Chapter 9 Binge-Watching Audience Typologies: Conclusion

Binge-Watching and Contemporary Television Research

W atching television is a cultural activity that is an integral part of the practices and routines of everyday life (see also Bury 2017). In this context, the binge-watching phenomenon illustrates a trend from mass communication to massive personalisation (Bolin 2014). The algorithms of video-on-demand (VoD) services confront users with a personalised offer that is not only about personalised content and recommendation systems, but also about, for example, the design of the start screen when users access Netflix. Despite the growing numbers of academic publications on binge-watching, the concept lacks a standardised definition (see Introduction to this volume). Moreover, the term co-exists with more 'comprehensive' concepts like 'media marathoning', which refers to a type of media engagement that 'captures viewers' and reader's engrossment, effort, and sense of accomplishment surrounding their media interaction' (Perks 2015, ix). By means of a literature review, Merikivi et al. concluded that binge-watching could be defined as the 'consumption of more than one episode of the same serialized video content in a single sitting at one's own time and pace' (2019, 6). This definition not only links a pretty low (and therefore controversial) number of episodes in its definition, but it also misses the reference to a key aspect on the studied phenomenon: the technological development. A definition suggested by Mikos in 2016 emphasises it, when he says that binge-watching could be defined 'as a form of television consumption which only became possible with certain technological and commercial developments in the media market, and at the same time was promoted by certain aesthetic and narrative developments in the television series market' (Mikos 2016, 157). Taking into account that people may have differing personal

Lecture Notes in Computer Science, 2020

The popularity of internet-distributed TV entertainment services, such as Netflix, has transformed TV consumption behavior. Currently, the level of control viewers have over their TV experiences, along with the release of complete seasons at once, are some of the factors that stimulate the so-called bingewatching phenomenon (the consumption of several episodes of a program in a single sitting). Most of binge-watching studies have focused on viewers' habits and health effects. This paper presents a study that relates to viewers' behaviors and moods. It was carried out with 13 young participants at their home, watching online content, collecting physiological, inertial, and self-reported data. We identify and compare binge-watching with non-binge-watching behaviors. Our results suggest that while viewers recur to online serial entertainment in pursuit of leisure related needs, such as relaxation, relief from boredom and escapism, the act of binge-watching tends to make them feel rather unsatisfied with no change in Arousal. Nevertheless, in binge-watching the Positive Affect increases while the Negative decreases. Moreover, watching a single episode only, tends to result in increased arousal and but not necessarily in increased satisfaction. This preliminary finding can be the starting point of fruitful future investigations on unpacking further motives and nuances from this outcome.

Computers in Human Behavior

In view of the growing interest regarding binge-watching (i.e., watching multiple episodes of television (TV) series in a single sitting) research, two measures were developed and validated to assess binge-watching involvement ("Binge-Watching Engagement and Symptoms Questionnaire", BWESQ) and related motivations ("Watching TV Series Motives Questionnaire", WTSMQ). To promote international and cross-cultural bingewatching research, the present article reports on the validation of these questionnaires in nine languages (English, French, Spanish, Italian, German, Hungarian, Persian, Arabic, Chinese). Both questionnaires were disseminated, together with additional self-report measures of happiness, psychopathological symptoms, impulsivity and problematic internet use among TV series viewers from a college/university student population (N ¼ 12,616) in 17 countries. Confirmatory factor, measurement invariance and correlational analyses were conducted to establish structural and construct validity. The two questionnaires had good psychometric properties and fit in each language. Equivalence across languages and gender was supported, while construct validity was evidenced by similar patterns of associations with complementary measures of happiness, psychopathological symptoms, impulsivity and problematic internet use. The results support the psychometric validity and utility of the BWESQ and WTSMQ for conducting cross-cultural research on binge-watching. Viewers of television (TV) series are currently enjoying unprecedented levels of choice and convenience. No longer dependent on linear TV programming, they can now access as many TV series episodes as they want, regardless of time and place, due to the expansion of ondemand viewing services (e.g., Netflix, Hulu, Amazon Prime) widely available on internet-connected devices. In this context, online TV series watching is increasingly becoming a major part of many individuals' daily lives (Deloitte's digital media trends survey, 2018, 2019). However, this major shift in TV series viewing patterns has also led to the emergence of binge-watching which, in the absence of a consensual definition, may be referred to as watching multiple episodes of TV series in a single sitting (Exelmans

Due to its worldwide influence, binge-watching has become one of the important research topics for philosophy and social sciences such as sociology, psychology, and media studies. Although noticable articles and books have been written about binge-watching, more studies seem needed when considering its influence on individuals. This article depends on such a requirement and aims to examine the binge-watching experience on Netflix. For this purpose, the article is divided into three main parts. After explaining the concept of binge-watching in the first part, the binge model and the binge culture are elucidated according to the Netflix environment. Then, the binge is discussed in the second part as an important piece of contemporary industrial culture. Here, the motivations behind binge-watching and how the attention of the viewer is maintained through the abuse of suspense are explained. Moreover, the temporal structure and misdirections in the narrative are examined as the characteristics of the cultural commodity suitable for bingeing. As to the third part, The Stranger (2020) series of Netflix is analysed in detail as an example. An evaluation regarding these three parts is given in the conclusion to sum up how binge-watching is experienced in the Netflix environment.

Critical Studies in Television, 2018

International Journal of Environmental Research and Public Health, 2020

Binge-watching is a relatively new behaviour pattern whose popularity has been increasing since 2013, ultimately to become one of the most popular ways of spending free time, especially among young people. However, there is still a dearth of research on this phenomenon. The aim of this study is to present the current understanding and psychological conditions of binge-watching, as provided in the research papers published between 2013 and 2020. This systematic review, including 28 articles, addresses different approaches to defining this behaviour, diverse motivations, personality traits, and risks of excessive binge-watching. Its results imply that there are two perspectives in understanding binge-watching. The first is related to entertainment, positive emotions, cognition, and spending free time. However, the second perspective emphasises the negative outcomes of excessive binge-watching and symptoms of behavioural addiction. There is undoubtedly a need for further research to be...

Journal of Digital Media & Policy, 2020

Results of an online survey suggest that heavy binge-watching might be in part socially motivated. Among a sample of US college students, heavy binge-watchers were more likely to be opinion leaders and to experience Fear of Missing Out (FOMO) than regular binge-watchers or non-binge-watchers. They also reported higher levels of parasocial engagement with the shows' characters than other viewers. Contrary to common beliefs, heavy binge-watching did not come at the cost of decreased social engagement. Quite the opposite: heavy binge-watchers reported spending significantly more time in interactions with friends and family on a daily basis than non-binge-watchers. Heavy binge-watching was also modestly associated with a few negative outcomes (loss of sleep and decrease in productivity).

AM Journal of Art and Media Studies, 2018

In this paper I deal with the concept of the binge-watching of television series episodes. The word binge means a period of excessive indulgence in an activity. Particularly, in terms of media theory, it becomes synonymous with obsessive, marathon watching of TV shows and movies through streaming television. The central hypothesis is that binge-watching goes beyond what has for previous decades been considered a generally accepted way of watching TV content. In order to better understand this notion, it is also necessary to explain the importance of non-linear television and its distinction in relation to ‘traditional’ or linear television. I will pay special attention to social networks as an indispensable factor that completes the binge-watching experience. Social networks are also involved in the peripheral specifics of binge-watching that lead to the emergence of new occupations, which are in direct correlation with the desire of viewers to be informed about their favorite TV co...

2017

This article examines binge watching, also known as media marathoning, and related studies in television media consumption, and discusses how the popularization of such behavior has been modifying the model of producing television content. This phenomenon began timidly with the VCR and some special programming of cable television channels, and today happens explosively in the streaming of video over the Internet, provoking a new way to produce and consume visual culture, in television or computer, smartphones and tablets displays. Netflix and YouTube are the leading exponents in the production and distribution of audience-driven content with binging features in a new programming distribution paradigm, by individual viewer demands. This has especially impacted the production of TV dramaturgy series, where the narrative is restructured with the new perspectives opened by technology, seeking different strategies, both for broadcast television and for pear-to-pear distribution, in reson...

International journal of health sciences

The media watching habits of the population have changed due to the advancement in digital technology. Many OTT platforms release the show in full episode all at once as a common practice. This practice forces viewers to watch the entire session at one sitting. This practice of non-stop viewing the web series is known as Binge watching/Binge-Viewing/Marathon-viewing. This narrative review article contains published articles from Google scholar, PubMed, and National Informatic Centre. This study aims to find out the physical, mental and social effects of Binge-watching and motives which forces the viewers to Binge-watch. In this review sixteen research articles were selected under the headings of introduction to Binge-watching, Binge-watching and Physical health, Binge watching and Mental Health and Binge watching and social interactions. The reviews showed that the Binge-watching had direct correlation between the physical, mental and social well-being of the people. The most common...