK Film Audiences.
Participations: Journal of Audience and Reception Studies, 9(2), pp. 45-55.
30. Reinecke, L. (2017). Mood management. In P. Rössler (Ed.), The International Encyclopedia of
Media Effects, pp. 1271-1284. Wiley-Blackwell.
31. Rotten Tomatoes. (2016). Captain America: Civil War. Marvel Cinematic Universe. Retrieved 1
March, 2018, from https://www.rottentomatoes.com/m/captain_america_civil_war/
32. Statista. (2018). Distribution of Films Screened in Cinemas in South Korea from 2004 to
November 2017 by Origin. Retrieved 1 March 2018, from Statista GmbH https://www.statista.com/statistics/625516/south-korea-market-share-films-domestic-foreign/
33. Suraj, H. (2016). Golden Light. Retrieved 28 February, 2018, from
https://reikirays.com/32860/golden-light/
34. Szabo, C. (2010). Independent, Mainstream and In Between: How and Why Indie Films Have
Become Their Own Genre. New York: Pace University.
35. The BFI Research and Statistics Unit. (2016). Genre and Classification. London: BFI.
UNESCO Institute for Statistics. (2016). Diversity and the Film Industry: An Analysis of the 2014
UIS Survey on Feature Film Statistics. Quebec: UNESCO-UIS.
36. Vorderer, P., Klimmt, C., & Ritterfeld, U. (2004). Enjoyment: At the Heart of Media Entertainment.
Communication Theory, 14(4), pp. 388–408.
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