This edited volume focuses on the lived experiences of children during the first wave of the COVID-19 outbreak in the spring of 2020, their knowledge and emotional reactions, the adjustments they made in their everyday lives, and the strengths and skills they developed in response. A central theme of inquiry is the place media held in all of these aspects: the roles they played for children's informational, emotional, and social needs, how these have changed under the pandemic circumstances, and the media competencies children developed in utilizing and controlling the media in their lives. The book is based on responses of 4,200 children ages 9-13 to an international survey administered in 42 countries as well as additional complementaries localized studies. Comparative dimensions are central to this unique collection of chapters, along geographical and cultural lines, as well as gender, age, class, health, and refugee status. With 40 authors from around the world, this book highlights the potential of media to assist children and their families in times of crisis as well as their potential drawbacks. Lessons learned for future crises are outlined in the concluding chapter of this book, which will be an asset to scholars of children's wellbeing as well as professionals of media for children, educators, and parents.

Sexy Girls, Heroes and Funny Losers: Gender Representations in Children's TV around the World presents the most comprehensive study to date of gender images on children's television. Conducted in 24 countries around the world, the study employed different methodologies and analyses. The findings illustrate how stereotypes of femininity and masculinity are constructed and promoted to children. It presents findings that may well require even the most cynical observer to admit that, despite some great strides, children's television worldwide is still a very conservative force that needs to be reimagined and transformed!

Experiencing fear in front of the screen is a common phenomenon in childhood, and a focus of public concern. Yet, research has encountered ethical and methodological challenges and has focused largely on the effects of watching disturbing news. In this innovative book, this universal experience is investigated in depth via two complementary studies: 1) a retrospective study of experiences related by 626 undergraduate students from eight countries; and 2) a study of the current nightmares induced by watching television of 510 children in five countries. The results presented in this book highlight the most common elements of fear in front of the screen more generally, followed by a focused analysis of the unique features of fear that characterize different developmental stages: pre-school, middle childhood, pre-teens and teenagers. The rich descriptions distinguish between the negative experiences of fear versus the positive experiences of thrill, and explores gender and cultural differences. Finally, the book offers implications for media producers and policy makers as well as for parents and educators.

Out of all the media that today's children encounter, what makes a particular TV character a child's favorite? Based on 80 case studies, in-depth fan studies and standardized surveys with over 5,000 children between the ages six and twelve in Germany, this book elucidates how girls and boys use TV characters in their everyday lives and their identity work.

Experiencing fear in front of the screen is a common phenomenon in childhood, and a focus of public concern. Yet, research has encountered ethical and methodological challenges and has focused largely on the effects of watching disturbing news. In this innovative book, this universal experience is investigated in depth via two complementary studies: 1) a retrospective study of experiences related by 626 undergraduate students from eight countries; and 2) a study of the current nightmares induced by watching television of 510 children in five countries. The results presented in this book highlight the most common elements of fear in front of the screen more generally, followed by a focused analysis of the unique features of fear that characterize different developmental stages: pre-school, middle childhood, pre-teens and teenagers. The rich descriptions distinguish between the negative experiences of fear versus the positive experiences of thrill, and explores gender and cultural differences. Finally, the book offers implications for media producers and policy makers as well as for parents and educators.