As technology advances and offers enjoyable sedentary alternatives to sport, active recreation, and transportation, there is a growing need to understand and harness the drivers of physical activity and exercise among children and adolescents. Determining how youth perceive their physical capabilities and their opportunities and what motivates them to be physically active can provide essential information for teachers, coaches, youth leaders, and program planners who are interested in promoting physical activity. Several well-established and also more recently developed behavioral theories offer numerous avenues to gaining a better understanding of the perceptions and motivation of youth with respect to physical activity and exercise behavior, including the social ecological model, social cognitive theory, self-determination theory, habit theory, dual-process theory, and nudge theory, among others. Children and adolescents have individual characteristics that influence their perceptions, motivations, and behavior. They also exist within a multilayered ecological context that helps to shape those perceptions, motivations, and behavior. For youth to be sufficiently physically active and thereby help to reach their full potential, the environment must be conducive to consistent routines of physical activity. Such an environment can be designed to provide easily accessible and enjoyable opportunities for youth to fulfill their basic psychological needs for autonomy, relatedness, and competence to be physically active. There is potential for technology to contribute positively toward the design of conducive environments, and toward fostering motivation and enjoyment of exercise and physical activity among children and adolescents.
Ed S. Tan
Entertainment is fun, and fun is an emotion. What fun is as an emotion, and how it depends on features of entertainment messages and on other emotions, needs to be understood if we want to explain the appeal of entertainment. Entertainment messages such as movies, stories, drama, games, and sports spectacles can move us in a great variety of ways. But characteristic for the use of all genres is a remarkable, intense focus on interacting with the entertainment message and the virtual world it stages. Gamers in action or listeners of radio drama tend to persist in using the message, apparently blind and deaf to any distraction. Persistence is emotion driven. Intrinsic pleasure in what is a playful activity drives this passionate persistence. Enjoyment, interest, or excitement and absorption are the emotions that make entertainees go for more fun in the ongoing use of an entertainment message. In the use of an entertainment message, these go-emotions complement emotional responses to what happens in the world staged by the message. Horror incites fear and disgust, while serious drama elicits sadness and bittersweet feelings. In our conception, go and complementary emotions are immediate effects of the use of entertainment content: I feel excitement and apprehension now, while I am watching this thriller. Models of distal effects of media entertainment, such as ones on mood, behavior, beliefs, attitudes, and preferences require a proper understanding of immediate emotional responses to concrete messages. The effects of entertainment are only incidental; the emphasis is on immediate emotional experiences in the use of entertainment messages. Immediate emotional responses can be understood and predicted from an analysis of entertainment messages. Entertainment comes in messages with a characteristic temporal structure. Entertainment emotions develop across the presentation time of the message. Their development can be captured and understood in models of a message’s emotion structure. The emotion structure of a message represents the dynamics of go and complementary emotions across consecutive events, such as story episodes or drama scenes, and within these. Research into the uses and effects of media entertainment has a long tradition. Immediate emotional responses to mediated entertainment messages have been theorized and researched since the seminal work of Dolf Zillmann in the 1970s. The state of the art in research on the entertainment emotions needs to be discussed—starting with a general model of these, and elaborating it for selected entertainment genres.