- the harm done to its targets, either from personal harassment or from online spaces being experienced as hostile;
- the risk that those who encounter it may be radicalized by it, becoming more sympathetic and possibly even active; and
- the effect that it has on the values and culture of the online spaces in which it happens.
The internet has become a prime means of communication worldwide and this unprecedented global reach – combined with the difficulty in tracking communications – makes it an ideal tool for extremists to repackage old hatred, raise funds, and recruit members. As the internet has grown and changed, hate groups and movements have adapted, creating websites, forums and social network profiles, becoming active in spaces such as online games, and even creating parallel versions of services such as Twitter and Wikipedia.
Online hate can have an impact in three interconnected ways:
Since its earliest days, the internet has been hailed as a uniquely open marketplace of ideas, and it has become an essential means for people to access information and services. The downside of this is that, alongside its many valuable resources, the internet also offers a host of offensive materials – including hateful content – that attempt to inflame public opinion against certain groups and to turn people against one another.
It is not always easy to discern when hateful content on the internet crosses the line from being offensive to illegal. The line between hate speech and free speech is a thin one, and different countries have different levels of tolerance. The line is even thinner in digital environments where hateful comments posted lawfully in one country can be read in other countries where they may be deemed unlawful.
There are two main strategies for addressing online hate and cultures of hatred in the classroom: teaching youth to recognize and deconstruct it, and empowering them to intervene by answering back to it.
How things have changed in thirty years: more than ever before, queer people have a media presence. No longer relegated to the realms of innuendo and secrecy, we now see lesbians, gays, bisexuals, and transgender people represented on television and in mainstream film. Queer people see their reflections on screen in a largely positive light: stable, employed, charming, attractive, well-liked, and successful. And yet, there remain many challenges. The following sections will examine how media produces and legitimizes or delegitimizes queer sexualities, as well as how queer media differs from its heterosexual counterpart. To begin, though, it is worthwhile to examine the trajectory of queer media criticism over the past thirty years.
As in other media, queer people have gained a greater and more widely visible presence within the advertising world, with ad agencies courting the “Pink Dollar”. This is not surprising, considering that the gay, lesbian, bisexual, and transgender community is a multi-billion dollar target audience, estimated to be worth around $835 billion.
Queer people have been involved in producing their own media for as long as alternative media has existed. This landscape has traditionally been dominated by print media such as zines (small-circulation, generally low-cost, publications) and pamphlets or queer film, but with the advent of the electronic age and cheaper and more accessible electronic devices for production, there’s been an explosion of queer-produced media of all kinds. The following section explores the ways that queer people have sought to claim space for themselves within media and culture.
As previous sections have shown, queer characters, situations, and themes are becoming increasingly prevalent in the media. It is sometimes difficult, though, to determine whether or not certain representations are balanced.
When discussing media representation of various groups, especially those we consider marginalized, stereotypes are often a primary concern. But sometimes, breaking a stereotype doesn’t go quite far enough, and the issue can be a little more complicated than merely determining whether or not a character is represented in a positive or negative way. The section that follows explores different approaches to queer content by analyzing various ways that popular media have used characterized LGBTQ people.