{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,3,9]],"date-time":"2026-03-09T02:33:10Z","timestamp":1773023590221,"version":"3.50.1"},"reference-count":60,"publisher":"SAGE Publications","issue":"4","license":[{"start":{"date-parts":[[2020,10,27]],"date-time":"2020-10-27T00:00:00Z","timestamp":1603756800000},"content-version":"tdm","delay-in-days":0,"URL":"https:\/\/journals.sagepub.com\/page\/policies\/text-and-data-mining-license"}],"content-domain":{"domain":["journals.sagepub.com"],"crossmark-restriction":true},"short-container-title":["Global Studies of Childhood"],"published-print":{"date-parts":[[2021,12]]},"abstract":"<jats:p> This article looks at the social and cultural contexts of children\u2019s experiences of illness, through a particular focus on the context of the Global South and the role of the social media platform YouTube in children\u2019s culture. It takes a socio-constructivist approach to discuss the case of CarecaTV (BaldTV), a Brazilian YouTube channel with more than one million followers created by Lorena Reginato at the age of 12 when she was recovering from brain cancer. In CarecaTV, cancer subjectivity co-exists with and is expressed through digital commercialization. On the one hand, through this process, Lorena Reginato gains agency as she offers an inspirational and credible first-person testimony about cancer during childhood and becomes an emerging cancer activist. On the other, she uses entrepreneurship strategies associated with the digital influencer model of YouTube to promote herself as a (cancer) micro-celebrity, taking the lead in a youthful and playful culture. <\/jats:p>","DOI":"10.1177\/2043610620967018","type":"journal-article","created":{"date-parts":[[2020,10,28]],"date-time":"2020-10-28T06:47:40Z","timestamp":1603867660000},"page":"318-330","update-policy":"https:\/\/doi.org\/10.1177\/sage-journals-update-policy","source":"Crossref","is-referenced-by-count":4,"title":["Children\u2019s cancer narratives on YouTube: Agency and entrepreneurship in Brazilian <i>CarecaTV<\/i>"],"prefix":"10.1177","volume":"11","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-4687-7628","authenticated-orcid":false,"given":"Lidia","family":"Mar\u00f4po","sequence":"first","affiliation":[{"name":"Polytechnic Institute of Set\u00fabal and Interdisciplinary Centre of Social Sciences (CICS.NOVA), Portugal"}]},{"ORCID":"https:\/\/orcid.org\/0000-0001-9201-3121","authenticated-orcid":false,"given":"Raiana","family":"de Carvalho","sequence":"additional","affiliation":[{"name":"Syracuse University, USA"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-4069-6212","authenticated-orcid":false,"given":"Ana","family":"Jorge","sequence":"additional","affiliation":[{"name":"CICANT\/Lus\u00f3fona University, Portugal"}]}],"member":"179","published-online":{"date-parts":[[2020,10,27]]},"reference":[{"key":"bibr1-2043610620967018","doi-asserted-by":"crossref","unstructured":"Abidin C (2016) \u201cAren\u2019t these just young, rich women doing vain things online?\u201d: Influencer selfies as subversive frivolity. 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