El impacto de los influencers en las competiciones electorales en Brasil

Using Digital Media to Promote Kidney Disease Education

Lessons Learned From Web- and Social Media-Based Educational Initiatives by Pulmonary, Critical Care, and Sleep Societies

Government Surveillance and Counter-Surveillance on Social and Mobile Media: The Case of Iran (2009)

The study aimed to identify the impact of laws and standards related to digital content censorship (in all their dimensions) on the quality of digital content on social media platforms (in all its dimensions) in Saudi Arabia. The study used a descriptive and analytical approach to uncover the effects resulting from laws and standards related to digital content censorship. The study instrument was a questionnaire as the primary tool for collecting data from social media users in Saudi Arabia. The study population was defined as all individuals in the Kingdom of Saudi Arabia who use social media platforms. A sampling method was adopted to identify an appropriate number of participants who accurately represent the original population. The Krejci-Morgan equation was used, setting the required sample size at 384 individuals. The results demonstrated an impact of laws and standards related to digital content censorship (in all their dimensions) on the quality of digital content on social media platforms. The study also recommends monitoring laws related to digital content and establishing mechanisms to improve the quality of digital content on social media. It also recommends conducting future studies, including the challenges of monitoring digital content on social media.

Alcohol corporations and the metaverse: Threats to public health?

The implications of digital visual media for human–nature relationships

This chapter examines the structure and sentiment of the Twitter response to Nathan Broad's naming as the originator of an image-based sexual abuse incident following the 2017 Australian Football League Grand Final. Employing Social Network Analysis to visualize the hierarchy of Twitter users responding to the incident and Applied Thematic Analysis to trace the diffusion of differing streams of sentiment within this hierarchy, we produced a representation of participatory social media engagement in the context of image-based sexual abuse. Following two streams of findings, a model of social media user engagement was established that hierarchized the interplay between institutional and personal Twitter users. In this model, it was observed that the Broad incident generated sympathetic and compassionate discourses among an articulated network of social media users. This sentiment gradually diffused to institutional Twitter users – or Reference accounts – through the process of intermedia agenda-setting, whereby the narrative of terrestrial media accounts was altered by personal Twitter users over time. Keywords Image-based sexual abuse Informal justice Social network analysis Technology facilitated violence Twitter Digital criminology Citation Broadbent, E. and Thompson, C. (2021), "Justice on the Digitized Field: Analyzing Online Responses to Technology-Facilitated Informal Justice through Social Network Analysis", Bailey, J., Flynn, A. and Henry, N. (Ed.) The Emerald International Handbook of Technology-Facilitated Violence and Abuse (Emerald Studies In Digital Crime, Technology and Social Harms), Emerald Publishing Limited, Bingley, pp. 689-709. https://doi.org/10.1108/978-1-83982-848-520211051 Publisher: Emerald Publishing Limited Copyright © 2021 Ella Broadbent and Chrissy Thompson. Published by Emerald Publishing Limited. This chapter is published under the Creative Commons Attribution (CC BY 4.0) licence. Anyone may reproduce, distribute, translate and create derivative works of these chapters (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this licence may be seen at http://creativecommons.org/licences/by/4.0/legalcode. License This chapter is published under the Creative Commons Attribution (CC BY 4.0) licence. Anyone may reproduce, distribute, translate and create derivative works of these chapters (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this licence may be seen at http://creativecommons.org/licences/by/4.0/legalcode. Introduction On the evening of September 30, 2017, the final siren sounded on the Australian Football League (AFL) season, and the Richmond Football Club (RFC) secured their first Premiership cup in 37 years. In the hours following the evening's celebrations, an image of a young woman with a premiership medal around her neck – her face cropped and breasts exposed – began to circulate through social networking platforms and fan forums. This image was quick to disperse through social media channels, becoming a symbol for the victory celebrations of the young men within the team and their army of supporters. It later emerged that the woman photographed had not consented to having the image shared. In the month after this incident, a formal police inquiry was conducted at the request of the victim to protect her anonymity, leading to a gradual reduction of the image's appearance within social and terrestrial media. Following the closure of this investigation, the victim's lawyers issued a statement maintaining that while the image had been taken with her consent, she was under the impression that it had been deleted shortly after – and certainly not distributed via social media (Maurice Blackburn Lawyers, 2017). She sought to drop the charges police laid against the accused both to protect her identity and to prevent further distress (SBS, 2017). On 29 October 2017 – almost a month after the image's release – premiership player Nathan Broad was identified as the person responsible for taking and distributing the original image. A press conference was held with Broad and the president of the RFC, Peggy O'Neal, where Broad issued a statement claiming he would take full responsibility for his actions and confirmed he took and distributed the image without consent (Cherny, 2017). The only formal sanction Broad received from the RFC was a three-week suspension at the beginning of the 2018 AFL season (Cherny, 2017). This incident (henceforth referred to as the “Broad incident”) 1 represents a high-profile case of a certain form of technology-facilitated violence (TFV) – image-based sexual abuse (IBSA). Due to police intervention, attempts were made to remove the original image from circulation on social media. While this image can still be located today, its circulation decreased significantly after police attempted to remove it. As a result of these efforts, the ability to analyze the diffusion of the original incident of nonconsensual sexual imagery was limited. However, the subsequent identification in late October 2017 of Nathan Broad as the individual who took the image generated significant social media interest, and produced a body of historical Twitter data that provided a valuable substrate for us to analyze how social media users sought to contest or condone Nathan Broad's naming and sanction. Incidents such as these hold value for criminological analysis, as they can provide a window into public sentiments on the perpetration of, and institutional responses to, IBSA. Moreover, as criminologists such as Powell, Overington, and Hamilton (2018) have demonstrated, examining responses to high-profile crimes on social media can provide a valuable means of researching the content and diffusion of narratives about crime in the contemporary mediascape. In undertaking such projects, a Social Network Analysis (SNA) methodology provides important insights into the degree of homophily within networks who respond to crimes on social media, and the role of central “nodes” in diffusing narratives about crime and perpetration. 2 Such insights are important given that early work within digital criminology has emphasized the “networked” morphology of contemporary harms – speaking, for example, of “networked misogyny” (Banet-Weiser & Miltner, 2016; Thompson & Wood, 2018, p. 12) – but has yet to examine the structural properties of these networks. To date, criminologists have yet to explore the utility of an SNA approach for examining social media–based responses to IBSA and other criminalized acts. To demonstrate the utility of SNA within this context, this study examined this incident of IBSA in Australia. In addition to answering the questions below, this project was concerned with not only the what of the research process but also the how. Readers are encouraged to consider the results and analysis as they would a pilot study – wherein qualitative Twitter data and a network of user relations were operationalized to generate an initial framework for understanding how structural analysis of incidents of IBSA can better demarcate the spread of sentiment through a network. In examining the Broad incident using this methodology, we sought to address the following questions: What are the structural and intermedia features of Twitter users' responses to IBSA? In what ways do Twitter users contest and/or condone IBSA? These questions enabled us to explore user engagement as a process involving both personal and media accounts, and the interactions they share to contest and/or condone a narrative on an incident of IBSA. Furthermore, our analysis offers a novel approach to analyzing public sentiment toward an incident of IBSA, providing structural and intermedia analysis of the response to the incident. This chapter is divided into four main sections. In section one, we review the relevant literature relating to online engagement, digital platforms, and IBSA. In the next section, we discuss the methodological contributions of this work and reflect on the utility of the methods used in this research for future studies into TFV and IBSA. In section three, we detail the major findings from this research; drawing on an Applied Thematic Analysis (ATA) we outline the narrative promulgated by both journalist and news media accounts, alongside personal Twitter users, and how interactions between these users generated a reverse-flow of sentiment. This is represented within a hierarchized visual framework characteristic of SNA to outline the flow of information and sentiment between different types of users responding to the Broad incident. This process enabled us to identify three “user roles” – Reference, Mediator, and Listener – with each performing distinct functions in the diffusion and reception of sentiment within the network. These user roles demonstrate how responses to crime on social media may be structured by clear hierarchies, with some users occupying dialogically significant positions within these networks. Through an ATA of the tweets responding to Broad's naming in the media, we identified an informal justice-seeking response by users to Broad and his actions, alongside a replication of this sentiment within Reference users over time. The counterhegemonic discourses that appeared in response to Broad disrupted the neutral narrative of the Broad incident within Reference accounts and produced a more favorable and balanced consideration of the harms to the victim. Finally, we conclude by reflecting on the implications of this research for online responses to IBSA. We posit that demarcating the connections between social media actors – Mediators, Listeners, and Reference accounts – may enhance our understanding of their specific role in contesting and altering passive narratives of sexual harm online. Literature Review This chapter is situated amid a burgeoning literature on the spectatorship of, and engagement with, TFV and IBSA (Henry, McGlynn, Flynn, Johnson, Powell, & Scott, 2020; Henry & Powell, 2018). It is important to note that such spectatorship involves not only individual observation of an incident of IBSA but also their response to this observation. Here, the act of spectatorship is not confined simply to the object and viewer, or “the spectator and the spectacle,” but also involves “the association between spectators,” or in this instance structural relations between Twitter users (Wood, 2017, p. 9). This grounds our methodology, in seeking to demarcate the connections that shape engagement on social media platforms, a process which is mediated not only by social forces but also the technological (infra)structure of social networking platforms. Twitter has been described as a “personal public” (Schmidt, 2014, p. 4) – a communicative space framed by the dimensions of software, relations, and rules. The concept of personal publics is not limited to Twitter and operates as a foundation for understanding the mechanics of Web 2.0 and user-generated content and interactions. Within a personal public, information is selected and displayed according to personal relevance criteria such as the social network a user situates themselves within. This is then mediated through ties made explicit by the platform – such as following, retweeting, and liking. Twitter itself can be distinguished from other social networks by the specific articulation of these user relations which are utilized to structure communicative flow – “the nexus of social ties and textual references, based on code-enabled connections” (Schmidt, 2014, p. 6). The foundational concept guiding these Twitter relations is that of “following” users – a unilateral relationship used to subscribe to other users' tweets and calculate user visibility metrics. Replies, retweets, and mentions, function as communicative references that allow for navigation to user profiles. These factors produce a stable and dynamic social networking service consisting of networked and distributed conversations (Schmidt, 2014), which enables potentially exponential public distribution and engagement with nonconsensual sexual imagery such as the image released by Broad. Researchers have noted that social media platforms such as Twitter have allowed for a redemocratization of the public sphere (Papacharissi, 2002). The assembly of counterpublics (Fraser, 1990) by girls and women on social media to contest social exclusion and subordination has been documented within criminological literature (Khoja-Moolji, 2015). Technology has, for example, allowed victims and their supporters to engage in “name and shame” tactics to ensure that behavior of abusers is not excused, and to contest the inadequacy of institutional responses to sexual violence such as TFV (Powell, 2015; Salter, 2013; Wood, Rose, & Thompson, 2019, p. 3). Considering the inadequacy of existing institutional responses to rape and violence against women in the form of state-sanctioned justice (Powell, 2015), social media–enabled informal justice-seeking plays an important role in the way victims of sexual violence and their supporters can create counterhegemonic discourses online. Informal justice and contemporary digital activism movements have been conceptualized as an asymmetrical and nonhierarchical endeavor within Powell, Stratton, and Cameron's (2018) theory of rhizomatic justice. Drawing on Deleuze and Guattari's (1988) figuration of the rhizome, Powell, Stratton et al.’s (2018) theory accounts for the diversity of activist behaviors in a digital context, where organizations, groups, and individuals are linked loosely and embody significant diversity (Funke, 2014). The resulting spread of motivations and agendas can lead these forms of activism to both enhance democracy and new forms of bigotry, which may outweigh the original infraction (Powell, Stratton et al., 2018). This is a constructive explanation for the consequences of informal justice-seeking. The utilization of a rhizomatic analogy, however, implies a flattening of hierarchies within these communities, which minimizes the “algorithmically-curated information environment” (Wood, 2019, p. 573) of social media, the in-built architecture that structures social media use. Identifying key nodes and influencers residing within a network who occupy a more significant role in information diffusion (Wood et al., 2019) holds the potential to identify information flow to institutional social media accounts. This chapter compliments the rhizomatic model of informal justice-seeking through an identification of the structural relations that underpinned online users' informal justice response to the Broad incident. Methodology Our study utilized a parallel mixed methods research design that combined a quantitative SNA and qualitative ATA (Borgatti, Everett, & Johnson, 2018) to establish a structural understanding of the social media response to the 2017 Broad incident. These methods enabled the assessment of differing components of the phenomenon, enhancing its interpretability. We collected and analyzed these quantitative and qualitative data sources separately before integrating them in the second phase of the project (Creswell & Clark, 2007). To begin this process, an SNA was conducted to develop a quantitative representation of different user types with a corpus of data relating to an incident of IBSA. SNA enabled the visualization of relational ties between social actors – in this case individual Twitter users, such as journalists, institutional news media accounts, and personal Twitter users. This included interactions such as liking or retweeting user content, and follower/followee relationships. These ties could be typologized through user type differentiation established by Beguerisse-Díaz, Garduno-Hernández, Vangelov, Yaliraki, and Barahona (2014) in their SNA of the London riots:

Accidental, Assisted, Automated: An Emerging Repertoire of Infant Mobile Media Techniques

Beware: Patients increasingly purchasing medications via social media

Introduction Where children’s television once ruled supreme as a vehicle for sales of kids’ brands, the marketing of children’s toys now often hinges on having the right social media influencer, many of them children themselves (Verdon). As Forbes reported in 2021, the pandemic saw an increase in children spending more time online, many following their favourite influencers on YouTube, TikTok, and Instagram. The importance of tapping into partnering with the right influencer grew, as did sales in toys for children isolated at home. We detail, through a case study approach and visual narrative analysis of two Australian influencer siblings’ Instagram accounts, the nature of toy marketing to children in 2023. Findings point to the continued gendered nature of toys and the concurrent promotion of aspirational adult ‘toys’ (for example, cars, high-end cosmetics) and leisure pursuits that blur the line between what we considered to be children’s playthings and adult objects of desire. To Market, to Market Toys are a huge business worldwide. In 2021, the global toys market was projected to grow from $141.08 billion to $230.64 billion by 2028. During COVID-19, toy sales increased (Fortune Business Insights). The rise of the Internet alongside media and digital technologies has given toy marketers new opportunities to reach children directly, as well as producing new forms of digitally enabled play, with marketers potentially having access to children 24/7, way beyond the previous limits of children’s programming on television (Hains and Jennings). Children’s digital content has also extended to digital games alongside digital devices and Internet-connected toys. Children’s personal tablet ownership rose from less than 1 per cent in 2011 to 42 per cent in 2017 (Rideout), and continues to grow. Children’s value for brands and marketers has increased over time (Cunningham). The nexus between physical toys and the entertainment industry has grown stronger, first with the Disney company and then with the stand-out success of the Star Wars franchise (now owned by Disney) from the late 1970s (Hains and Jennings). The concept of transmedia storytelling and selling, with toys as the vehicle for children to play out the stories they saw on television, in comics, books, movies, and online, proved to be a lucrative one for the entertainment company franchises and the toy manufacturers (Bainbridge). All major toy brands now recognise the power of linking toy brands and entertaining transmedia children’s texts, including online content, with Disney, LEGO and Barbie being obvious examples. Gender and Toys: Boys and Girls Come Out to Play Alongside the growth of the children’s market, the gendering of children’s toys has also continued and increased, with concerns that traditional gender roles are still strongly promoted via children’s toys (Fine and Rush). Research shows that girls’ toys are socialising them for caring roles, shopping, and concern with beauty, while toys aimed at boys (including transportation and construction toys, action figures, and weapons) may promote physicality, aggression, construction, and action (Fine and Rush). As Blakemore and Center (632) suggested, then, if children learn from toy-play “by playing with strongly stereotyped toys, girls can be expected to learn that appearance and attractiveness are central to their worth, and that nurturance and domestic skills are important to be developed. Boys can be expected to learn that aggression, violence, and competition are fun, and that their toys are exciting and risky”. Recently there has been some pushback by consumers, and some toy brands have responded, with LEGO committing to less gendered toy marketing (Russell). YouTube: The World’s Most Popular Babysitter? One business executive has described YouTube as the most popular babysitter in the world (Capitalism.com). The use of children as influencers on YouTube to market toys through toy review videos is now a common practice (Feller and Burroughs; De Veirman et al.). These ‘reviews’ are not critical in the traditional sense of reviews in an institutional or legacy media context. Instead, the genre is a mash-up, which blurs the lines between three major genres: review, branded content, and entertainment (Jaakkola). Concerns have been raised about advertising disguised as entertainment for children, and calls have been made for nuanced regulatory approaches (Craig and Cunningham). The most popular toy review channels have millions of subscribers, and their hosts constitute some of YouTube’s top earners (Hunting). Toy review videos have become an important force in children’s media – in terms of economics, culture, and for brands (Hunting). Concurrently, surprise toys have risen as a popular type of toy, thanks in part to the popularity of the unboxing toy review genre (Nicoll and Nansen). Ryan’s World is probably the best-known in this genre, with conservative estimates putting 10-year-old Ryan Kanji’s family earnings at $25 million annually (Kang). Ryan’s World, formerly Ryan’s Toy Review, now has 10 YouTube channels and the star has his own show on Nic Junior as well as across other media, including books and video games (Capitalism.com). Marsh, through her case study of one child, showed the way children interact with online content, including unboxing videos, as ‘cyberflaneurs’. YouTube is the medium of choice for most children (now more so than television; Auxier et al.). However, Instagram is also a site where a significant number of children and teens spend time. Australian data from the e-Safety Commission in 2018 showed that while YouTube was the most popular platform, with 80 per cent of children 8-12 and 86 per cent of teens using the site, 24 per cent of children used Instagram, and 70 per cent of teens 13-17 (e-Safety Commissioner). Given the rise in social media, phone, and tablet use in the last five years, including among younger children, these statistics are now likely to be higher. A report from US-based Business Insider in 2021 stated that 40 per cent of children under 13 already use Instagram (Canales). This is despite the platform ostensibly only being for people aged 13 and over. Ofcom (the UK’s regulator for communications services) has discussed the rise of ‘Tik-Tots’ – young children defying age restrictions to be on social media – and the increase of young people consuming rather than sharing on social media (Ofcom). Insta-Kidfluencers on the Rise Marketers are now tapping into the selling power of children as social media influencers (or kidfluencers) to promote children’s toys, and in some cases, parents are happy to act as their children’s agents and managers for these pint-size prosumers. Abidin ("Micromicrocelebrity") was the first to discuss what she termed ‘micro-microcelebrities’, children of social media influencers (usually mothers) who have become, through their parents’ mediation, paid social media influencers themselves, often through Instagram. As Abidin noted: “their digital presence is deliberately commercial, framed and staged by Influencer mothers in order to maximize their advertorial potential, and are often postured to market even non-baby/parenting products such as fast food and vehicles”. Since that time, and with children now a growing audience on Instagram, some micro-microcelebrities have begun to promote toys alongside other brands which appeal to both children and adults. While initially these human ‘brand extensions’ of their mothers (Archer) appealed to adults, their sponsored content has evolved as they have aged, and their audience has grown and broadened to include children. Given the rise of Instagram as a site for the marketing of toys to children, through children themselves as social media influencers, and the lack of academic research on this phenomenon, our research looks at a case study of prominent child social media influencers on Instagram in Australia, who are managed by their mother, and who regularly promote toys. Within the case study, visual narrative analysis is used, to analyse the Instagram accounts of two high-profile child social media influencers, eleven-year-old Australian Pixie Curtis and her eight-year-old brother, Hunter Curtis, both of whom are managed by their entrepreneur and ‘PR queen’ mother, Roxy Jacenko. We analysed the posts from each child from March to July 2022 inclusive. Posts were recorded in a spreadsheet, with the content described, hashtags or handles recorded, and any brand or toy mentions noted. We used related media reports to supplement the analysis. We have considered ethical implications of our research and have made the decision to identify both children, as their accounts are public, with large follower numbers, promote commercial interests, and have the blue Instagram ‘tick’ that identifies their accounts as verified and ‘celebrity’ or brand accounts, and the children are regularly featured in mainstream media. The children’s mother, Jacenko, often discusses the children on television and has discussed using Pixie’s parties as events to gain publicity for the toy business. We have followed the lead of Abidin and Leaver, considered experts in the field, who have identified children and families in ethnographic research when the children or families have large numbers of followers (see Abidin, "#Familygoals"; Leaver and Abidin). We do acknowledge that other researchers have chosen not to identify influencer children (e.g., Ågren) with smaller numbers of followers. The research questions are as follows: RQ1: What are the toys featured on the two social media influencer children’s sites? RQ2: Are the toys traditionally gendered and if so, what are the main gender-based toys? RQ3: Do the children promote products that are traditionally aimed at adults? If so, how are these ‘toys’ presented, and what are they? Analysis The two child influencers and toy promoters, sister and brother Pixie (11) a

The forms of identity exploration tools and trends have been changed enormously with the rapid expansion of internet media and communication technology for the last decades. Modern dwellers are enthusiastically found to be exposed themselves in online social media through different types of digital contents for establishing their socio-situational identity every day. The random practice of sharing digital contents in online social media is not only a matter of technological instigation, but also a stimulation of late modern socio-situational condition in the process of forming identity for its’ users. Undoubtedly, the digital contents have reasonable grounds to be accepted and celebrated by the social media users in terms of their aptness in purpose. Guided by the spirit of modern technological advancement, the digital contents like digital compositions and photographs seem to occupy a huge amount of social media space today. Although the increasing endorsement and adoration of digital contents in the construction of socio-situational identity in online social platforms is alleged to manufacture a generation having less competence and compassion in the use of language in proper order, many scholars find the initiation however facilitating multidimensional avenues in the narration and construction of socio-situational self for the users. In this circumstance, with the help of recognized works and materials related to the fields, the study intends to investigate, interpret, and review the possible opportunities and challenges in the use of digital write-ups and photographs on the construction of socio-situational identity in online social media platforms.

Navigating Social Media in #Ophthalmology

Digital content is content in various formats, whether written, image, video, audio or combination so that it can be read, displayed or played by a computer and easily sent or hared through digital media. Digital content has abundant benefits, especially in the field of promotion. Where when a place of business or a body wants to introduce a product or service that is owned, it definitely requires content such as images as a promotional media. However, if you have to distribute posters to everyone you meet, it is not in line with current technological advancements because you are still using a conventional process. Therefore, to overcome this problem, social media can be used to process digital content easily and quickly. In this study, there are 3 (three) problems that will be overcome by 2 (two) methods, and 3 (three) solutions are produced. The advantage of digital content in social media is that it can be accessed anytime and anywhere, so it is concluded that the use of digital content in social media is able to overcome problems and is a creativepreneur effort found in the promotion system of a journal publisher.
 
 Keywords—Digital Content, Creativepreneur, ATT Journal, Social Media

Guidance for Professional Use of Social Media in Nutrition and Dietetics Practice

Recently, the travel category has gained a lot of traction on social media platforms, with most content creators, bloggers, celebrities, and travelers using social media to convey and share their experiences with their communities. As digital adoption and technological infrastructure improves, the number of social media users and platforms grows. As a result, social media is now playing an increasingly important role in human decision making. This study adopts a descriptive quantitative research design and data was gathered using self- administrated questionnaire, the population of the study taken from the active social media users in western province and a sample of 150 users were selected using the convince sampling method and the hypothesis were tested using the correlation and the regression analysis. Findings revealed that influencer marketing has a positive impact on social media users' travel intentions, with all dependent variables, such as content quality and trustworthiness, showing statistically significant relationships with social media followers' travel intentions. The current study has important implications for destination marketers, tourism, hospitality, and advertising agencies by providing valuable insights for marketers to identify real impact on social media followers' travel intentions to determine the true impact of influencer marketing on travel intention in order to make appropriate decisions accordingly.