How much are today's youth actually influenced by violence in the media? People who would never dispute the positive influence of programs like Sesame Street are reluctant to acknowledge that other programming may do harm. As early as the 1930s, however, parents were expressing concerns about the content of various media, including radio and comic books. Today, almost every violent crime perpetrated by a young person is probed for evidence of media influence, often while other contributing factors are ignored. With an in-depth look at media violence and its possible influence on young viewers, this book examines how the "media made me do it" defense has affected today's courtrooms. Highly publicized cases such as those of Lionel Tate and Joshua Cooke, both of whom used media influence (television wrestling and The Matrix, respectively) as part of their defense, are discussed in detail. Other topics include the creation and maintenance of rating systems, parental involvement and ultimate responsibility.

Details the new phenomena of copycat crime inspired by technology and the hyperreality fueled in some people by digital culture and video games. Across her 30-year career in criminology, author Jacqueline Helfgott has watched with fascination and fear as the world has shifted from a place where one-dimensional televised news each evening and newspapers bought each morning provided the only information on crimes and killings. Now, nonstop, instant global news coverage on 24-hour television and the internet enables people to see and replay not only crime, violence, terrorism, and murder coverage provided by journalists in real time, but also Facebook and YouTube feeds filmed by the criminals themselves while perpetrating the crimes. In this riveting text about the consequences of our technical, digital, and cultural changes, Helfgott focuses on how these advances are perpetuating this era's new and more massively deadly acts. The book intertwines vignettes from current events, perpetrator statements, police reports, and current research to show how copycat crimes are linked to media, technology, and our digital culture. Concluding with recommendations to reduce the criminogenic effects of media, technology, and digital culture, this book also includes an appendix listing technology- and media-influenced copycat crimes.

This work indexes books, dissertations and journal articles that mention television shows. Memoirs, autobiographies, biographies, and some popular works meant for fans are also indexed. The major focus is on service to researchers in the history of television. Listings are keyed to an annotated bibliography. Appendices include a list of websites; an index of groups or classes of people on television; and a list of programs by genre. Changes from the second edition include more than 300 new shows, airing on a wider variety of networks; 2000-plus references (more than double the second edition); and a large increase in scholarly articles. The book provides access to materials on almost 2300 shows, including groundbreaking ones like All in the Family (almost 200 entries); cult favorites like Buffy: The Vampire Slayer (200-plus entries); and a classic franchise, Star Trek (more than 400 entries for all the shows). The shows covered range from the late 1940s to 2010 (The Walking Dead). References range from 1956 to 2013.

In 1995 Chinese animated filmmaking ceased to be a state-run enterprise and was plunged into the free market. Using key animated films as his case studies, Shaopeng Chen examines new generation Chinese animation in its aesthetic and industrial contexts. He argues that, unlike its predecessors, this new generation does not have a distinctive national identity, but represents an important stage of diversity and exploration in the history of Chinese animation. Chen identifies distinct characteristics of new generation filmmaking, including an orientation towards young audiences and the recurring figure of the immortal monkey-like Sun Wukong. He explores how films such as Lotus Lantern/Baolian Deng (1999) responded to competition from American imports such as The Lion King (1994), retaining Chinese iconography while at the same time adopting Hollywood aesthetics and techniques. Addressing the series Boonie Bears/Xiong Chumo (2014-5), Chen focuses on the films' adaptation from the original TV series, and how the films were promoted across generations and by means of both online and offline channels. Discussing the series Kuiba/Kui Ba (2011, 2013, 2014), Chen examines Vasoon Animation Studio's ambitious attempt to create the first Chinese-style high fantasy fictional universe, and considers why the first film was a critical success but a failure at the box-office. He also explores the relationship between Japanese anime and new generation Chinese animation. Finally, Chen considers how word-of-mouth social media engagement lay behind the success of Monkey King: Hero is Back (2015).

This textbook provides an interdisciplinary overview of theories of crime, explanations of how and why criminal typologies are developed, literature reviews for each of the major crime catagories, and discussions of how theories of crime are used at different stages of the criminal justice process.

Provocative collection of essays designed to give students an understanding of media representations of women's experience of violence and to educate a new generation to recognize and critique media images of women