module specification

Entertainment Experience Strategies is an advanced module that will equip you with professional skills in experience design, modelling and implementation.

You will learn various approaches to experiences and entertainment.

You will understand experience management for different industries in physical, augmented and digital environments. Social and psychological aspects of events, entertainment and experience delivery is combined with branding, PR and audience interaction in your chosen sector.

Broad applications of this module range from marketing, PR strategy and brand reinforcement, to conceptualising distinctive events, or advanced strategies where the product, like music or a game, is used to market itself through audience engagement tools.

You will analyse methods, case studies and scenarios connecting several industries through entertainment or experience management.

You will develop expert knowledge of entertainment and experience models used in the media, music, and other cultural sectors, but also in corporate events, leisure and branding.

You will then apply this knowledge through workshops and exercises, designed to help you select, define and develop an experience model for any of the following: Events, music campaigns, games, movies, product launches, brands or targeting new audience profiles, etc.

You will choose the subject and approach:
You may analyse an existing entertainment / experience concept or design your own model for your own career focus. Examples include: direct marketing in events and festivals; AI-powered dashboards; sustainable events with minimal use of technology with fitting PR and marketing mixes; special music events integrated with marketing; streaming services across content industries; startups in any cultural/creative sector; apps; project development for enhanced on-site experiences; new business idea development for music, events, media and entertainment, etc.

No pre- or co- requisites for the module.
Available for Study Abroad? YES.

Syllabus, Entertainment Experience Strategies:

1. Introduction to the module. What makes an experience in any dimension. Key theories: Experience economy, experience modelling, the long tail, innovation management. Creative content tactics. Assessment analysis. LO1 LO3
2. Diverse entertainment approaches, models and experience concepts. LO1 LO2
3. How to devise a business model: Linking strategy, brand and competence. LO4 LO2
4. Viewer experience strategy. Case studies: Streaming, gaming, apps, live. LO3 LO1
5. Revision 1: Experience models and concepts, ideas development, strategic PR, marketing mixes, positioning and project design; peer brainstorming. LO3 LO4
6. Presentations LO1-4
7. Devices, channels, platforms, places, and the marketing mix across verticals. LO2 LO3
8. Workshop on media economics and strategy. Physical + digital media formats. ICT/AI. Dimensions of experience: Engaging the senses, thoughts, involuntary actions. Physical and virtual environments. Experiences and audience/user engagement. LO2 LO3 LO4
9. Concept outline workshop: Events, Music, Live; Brands, Venues, Places, Travel etc. LO1-LO4
10. Revision 2: Concept development exercise; peer review and tutor moderation. LO1 LO4
11. Behavioural economics of events in physical, virtual and hybrid environments. LO3 LO4
12. Tutorials: Advice and feedback sessions for assessment: Experience model. LO1-LO4
Week 14 submission of the 2000-word experience model plan.

Learning and teaching on this module is student-centred and student co-created with reflective experience at its core. 

This is a workshop-oriented module. Accessible, inclusive hybrid learning in classes and nonlinear environments is integral to the module delivery and exercises.

All sessions contain a practical component, incl. problem-solving, case study analysis, data-focused deduction, industry source research, brainstorming, project planning and concept development. All theory and method will be applied in class exercises, debates, peer review and tutor moderation to kickstart and facilitate further independent work outside classes. 

On AI: The industry impact of AI and machine learning is analysed in classes. AI needs to be referenced; it is approved for design and execution in project work. 

The module is centred on developing own student projects. Independent study is essential.
 
These projects are imagined and defined by the students with the assistance, feedback and advice from the tutor and peers. Each project focuses on the subject that the students choose directly.

The module acts as a student project launchpad. Students will develop own assessment aims constructively within module parameters, through the exchange and testing of ideas and plans. Participation in classes is essential.

Teamwork exercises in innovation management are designed to match and mirror best practice in the world’s leading companies and start-ups.


Education for Social Justice Framework (ESJF)

Inclusive formative and summative assessment:

As the module centres on unique student themes in projects, inclusive assessment is built into the module at the core. Assessment is student project-driven.

Students pick their own focus and approach (personalisation, diversity, accessibility), own cultural context (identity, equity, decolonisation), in an experiential mode of study (reflection), with the diagnostic use of theory and industry data for real-life application (critical theory, synthesis).

Peer review and tutor moderation exercises facilitate the carving of project work.

Identity, Personalisation And Reflection:

Reflection is vital in this module designed for practice.

Personal inclinations, career aims, orientations and desired pathways, own aptitudes, interests and individual choices are both recognised and encouraged. 

Localisation is supported, from global and international to micro-urban. Community, cultural identity, scene focus, and projects’ ethical social causes are fostered.

 

On completion, this module equips you with these Learning Outcomes:

1. Understanding of various approaches to experiences and entertainment for different industries, environments and practical uses.
2. Critical analysis of methods, case studies and scenarios across industries through entertainment or experience management in creative industries and business sectors.
3. Synthesising experience models for use in a creative industry or business sector.
4. Independent project development for experience / entertainment models.

https://rl.talis.com/3/londonmet/lists/62FA7590-15A9-902F-41CC-16A1A477444C.html?lang=en-GB
https://rl.talis.com/3/londonmet/lists/50905BEB-D3AF-2780-5918-20C609246266.html?lang=en-GB

Bibliography

Aho, S. K. (2001). Towards a general theory of touristic experiences: Modelling experience process in tourism. Tourism review, 56(3/4), 33-37.

Ameen, N., Tarhini, A., Reppel, A., & Anand, A. (2021). Customer experiences in the age of artificial intelligence. Computers in human behavior, 114, 106548.

Barata, M. L., & Coelho, P. S. (2021). Music streaming services: understanding the drivers of customer purchase and intention to recommend. Heliyon, 7(8).

Ben Haobin, Y., Huiyue, Y., Peng, L., & Fong, L. H. N. (2021). The impact of hotel servicescape on customer mindfulness and brand experience: The moderating role of length of stay. Journal of Hospitality Marketing & Management, 30(5), 592-610.

Chen, L. H., Wang, M. J. S., & Morrison, A. M. (2021). Extending the memorable tourism experience model: a study of coffee tourism in Vietnam. British Food Journal, 123(6), 2235-2257.

Faye, P., Sonar, S., Shahare, S., Ambhore, R., & Chafle, V. (2025). Emotion based music recommendation system. International Journal on Advanced Electrical and Computer Engineering, 14(1), 186-191.

Hwang, R., & Lee, M. (2022). The influence of music content marketing on user satisfaction and intention to use in the metaverse: A focus on the SPICE model. Businesses, 2(2), 141-155.

Keiningham, T., Aksoy, L., Bruce, H. L., Cadet, F., Clennell, N., Hodgkinson, I. R., & Kearney, T. (2020). Customer experience driven business model innovation. Journal of Business Research, 116, 431-440.

Koay, K. Y., Ong, D. L. T., Khoo, K. L., & Yeoh, H. J. (2020). Perceived social media marketing activities and consumer-based brand equity: Testing a moderated mediation model. Asia Pacific journal of marketing and logistics, 33(1), 53-72.

Lee, H., Jung, T. H., tom Dieck, M. C., & Chung, N. (2020). Experiencing immersive virtual reality in museums. Information & management, 57(5), 103229.

Oliveira, T., Araujo, B., & Tam, C. (2020). Why do people share their travel experiences on social media?. Tourism Management, 78, 104041.

Neuhofer, B., Celuch, K., & To, T. L. (2020). Experience design and the dimensions of transformative festival experiences. International Journal of Contemporary Hospitality Management, 32(9), 2881-2901.

Packer, J., & Ballantyne, R. (2016). Conceptualizing the visitor experience: A review of literature and development of a multifaceted model. Visitor Studies, 19(2), 128-143.

Palos-Sanchez, P., Saura, J. R., Velicia-Martin, F., & Cepeda-Carrion, G. (2021). A business model adoption based on tourism innovation: Applying a gratification theory to mobile applications. European Research on Management and Business Economics (ERMBE), 27(2), 1-11.

Shahid, S., Paul, J., Gilal, F. G., & Ansari, S. (2022). The role of sensory marketing and brand experience in building emotional attachment and brand loyalty in luxury retail stores. Psychology & Marketing, 39(7), 1398-1412.

Siebert, A., Gopaldas, A., Lindridge, A., & Simões, C. (2020). Customer experience journeys: Loyalty loops versus involvement spirals. Journal of marketing, 84(4), 45-66.

Teixeira, J., Patrício, L., Nunes, N. J., Nóbrega, L., Fisk, R. P., & Constantine, L. (2012). Customer experience modeling: from customer experience to service design. Journal of Service management, 23(3), 362-376.

Villagran-Vizcarra, D. C., Luviano-Cruz, D., Pérez-Domínguez, L. A., Méndez-González, L. C., & Garcia-Luna, F. (2023). Applications analyses, challenges and development of augmented reality in education, industry, marketing, medicine, and entertainment. Applied Sciences, 13(5), 2766.

Vuust, P., Heggli, O. A., Friston, K. J., & Kringelbach, M. L. (2022). Music in the brain. Nature Reviews Neuroscience, 23(5), 287-305.

Wen, H., Leung, X., & Pongtornphurt, Y. (2020). Exploring the impact of background music on customers’ perceptions of ethnic restaurants: The moderating role of dining companions. Journal of Hospitality and Tourism Management, 43, 71-79.

Wood, E. H., & Kinnunen, M. (2020). Emotion, memory and re-collective value: Shared festival experiences. International Journal of Contemporary Hospitality Management, 32(3), 1275-1298.

Zacks, J. M. (2020). Event perception and memory. Annual review of psychology, 71(1), 165-191.

Zhang, Q., Liu, X., Li, Z., & Tan, Z. (2021). Multi-experiences in the art performance tourism: Integrating experience economy model with flow theory. Journal of Travel & Tourism Marketing, 38(5), 491-510.

Zhang, W., Zhang, W., & Daim, T. U. (2023). Investigating consumer purchase intention in online social media marketing: A case study of Tiktok. Technology in Society, 74, 102289.

Billboard
Campaign
Marketing Week
Music Week
StandOut Magazine
Statista database