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This paper aims to explore the technologization of peace work through “remote support monitors” that use social and digital media technologies like social media to alert local violence prevention actors to potentially violent situations during demonstrations.

Using a distributed cognition lens, the authors explore the information processing of monitors within peace organizations. The authors adopt a qualitative thematic analysis methodology composed of interviews with monitors and documents from their shared communication and discussion channels. The authors’ analysis seeks to highlight how information is transformed between social and technical actors through the process of monitoring.

The authors’ analysis identifies that the technologization of monitoring for violence prevention to assist nonviolent activists produces two principal and related forms of transformation: appropriation and hidden attributes. Monitors “appropriate” information from sources to fit new ends and modes of representation throughout the process of detection, verification and dissemination. The verification and dissemination processes likewise render latent supporting informational elements, hiding the aggregative nature of information flow in monitoring. The authors connect the ideas of appropriation and hidden attributes to broader discourses in surveillance and trust that challenge monitoring and its place in peace work going forward.

To the best of the authors’ knowledge, this study is the first to focus on the communicative and information processes of remote support monitors. The authors demonstrate that adoption of social and digital media information of incipient violence and response processes for its mitigation suggests both a social and technical precarity for the role of monitoring.

Filicide, the killing of a child by a parent, is one of the only crimes committed by women and men in roughly equal numbers. Women's violence against their children, however, more profoundly confounds common understandings of the links between gender and family violence, leading to its ambivalent treatment within the media. When men kill their children, they are usually characterised as either monsters or as sad, failed men. When women kill their children, they are usually represented as bad mothers or mad mothers suffering under the burdens of the pathological female body. In both cases, a mental illness/distress lens is common, though how it manifests is inflected by gender. This chapter examines recent Australian news representations of maternal filicide-suicide. Focussing on the mental illness/distress frame in news, it examines the ideological work this frame does in decontextualising and de-gendering maternal filicide, framing women's mental illness/distress in ‘psychocentric’ terms that strip it of political or social significance and subjecting it to an individualised lens that obscures the gendered aetiologies of women's use of violence.

Representations of female perpetrators of political violence contribute to society's thinking about women, gender, violence and agency. Analysis of this discourse is vital to understand its influence on society's knowledge of women and violence. The study investigates how gendered narratives are used to frame female ex-combatants in Nationalist and Unionist newspapers in the post-conflict society of Northern Ireland. The media is a central agent in the construction of knowledge; and this is significant for women who have perpetrated crimes or (political) violence. The existing research found that violent women are narrated and interpreted through gendered discursive frameworks to dismiss or make sense of their violence. However, in the Northern Irish case, although the women are constructed within gendered frames, this does not deny their agency in past political violence.

This chapter explores the presentation of women's violence in Tamil mega serials. Tamil mega serials are produced in India and aired six days a week on satellite television channels. The story revolves around households with extended families living together and issues affecting women such as family well-being, motherhood and fertility. Women mostly take the role of the main protagonist and antagonist in Tamil serials. This chapter analyses the presentation of violence in 10 episodes of Chandralekha, a Tamil mega serial. Perpetrators of violence in Tamil serials are mainly female antagonists and other characters supporting the antagonists. The rivalry between the protagonist and antagonist centres around the struggle for property or the love of or marriage with a man. The type of violence ranges from mild to severe kinds of physical violence, and non-physical violence. The presentation of violence in Tamil serials reflects gender inequality in society. The meaning of some forms of violence in mega serials is closely related to the traditional gender roles and notion of traditional femininity in society.

According to statistics by the US National Sexual Violence Resource Center, more than 50% of women claim they have been raped by an intimate partner or an acquaintance. In this experiment, the authors test whether exposing individuals to different types of images portraying the victim and their perpetrator influences individuals' perception of (1) the perpetrator's deserved punishment and (2) the role played by the victim in her rape.

In an experimental survey, the authors randomly treat groups of individuals with manipulated facial and physical expressions of the same photographs.

The authors find that news about rape are more or less effective in uncovering the seriousness of the crime independent of the pictures accompanying them, suggesting media should avoid their misusage.

While the role of the narrative of rape has been extensively discussed in the literature from a theoretical perspective, this research provides original evidence based on actual behavioural response.

Killing Eve (BBC 2018–2022) has been hailed as a feminist television show. Its cinematic production values call upon a history of espionage on screen, encompassing international intrigue and glamorised hyperviolent action sequences. Is this violent aesthetic a cathartic reference to newly visible feminist discourse or are we just being sold a new version of old fantasies?

In this chapter Killing Eve is examined in relation to a history of violent women spies on screen, from Emma Peel (The Avengers 1961–1969) to Sydney Bristow (Alias 2001–2006). While Villanelle (Jody Comer) appears to present an amoral account of postfeminist ‘empowerment’, Eve (Sandra Oh) carries echoes of second-wave feminist concerns with community, morality and ethics. With each season the differences between Villanelle and Eve unravel, raising questions about what constitutes ‘quality’ television and how that might intersect with old-fashioned ideas about women's liberation. While the show depicts each character as ‘liberated’ in some respects, they are both entangled in corporate nets which repeatedly put them in danger and pull them back into violence as a form of labour.

Social media is replete with malicious and unempathetic rhetoric yet few studies explain why these emotions are publicly dispersed. The purpose of the study is to investigate how the intergroup counter-empathic response called schadenfreude originates and how it prompts media consumption and engagement.

The study consists of two field surveys of 635 in-group members of two professional sports teams and 300 residents of California and Texas with political party affiliations. The analysis uses SEM quantitative methods.

Domain passion and group identification together determine the harmonious/obsessive tendencies of passion for an activity and explain the schadenfreude response toward the rival out-group. Group identification is a stronger driver of obsessive passion compared to harmonious passion. Schadenfreude directly influences the use of traditional media (TV, radio, domain websites), it triggers social media engagement (posting), and it accelerates harmonious passion's effects on social media posting.

The study is limited by the groups used to evaluate the research model, sports, and politics.

The more highly identified and passionate group members experience greater counter-empathy toward a rival. At extreme levels of group identification, obsessive passion increases at an increasing rate and may characterize extremism. Harboring feelings of schadenfreude toward the out-group prompts those with harmonious passion for an activity to more frequently engage on social media in unempathetic ways.

This study links the unempathetic, yet common emotion of schadenfreude with passion, intergroup dynamics, and media behavior.