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The purpose of this chapter is to examine the presence of abuse enacted through virtual mediums with a specific focus on how athletes can become the targets of online hate. The chapter introduces social media and explores the role it has played in the increasing reliance on virtual worlds. The impact of digital technology on sport in particular is framed in order to demonstrate how digital technologies are now a vital component in our consumption of sport. The primary focus of the chapter is on how virtual spaces can pose significant risk(s). Freedom of speech, shifting power and the lack of safety and regulation in virtual spaces are all presented. Finally, recommendations are made for future research in the area in order to develop understanding of abuse augmented by virtual environments and to develop the focus on virtual safeguarding in sport and beyond.

This chapter synthesises and discusses existing literature from the disciplines of sport, social media and abuse, with a view to understand and address prominent issues encountered by athletes in the virtual world.

By examining abuse through a sociological lens, this chapter focusses on the factors that promote or enable abuse to occur online (often without regulation). The types of abuse experienced in virtual spaces are legion and this adds to the complexity of policing and/or safeguarding online environments.

The chapter makes recommendations for a number of future areas of study that will extend the current understanding of abuse in virtual environments.

The chapter provides a synthesis of the emerging area of virtual abuse and its links to sociology as a discipline. It offers insight into power in virtual spaces as a critical frame of reference for understanding virtual interactions and parasocial relationships.

This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow “feel good” movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who “prefer” arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.