During recent years, Swedish media have paid attention to young people’s presentations of self in Internet communities, claiming that these presentations are often sexually provocative. The present study aims at investigating young men’s and women’s presentations of self in Sweden’s largest Internet community, focusing specifically on how bodies are displayed. This is done through quantitative and qualitative content analyses of the photos of 88 users. Results show differences in what parts of their bodies the young men and women show: women tend to focus on faces, while men focus on torsos. Results also contradict the image depicted by the media, as very few photos in the sample can be described as provocative. One explanation offered here concerns the specific Internet community’s lack of anonymity, meaning that the interaction is steered by the same mechanisms and social pressures at work in offline environments.
During 2017 and 2018, the #metoo hashtag united a global movement against sexual abuse and harassment. In Sweden, a large portion of the attention was given to the voices of working women, who organised and wrote petitions that were published in news media. Previous research has found that media reports of sexual abuse often focus on singular stories, rather than describing the underlying structural problems, and that the problem is often framed as an individual rather than structural problem. This article accounts for a qualitative content analysis of the first 28 published #metoo petitions in Sweden, with the goal of understanding how these framed the issue. In contrast to previous research, this study shows how the petitions established a coherent feminist explanatory framework that placed the problems on a structural level by focusing on work environments and framing demands in terms of general and perfectly reasonable human rights.
In 2015, the Norwegian Broadcasting Corporation (NRK) released a new youth series, Skam, which was acclaimed for its accurate portrayal of Norwegian teenagers but, above all, for its distribution as a transmedia narrative spreading content across several platforms. Through focus-group interviews, this article investigates how Swedish Skam viewers took part in the content and perceived the role and relation between the platforms. While the interviewees followed Skam in different ways, they nevertheless accepted and appreciated the transmedia format. While they argued that the core content needed to be video based, other content was also seen as a natural part of the series and essential in building the narrative. Furthermore, the idea of contemporary media consumption as being less constrained by time and space was partly contradicted. Especially real-time content and discussions with peers motivated the participants to abide by a new kind of TV schedule, reminiscent of TV viewing practices of the past.