Two important ideas relating to teens are the imaginary audience and the personal fable. The imaginary audience makes them overestimate how much attention other people are paying to them. This makes them more self-conscious and leads them to think of privacy primarily in terms of impression management – trying to control how others see them. The personal fable makes teens see themselves as the main character of a story and, as a result, leads many to believe that bad things will simply not happen to them.
Media violence has been taken up as a public policy issue by a number of Western countries. Central to the debate has been the challenge of accommodating what may appear to be opposing principles—the protection of children from unsuitable media content and upholding the right to freedom of expression.
Representations of violence aren’t new. In fact, violence has been a key part of media since the birth of literature: Ancient Greek poetry and drama often portrayed murder, suicide and self-mutilation; many of Shakespeare’s plays revel in violence, torture, maiming, rape, revenge and psychological terror; and some of the most popular books of the 19th century were “penny dreadfuls” that delivered blood, gore and other shocks to the lowest common denominator.
Few issues capture our anxiety about young people and digital media so perfectly as sexting. As with technologies at least as far back as the telegraph, much of this anxiety has focused specifically on girls and women.
The video game sector is the fastest growing entertainment industry and second only to music in profitability. Global sales of video game software hit almost $17 billion U.S. in 2011. [1]
There is little evidence that sending sexts is by itself a risky act. For example, one 2018 study suggests that “sexting can be a healthy way for young people to explore sexuality and intimacy when it’s consensual.”
This week, the Students whom I work with at Golf Road Junior Public School had an amazing opportunity directly related to our work together in studying Media Literacy, specific to Television and Film Media. After being approached by Media Smarts, I was connected with the CBC who wanted to engage with and film a class focused on Students’ perceptions and opinions on Violence within popular films.
Moral disengagement is used to describe the ways in which we convince ourselves to do something that we know is wrong, or to not do something we know is right. MediaSmarts’ research looked at the impact of four moral disengagement mechanisms:
It’s hard to think of a recent digital technology issue that’s captured the public imagination more than sexting. This may be because it combines elements of the classic moral panic with more modern “technopanic,” provoking worries not just about the morality of our children – and, in particular, young girls – but also about the possible effects of technology on how we grow, think and behave. As with most panics, of course, the issue is substantially more complicated and less sensational than we perceive it to be, and while it’s unlikely that our worries about sexting will ever seem in retrospect to be as absurd as our grandparents’ fears about crime comics, MediaSmarts’ new data shows that many of our beliefs and assumptions on the subject need closer examination.