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This chapter explores how contemporary Italian youth television problematises today’s moral panic about young people online, by using representations of social media and mobile app use in the Italian version of the transnational format SKAM Italia (2018–2024) as a case study. Like other contemporary Italian TV series, SKAM Italia is characterised by the use of mobile app screenshots as diegetic extensions in the narration (Antonioni et al., Critical Studies in Television: The International Journal of Television Studies, 16(4), 433–454, 2021), which help define the relationships between characters and the main characters’ subjectivity. Firstly, the series successfully displays the community-building opportunities allowed by different social media, which facilitate communication within close friends (WhatsApp), interaction with secondary characters (YouTube, Facebook, Instagram) and relationships with characters who are away from Rome (Skype). Secondly, representations of homosexuality and religious practice in SKAM Italia show that social media is not only used to derogate and bully but is also fundamental to self-interrogate and express the main characters’ identities.

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“Vedo che siamo moderni, eh?” Representations of Social Media Use in Skam Italia

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  • 出版模式：

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  • 发表日期：

    2026年

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  • Cecilia Brioni

摘要

This chapter explores how contemporary Italian youth television problematises today’s moral panic about young people online, by using representations of social media and mobile app use in the Italian version of the transnational format SKAM Italia (2018–2024) as a case study. Like other contemporary Italian TV series, SKAM Italia is characterised by the use of mobile app screenshots as diegetic extensions in the narration (Antonioni et al., Critical Studies in Television: The International Journal of Television Studies, 16(4), 433–454, 2021), which help define the relationships between characters and the main characters’ subjectivity. Firstly, the series successfully displays the community-building opportunities allowed by different social media, which facilitate communication within close friends (WhatsApp), interaction with secondary characters (YouTube, Facebook, Instagram) and relationships with characters who are away from Rome (Skype). Secondly, representations of homosexuality and religious practice in SKAM Italia show that social media is not only used to derogate and bully but is also fundamental to self-interrogate and express the main characters’ identities.