"Covering a wide range of different online platforms, including social media sites and chatrooms, this volume is a comprehensive exploration of the current state of sociological and criminological scholarship focused on online deviance. Understanding deviance broadly, the handbook acknowledges both
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an objective normative approach and a subjective, reactivist approach to the topic, putting into sharp relief the distinctions between cybercrime and online deviance on the one hand, and wider concerns of online communities related to online deviance on the other. Divided into five sections, the first section is devoted primarily to scholarship about the theories and methods foundational to exploring online deviance. The second section, "Gender, Sex, and Sexuality", presents empirical research on expressions of gender, sex, and sexuality in online spaces considered deviant. The third section, "Violence and Aggression," highlights scholarship on types of violent communications such as hate speech and cyberstalking. The fourth section, "Communities and Culture," describes empirical research on online communities and networks that can be described as deviant by wider society. Lastly, the fifth section, "Regional Perspectives," highlights research in which a terrestrial location is impactful to the online phenomena studied." (Publisher description)
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"In some of the countries, to a greater extent Spain and the Hispanic USA, fiction consistently occupies at least 40% of the programming time. This occurs in countries that, due to income levels, should be those with a higher degree of access to other sources of fiction audiovisual content, such as
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pay TV or streaming platforms. In contrast to these cases, we can observe Argentina, Brazil and Mexico, where fiction barely exceeds 15% in the years of greatest participation and is close to 10% in others. Paradoxically, both Brazil and Mexico are fiction producers and exporters to the rest of the region. Halfway between both extremes, Chile, Colombia, Peru, Portugal, Uruguay and Venezuela can be observed in the years in which it has been possible to observe their behavior. Since open television is a system of contents structured in schedules associated with household routines, it is worth asking about differences in roles and uses of television by audiences or the eventual substitution of these roles by alternative media or genres. The second aspect is one of trends. Except for the case of Spain, the general trend seems to be towards a decrease in the involvement of fiction in programming. And, although the Top 10 most watched fiction productions offer a very partial view of the whole, they also show a decrease in time of the audience levels reached." (Pages 24-25)
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"En algunos de los países, en mayor medida España y los EE.UU. Hispanos, la ficción ocupa de un modo consistente al menos el 40% de los tiempos de programación. Esto, en países que por niveles de ingreso deberían ser los con un mayor grado de acceso a otras fuentes de contenidos audiovisuales
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de ficción, como la televisión de pago o las plataformas de streaming. En contraste a estos casos, se observa a Argentina, Brasil y México, donde la ficción apenas supera el 15% en los años de mayor participación y se acerca al 10% en otros. Paradojalmente, tanto Brasil como México son países productores y exportadores de ficción al resto de la región. A medio camino entre ambos extremos se observa a Chile, Colombia, Perú, Portugal, Uruguay y Venezuela, en los años en que ha sido posible observar su comportamiento. Siendo la televisión abierta un sistema de contenidos estructurados en horarios asociados a las rutinas del hogar, cabe preguntarse por diferencias de roles y usos de la televisión por parte de las audiencias o la eventual sustitución de estos roles por medios o géneros alternativos. El segundo plano es de tendencia. Salvo por el caso de España, la tendencia general pareciera ser hacia una disminución de la participación de la ficción en la programación. Y, aunque los Top 10 de títulos de ficción más vistos ofrecen una mirada muy parcial del conjunto, en ellos también se observa una disminución en el tiempo de los niveles de audiencia alcanzados." (Página 24-25)
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"La comparación con los años previos pone en evidencia el brutal desplome de la producción durante 2020 a raíz de los confinamientos y otras restricciones debidos a la pandemia de COVID-19. Tomada como un todo, la exhibición nacional de estreno cayó respecto de 2019 en un 41%, pero en algunos
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casos se llegó al 80% y 90% de caída. En términos absolutos, la mayor caída se reportó en Brasil, cuyo 68% de caída se tradujo en 891 horas menos de ficción. La única excepción fue Uruguay, que tuvo un aumento explosivo, pero desde una base de comparación muy baja. Lo anómalo del año 2020 no debe ocultar algo probablemente más estructural. Nuevamente, tomado el ámbito Obitel como un todo, la caída de un 41% este último año se agrega a la caída acumulada de un 22% que ya arrastraban los dos años anteriores a la pandemia. Este retroceso en la producción de ficción para televisión abierta no debe ser leído únicamente como una caída en la capacidad productiva. El volumen de material de estreno en VoD, mostrado más adelante, sugiere que al menos una parte del fenómeno es un desplazamiento desde una ventana de exhibición hacia otra." (Página 41)
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"The Handbook presents a comprehensive, integrative, and global view of what has been called the digital divide. Collecting an international collaboration of experts, this Handbook of Research offers policy makers, academicians, managers, and researchers a complete reference source to the interactio
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ns, evolutions, and policies developing within the field. The many academic areas covered in this publication include, but are not limited to: broadband access; digital divide framing and mapping; digital divide related to education; digital divide related to ethnicity; digital divide related to gender; digital literacy; e-government and the digital divide; evolution of the digital divide; inequalities of digital skills; regional differences in digital divide." (Publisher description)
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"This book aims to record political activism on the Internet and "take stock of some of the successes and failures of cyberactivists as they try to beat the various censorship regimes in Asia." The sections of this 664-page book comprise of 'Political Frameworks & New Technology', 'Regulations and C
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ontrol', 'One Party States', 'Alternative Media', 'Civil Society', 'Diaspora Communities', and 'Political Parties'. The book's 18 chapters provide an overview of current trends in democracy related new media research to country-specific case studies. "The common thread running through the book is the organizing of civil society groups at the grassroots level, and how they are influencing certain segments of their respective countries, and even challenging state control and the monopoly of mainstream media." Asian Cyberactivism strives to examine political organising online in Asia even as the technology and the rules change. Activists provide their perspectives on how new media relates to democracy, and showcase examples that could be emulated to further the cause of democracy." (Communication Initiative)
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