1. Understanding Entertainment Audiences Chapter 6

2. Audience taste cultures ◊Groups formed for common interests ◊Dependent upon entertainment products (form, style, etc) Can be: 1.Spectators 2.Participants (attendee, visitor, shopper) 3.Fans ◊Groups formed for common interests ◊Dependent upon entertainment products (form, style, etc) Can be: 1.Spectators 2.Participants (attendee, visitor, shopper) 3.Fans

3. Promoting a film in Paris

4. Burning Man Participatory Performance

5. Audience types ◊Simple - presence of ceremony and convention in a venue ◊Mass - invisible; non-venue situated ◊Diffused - audience as performers as well as spectators ◊Postmodern - identity in flux, role playing identity constructions ◊Simple - presence of ceremony and convention in a venue ◊Mass - invisible; non-venue situated ◊Diffused - audience as performers as well as spectators ◊Postmodern - identity in flux, role playing identity constructions

6. Psychology of Motivation ◊Maslow’s hierarchy of needs ◊Entertainment purchases for: diversion and stress relief ◊Emotion-based motivations: achievement, power, novelty, affiliation, self-esteem ◊Maslow’s hierarchy of needs ◊Entertainment purchases for: diversion and stress relief ◊Emotion-based motivations: achievement, power, novelty, affiliation, self-esteem

7. Risk & Uncertainty ◊Audiences want minimal risk ◊Greater degree of uncertainty when purchasing entertainment experiences ◊Cognitive dissonance - post -decision regret ◊Core audiences take more risk ◊Potential and non-audiences wait for proven success before attending ◊Audiences want minimal risk ◊Greater degree of uncertainty when purchasing entertainment experiences ◊Cognitive dissonance - post -decision regret ◊Core audiences take more risk ◊Potential and non-audiences wait for proven success before attending

8. Venues as Physical Motivators Entertainmentscapes must have: ◊ easy access to public transportation ◊ on-site parking ◊adjacent dining ◊aesthetically pleasant architecture and atmosphere Entertainmentscapes must have: ◊ easy access to public transportation ◊ on-site parking ◊adjacent dining ◊aesthetically pleasant architecture and atmosphere

9. Internet audience motivators ◊Search factor ◊Cognitive factor ◊Uniqueness factor ◊Social factor ◊Entertainment factor ◊Search factor ◊Cognitive factor ◊Uniqueness factor ◊Social factor ◊Entertainment factor

10. Forming & changing audience attitudes ◊Functional theory of attitudes factors ◊Theory of planned behavior ◊Attending decisions based on brand preference, genre familiarity, country of origin and price-related considerations ◊Functional theory of attitudes factors ◊Theory of planned behavior ◊Attending decisions based on brand preference, genre familiarity, country of origin and price-related considerations

11. Audiences Roles ◊Buyer - makes ticket purchase ◊Payer - pays for tickets ◊User/consumer - attends the experience ◊Buyer - makes ticket purchase ◊Payer - pays for tickets ◊User/consumer - attends the experience

12. Audience Research Challenges ◊Closing gap between what people say they do and what they actually do ◊Interpreting the relationship between the experience and an audience member ◊Determining the effects of entertainment med upon audiences ◊Closing gap between what people say they do and what they actually do ◊Interpreting the relationship between the experience and an audience member ◊Determining the effects of entertainment med upon audiences

13. Focus group with researchers looking on

14. Laddering Technique ◊Provides a means of digging beneath the surface to uncover layers of consumer meanings that reveal audience motivations for purchasing entertainment experiences. ◊“Why” factor used in interviews to get at depth responses. ◊Provides a means of digging beneath the surface to uncover layers of consumer meanings that reveal audience motivations for purchasing entertainment experiences. ◊“Why” factor used in interviews to get at depth responses.

15. Audience Involvement Levels 1.Low - small financial commitment 2.High -require higher level of decision- making and financial commitment a. loyalists b. information seekers c. routine buyers d. brand switchers 1.Low - small financial commitment 2.High -require higher level of decision- making and financial commitment a. loyalists b. information seekers c. routine buyers d. brand switchers

16. Audience Involvement Scale ◊Invisible consumers ◊Watchers ◊Seekers ◊Collectors ◊Fans ◊Insiders ◊Entourage ◊Ensnared ◊Invisible consumers ◊Watchers ◊Seekers ◊Collectors ◊Fans ◊Insiders ◊Entourage ◊Ensnared

17. What is this audience’s involvement level?

18. Participation and marketing messages audiencemessageaction obj. Passive educational convert to spectators strategy active audience Focused promotional stimulate ticket experiencers strategy purchase Absorbed informational keep attending Identifiersstrategy audiencemessageaction obj. Passive educational convert to spectators strategy active audience Focused promotional stimulate ticket experiencers strategy purchase Absorbed informational keep attending Identifiersstrategy

19. Consumer Experience Model 1.Perception components a. psychological (motivation) b. economic (cost/value) c. consumer knowledge (information) d. marketing information (promotional message) 2. Consumer satisfaction 1.Perception components a. psychological (motivation) b. economic (cost/value) c. consumer knowledge (information) d. marketing information (promotional message) 2. Consumer satisfaction

20. Perception factors ◊Selectivity ◊Expectations of quality ◊Past experience with a venue, destination or content genre ◊Selectivity ◊Expectations of quality ◊Past experience with a venue, destination or content genre

21. Disney Consumer Orbit Attract visitor > respond to visitor inquiries > book tickets > track visitors’ enjoyment > monitor visitor referrals > use promotions to book more tickets.

22. Measuring Attitudes ◊Theory of reasoned action ◊Fishbein model focuses on consumer ◊Rosenberg model focuses on the experience ◊Theory of reasoned action ◊Fishbein model focuses on consumer ◊Rosenberg model focuses on the experience

23. Fan Subculture 1. Fan identity from star images 2. Fan activity: a.Emotional proximity b.Critical and interpretive practices c.Consumer activism d.Production of alternative texts e.Creation of alternative social community 1. Fan identity from star images 2. Fan activity: a.Emotional proximity b.Critical and interpretive practices c.Consumer activism d.Production of alternative texts e.Creation of alternative social community

24. Fans seeking autographs

25. Cult audience ◊Fame by death ◊Cult geographies and cultural places ◊Consumption communities ◊Extreme behavior ◊Fame by death ◊Cult geographies and cultural places ◊Consumption communities ◊Extreme behavior

26. Questions ◊What are the main motivators for audiences to attend a performance, engage in an activity, or visit a venue? ◊What message strategies would you suggest to develop a positive attitude among light users of an entertainment venue such as a local museum or performing arts center? ◊What are the main motivators for audiences to attend a performance, engage in an activity, or visit a venue? ◊What message strategies would you suggest to develop a positive attitude among light users of an entertainment venue such as a local museum or performing arts center?