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In this chapter I employ a hybrid critical framework that draws on feminist media studies, feminist critiques of post-feminism, theories of intersectionality, and genre theory to consider a range of domestic violence stories on screen. The chapter begins with a summary of prototypical patterns of narrative and character in contemporary Hollywood films about abuse and subsequently explores two recent media representations that, while conforming to certain of these patterns, also introduce alternative perspectives: the 2017/2019 Home Box Office miniseries Big Little Lies and French director Xavier Legrand's 2018 film Custody (Jusqu’à la garde). I argue that both of these media texts draw on familiar genres that engage audiences not simply to generate sympathy for the abused woman-turned-heroine, but to challenge persistent myths about domestic violence such as that abusers are monsters who never show love towards their partners; that abused women are weak, passive, and the victims of their own bad judgment; that the effects and repercussions of abuse end with the departure of the abuser; that, ultimately, the problem of abuse must be “solved” by the individual; that the “solution” is as simple as leaving; and that there is little as a community or a society that we can do. I conclude that, in different ways and to different degrees, each of these media texts succeeds in making small but significant interventions into the predictable formulas of mainstream Hollywood domestic violence films through narratives that foreground the complexities, contradictions, and dilemmas of abuse.

Technology-facilitated violence against women (TFVW) is readily becoming a key site of analysis for feminist criminologists. The scholarship in this area has identified online sexual harassment, contact-based harassment, image-based abuse, and gender-based cyberhate – among others – as key manifestations of TFVW. It has also unpacked the legal strategies available to women seeking formal justice outcomes. However, much of the existing empirical scholarship has been produced within countries like the United States, United Kingdom, and Australia, and there has been limited research on this phenomenon within South East Asia. As such, this chapter maps how technology is shaping Singaporean women's experiences of gendered, sexual, and domestic violence. To do so, it draws upon findings from a research project which examined TFVW in Singapore by utilizing semistructured interviews with frontline workers in the fields of domestic and sexual violence and LGBT services. Drawing from Dragiewicz et al.’s (2018) work on technology-facilitated coercive control (TFCC), I argue that victims-survivors of dating, domestic, and family violence need to be provided with support that is TFCC informed and technically guided. I also suggest that further research is needed to fully understand the prevalence and nature of TFVW in the Singaporean context.

Purpose – This chapter examines the role of the media, guns, and violence in the social construction of masculinity in today's mediatized American culture.

Methodology – The chapter draws on critical theory and cultural studies to address crises of masculinity and school shootings. It applies and further develops Guy Debord's (1970) theory on spectacle in the contexts of contemporary violent media spectacles.

Findings – In the chapter it is argued that school shooters, and other indiscriminate gun killers, share male rage and attempts to resolve crises of masculinity through violent behavior; exhibit a fetishism of guns or weapons; and resolve their crises through violence orchestrated as a media spectacle. This demands growing awareness of mediatization of American gun culture, and calls for a need for more developed understanding of media pedagogy as a means to create cultural skills of media literacy, as well as arguing for more rational gun control and mental health care.

Originality/value of paper – The chapter contributes to the contemporary debate on mediatization of violence by discussing it within critical theory and cultural studies. The theoretical framework is applied to analysis of a range of different empirical cases ranging from school shootings to the Colorado movie theater massacre at the first night of the latest Batman movie in the summer of 2012.

This chapter will focus on the Netflix television series The Exorcist (2016–) starring Gina Davis as Angela Rance/Regan MacNeill and Ben Daniels as Father Marcus. The Rances are a well-off urban family in Chicago, with Angela, a successful and powerful professional woman. The Exorcist allows Angela Rance, a woman in midlife, to be central to the narrative, despite the paucity of positive, central roles for women over 50.

The chapter will also examine the depiction of gender through the themes of families and homes. Homes are sanctuaries but can also be a site of violence. The Rance home is the first clue that all is not well, when Angela hears noises in the walls. Families, homes, faith and betrayal are everywhere in The Exorcist, including the Rances, the Church, the priesthood, the Friars of Ascension and the homeless settlement. Traditionally, families and homes are where women can achieve creativity and some kind of agency, as well as being contained.

The third approach of this chapter will be to compare gender representations in the television series and the film The Exorcist (1973). In theory, the intervening 44 years could have seen gains for women and feminism, but 2017 has seen women’s rights eroded yet again. The film was made at the height of the women’s liberation movement and second-wave feminism, and at the start of the era of ‘video nasties’ and explicitly gory slasher and cannibal films, so I will use the historical context to frame a discussion about the two different versions.

The purpose of this paper is to determine the type and severity of domestic violence faced by Indian women. An attempt has also been made to analyze and interpret demographic variations of domestic violence. The authors have highlighted steps taken by several government, community and private organizations on issues of domestic violence.

The analysis of National Family Health Survey (NFHS)-III data (2005) was used for determining the socio-economic factors, which are predictors of domestic violence against spouses and children. Logistic Regression Technique was applied.

Results suggest that increased formal education for women, increase in family wealth, and financial independence may decrease spousal violence. Younger women and those who belong to a nuclear family are more vulnerable to spousal violence.

The research paper only limits its focus on women in India in the age group of 15-49. A cross-country comparison and a longitudinal study would have given better idea on the issue. Besides in India, there are serious issues of concerns of violence against children and elders which have not been part of discussion on this paper.

The paper not only discusses causes of domestic violence but also on its effects on physical and psychological well-being of women and children.

The uniqueness of the study lie in on not only extracting out from NFHS survey-III data, the socio-economic factors which are determinants of domestic violence but also analyzing the politico-religious-cultural factors which play major role on the issue. The authors have also thrown light on consequences of domestic violence.

This chapter argues that Eminem and Rihanna's 2009 “Love the Way You Lie” is a cultural artifact representing contemporary attitudes about domestic violence; thus, this chapter models a trauma-informed methodology for guiding students through analysis and discussion of these narratively violent texts. In so doing, instructors can help students recognize the discursive strategies through which stories about gender violence are constructed and examine what is at stake in telling and circulating these stories. The chapter begins by defining trauma-informed pedagogy and critical pedagogy, arguing that when used together in the classroom, they can promote empathy, self-advocacy, resistance, and resilience. The chapter then contextualizes the song and music video within the context of the #MeToo movement, encouraging instructors to validate the perception of students who experience allyship with Rihanna as a survivor. The chapter moves on to provide instructors with a model for guiding students both through semiotic analysis and close reading of the song's and video's narrative and visual discourses. This model pays attention to the lyric's reliance on the point of view of the unreliable narrator and pronoun shifts to interpellate listeners into the abuser's world view while also truncating the victim's testimony; this model also examines the content of the lyrics to identify gender violence mythologies constructed within both the abuser's and victim's narratives. Equipped with these insights, instructors can help students deconstruct the visual discourses of the video, which repeat the gender violence mythologies of the song lyrics.

This chapter focuses on the value of TED Lectures on the issue of domestic violence and abuse (DVA). It outlines a generic framework with which to understand and analyse the impact of TED Lectures on a theme as complex as DVA is, in the context of popular Western culture. It does so by looking in details at the Ted Lecture of Leslie Morgan Steiner from 2012, which aims to answer the question ‘Why Domestic Violence Victims Don't Leave: Crazy Love’ through her own personal experience.

In the attempt to understand the impact of this TED Lecture we look at the literature on TED Lectures, the unique aspects of DVA, who is the presenter, the impact and its components, the active viewers who sent written comments on the Ted Lectures, the technical effect, the comparison with two other Ted Lectures on DVA, ending by identifying gaps in the analysis provided by the three Ted Lectures.

Presenters share with the viewers their personal experience, as well as their experience as activists in organisations and programmes set out to change the status quo in the field of DVA.

The lectures impact through layers of emotional and intellectual facets, which speak to the individuals viewing them through the lens of their own emotional and intellectual experiences of DVA on the one hand, while on the other hand being also influenced by the mode of presentation and the presenter her/himself.