'n Estetika van Televisievermaak
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
- Articles
- Submited: November 10, 2022
-
Published: November 14, 2022
Abstract
AGAINST the background of the indefinability of entertainment the author postulates a for questions that the researcher could ask in connection with the viewer's aesthetic exparience of television entertainment, par ticularly related to television fiction. The central question is: why and how does television entertain the viewer? This question leads on to the following questions: what is entertainment? The answer is that it is in definable. In the style of Plato the researcher should then ask the following: but what is it that leads the viewer to attach the value "entertainment", which is associated with pleasure and satisfaction, to television fic tion? Possible answer: catharsis due to the ability and needs of the viewer to identify with a make-believe world and characters. What makes this identification possible? Amongst other possibilities specific rhetorical motifs which have always been associated with communication pleasure and which are also present in the content (and forum) of television fiction. Is this the big answer? No. The aesthetic experience of a work (also of television) does not allow it to be described easily.
Article Metrics Graph
References
- Bergson, Henri, 1956. "Laughter". In: COMEDY, red. Wylie Sypher, Garden Ci ty, N.J.: Doubleday, Anchor.
- Cook, Jim. 1982. Television Sitcom. Londen: British Film Institute.
- De Fleur, Melvin en Sharon Lowery. 1983. Milestones in Mass Communication Research. Media effects. New York: Longman.
- Freud, Sigmund. 1922. Beyond the Pleasure Principle. London: Hogarth.
- https://doi.org/10.1037/11189-000
- Goodlad, J.S.R. 1976. "On the social significance of television comedy". In: C.W.E. (Red). Approaches to Popular Culture. London: Edward Arnold.
- Grote, David. 1983. The end of Comedy. The Sitcom and the Comedic Tradition, Connecticut: Archon Connecticut: Ar chom Books.
- Hulzenga, Johan. 1950. Homo Ludens. Boston: Beacon Press. Kaplan, A. 1966. "The aesthetics of the popular arts". In: The Journal of Aesthetics and Art Criticism. Nr. 24, Lente, 1966.
- https://doi.org/10.2307/427970
- Lauter, Paul. 1964. Theories of Comedy. New York: Anchor.
- Lesser, S.O. 1957. Fiction and the Un conscious. Boston: Beacon Press.
- Mendelsohn, Harold. 1966. Mass Entertain ment. New Haven, Connecticut. Universi ty Press Services.
- Metz, Christian. 1981. The Imaginary Signifier. Bloomington; Indiana University Press.
- Rosengren, K.E. 1973. Uses and Gratification Studies: Theory and Methods. Stockholm: Sveriges Radio.
- Rosenfield, L. en T. Mader. 1984. "The functions of human communication in pleasing". In: Arnold, C. en J. Bowers. 1984. Handbook of Rhetorical and Com munication Theory. Boston: Allyn and Bacon.
- Seidler, Herbert. 1969. "Zum Wer tungsproblem in der Literatur wissenschaft. In: Beitrage zur Methodologischen Grundlegung der Literaturwissenschaft, Wien..
- Stappers, T.G., A.D. Reijnders en W. Moller. 1983. De Werking van Massamedia. S'Gravenhage: Staatsuitgeverij.
- Van den Paard, Willem J. 1980. "Absolutisme en relativisme". In: Spektator, 9. 6, 1980