Teachers of conflict, negotiation, and alternative dispute resolution who have transitioned their in-person courses to synchronous video conferencing are posed with significant pedagogical challenges. How will they stoke their students\' curiosity and maintain their students\' interest? How will students find the motivation and energy necessary to engage in nonstop videoconferences, day in and day out? How are they to maintain the high cognitive function required for our courses in the face of Zoom fatigue and reduced social interaction? In light of these challenges, we explored another activity that students (and their teachers) not only engage in, but can\'t pull themselves away from. Drawing on the literature examining psychological and neuroscientific aspects of binge-watching television shows, we propose an innovative approach to designing courses our students will want to binge-learn.

Binge-watching has become one of the most popular ways for people to spend their free time. Binge-watching refers to watching more than two episodes of a television show in a single sitting. This pattern of behavior can be seen in people of a wide range of ages, but it is particularly widespread among people of millennial age and younger. In this study, we propose a model that explains binge-watching engagement by theorizing and testing the association of social influence on perceived usefulness, regret on the continuous intention of binge-watching, and habit on continuous intention and binge-watching engagement. The authors evaluated the model using data collected from 225 respondents. The results supported the proposed hypotheses and confirmed that regret does not neutralize the positive - and strong - effect of perceived usefulness and habit on binge-watching.

UNASSIGNED: Mental health conditions and psychiatric disorders are among the leading causes of illness, disability, and death among young people around the globe. In the United States, teen suicide has increased by about 30% in the last decade. Raising awareness of warning signs and promoting access to mental health resources can help reduce suicide rates for at-risk youth. However, death by suicide remains a taboo topic for public discourse and societal intervention. An unconventional approach to address taboo topics in society is the use of popular media.
UNASSIGNED: We conducted a quantitative content analysis of mainstream news reporting on the controversial Netflix series 13 Reasons Why Season 1. Using a combination of top-down and bottom-up search strategies, our final sample consisted of 97 articles published between March 31 and May 31, 2017, from 16 media outlets in 3,150 sentences. We systematically examined the news framing in these articles in terms of content and valence, the salience of health/social issue related frames, and their compliance with the WHO guidelines.
UNASSIGNED: Nearly a third of the content directly addressed issues of our interest: 61.6% was about suicide and 38.4% was about depression, bullying, sexual assault, and other related health/social issues; it was more negative (42.8%) than positive (17.4%). The criticism focused on the risk of suicide contagion, glamorizing teen suicide, and the portrayal of parents and educators as indifferent and incompetent. The praise was about the show raising awareness of real and difficult issues young people struggle with in their everyday life and serving as a conversation starter to spur meaningful discussions. Our evaluation of WHO guideline compliance for reporting on suicide yielded mixed results. Although we found recommended practices across all major categories, they were minimal and could be improved.
UNASSIGNED: Despite their well intentions and best efforts, the 13 Reasons Why production team missed several critical opportunities to be better prepared and more effective in creating social impact entertainment and fostering difficult dialogs. There is an urgent need to train news reporters about established health communication guidelines and promote best practices in media reporting on sensitive topics such as suicide.

In this study, older characters that appeared in all the episodes of the first seasons of eight most popular Turkish TV series on prime-time televisions in Turkey and those appeared in all the episodes of the first seasons of eight \"original\" Turkish series on Netflix were submitted to a comparative quantitative and qualitative content analysis. In this sense, the aim of this study was to reveal what kind of old age is promised to viewers by such media environments as TV and Netflix. Findings revealed that, when compared to the Turkish population, older people were significantly underrepresented in prime-time series and that, in other words, they were symbolically eliminated and exposed to age discrimination. Another finding is that older people were portrayed more fairly on Netflix than TV. Although older individuals were inadequately represented on Netflix as well, the difference between the two platforms was not statistically significant. On the other hand, while older women are significantly less represented than older men on both platforms, the study found no significant difference in gender representation between Netflix and prime-time TV. The findings also indicated that no older character, when evaluated qualitatively, was represented as the major character on either platforms and that, especially when it comes to having a profession, older people, specifically older women, were portrayed more negatively on both platforms, which means that older women faced a double jeopardy.

In this research study, researcher tries to understand how Over-the-top platforms like Netflix categorically utilize aesthetic visual analysis (AVA); an image selection tool to reduce time and increase efficacy, through a parametric analysis of AVA to optimise Netflix performance. This research paper tries to answer all the questions related to the how the database of aesthetic visual analysis (AVA), an image selection tool works better or more like humans. To further substantiate the popularity of Netflix, a real time data of 307 respondents who use OTT platforms in Delhi was collected to determine whether Netflix in fact is or not the market leader. 63.8% of them selected Netflix as their top option.

UNASSIGNED: New approaches to the study of the binge-watching phenomenon require new technology, leading to the development of a non-intrusive and low-cost analytical research software that facilitates a holistic understanding of binge-watching in an uncontrolled environment remotely (e.g., the home). BWDAT was developed to allow the collection of three types of data: users\' physiological data gathered from a smartwatch, users\' interactions from video-on-demand interfaces, and self-reported data. This tool offers the possibility to generate automatic data analysis reports, facilitating researchers\' data analysis tasks.
UNASSIGNED: Two trial studies and a long-term study were used to evaluate the design and the technical implementation of the BWDAT tool. The metrics used were the BWDAT smartwatch\'s App data coverage of the viewing sessions, and the data\'s reliability of the viewer\'s interactions with the Netflix interface, collected by the BWDAT Chrome Extension.
UNASSIGNED: High percentages of data coverage and content coverage were verified in the sessions collecting the smartwatch\'s data. The reporting system developed proved to be useful in the collection and synchronization of physiological and users\' interaction data with Netflix interface, both generated in uncontrolled environments. Furthermore, the BWDAT tool facilitated the analysis of a large amount of nuanced data.
UNASSIGNED: The results obtained confirm the reliability, accuracy, and usability of BWDAT. This tool has the potential to help researchers shed new light on the field of media and audience studies, and in particular on binge-watching.

Social and physical distancing in response to the coronavirus disease (COVID-19) pandemic has made screen-mediated information and communication technologies (media) indispensable. Whether an increase in screen use is a source of or a relief for stress remains to be seen.
In the immediate aftermath of the COVID-19 lockdowns, we investigated the relation between subjective stress and changes in the pattern of media use. Based on Lazarus\'s transactional model of appraisal and coping, and building on an earlier similar survey, we hypothesize that individual differences in the appraisal of media predict variations in approach or avoidance of media for coping with COVID-19 stress.
Between March 20 and April 20, 2020, a brief snowball survey entitled: \"What media helps, what media hurts: coping with COVID19 through screens\" was distributed via Concordia University\'s mailing lists and social media (PERFORM Centre, EngAGE Centre, and Media Health Lab). Using a media repertoire method, we asked questions about preferences, changes in use, and personal appraisal of media experiences (approach, avoid, and ignore) as a result of the COVID-19 pandemic and investigated interindividual differences in media use by factors such as subjective stress, age, gender, and self-reported mental health.
More than 90% of the survey respondents were in Canada and the east coast of the United States. From 685 completed responses, 169 respondents were \"very stressed\" and 452 were \"slightly worried\" about the pandemic. COVID-19 stress led to increased use of Facebook (χ23=11.76, P=.008), television (χ23=12.40, P=.006), YouTube (χ23=8.577, P=.04), and streaming services such as Netflix (χ23=10.71, P=.01). Respondents who considered their mental health \"not good\" were twice as likely to prefer streaming services as a coping tool for self-isolation. Women and nonbinary respondents were twice as likely than men to pick social media for coping. Individuals younger than 35 years were 3 times more likely to pick computer games, and individuals older than 55 years were more likely to pick network television or print media. Gender affected the appraisal of media (less in men than others) in terms of avoid (F1,637=5.84, P=.02) and approach scores (F1,637=14.31, P<.001). Subjective mental health affected the ignore score (less in those who said \"good\" than others; F1,637=13.88, P<.001). The appraisal score and use increase explained variations in worrying about physical and mental health stress due to increased screen time. A qualitative analysis of open-ended questions revealed that media (especially social networks) were important for coping if they provided support and connection through the dissemination of factual and positive information while avoiding the overflow of sensational and false news.
The relationship between appraisal of media\'s positive and negative facets vary with demographic differences in mental health resiliency. The media repertoire approach is an important tool in studies that focus on assessing the benefits and harms of screen overuse in different populations, especially in the context of the COVID-19 pandemic.

We present a new approach to defining film genre based on implicit ideals. When viewers rate the likability of a film, they indirectly express their ideal of what a film should be. Across six studies we investigate the category structure that emerges from likability ratings and the category structure that emerges from the features of film. We further compare these data-driven category structures with human annotated film genres. We conclude that film genres are structured more around ideals than around features of film. This finding lends experimental support to the notion that film genres are set of shifting, fuzzy, and highly contextualized psychological categories.