Citations (31)
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Read on this site (19)
Kelly Errera & Sarah M. DeIuliis. (2023) Public Memory: The Politics of Remembering and Forgetting. Southern Communication Journal 88:1, pages 53-66.
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Justin Harmon. (2021) The Crossroads: Selling Your Soul for Rock n' Roll. Leisure Sciences 43:6, pages 606-616.
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Mitch Combs. (2021) Consuming a Settler Colonial History: Frontier Authenticity and the Collective Memory of the Fort. Western Journal of Communication 85:5, pages 714-734.
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Andrew F. Wood. (2020) Haunting Ruins in a Western Ghost Town: Authentic Violence and Recursive Gaze at Bodie, California. Western Journal of Communication 84:4, pages 439-456.
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E. Ashley Clayborn. (2020) Regionalist Gaze in Paul Theroux’s Deep South. Southern Communication Journal 85:3, pages 166-177.
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Oksana Zaporozhets & Alexandra Kolesnik. (2020) Music geography in Russia: non-auratic places and institutionalization “in becoming”. Journal of Cultural Geography 37:1, pages 1-25.
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Julia Khrebtan-Hörhager. (2019) Venice Biennale: The Art of Communicating Resistance, Resistance as Art. Journal of Intercultural Communication Research 48:4, pages 435-457.
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Scott Haden Church. (2019) Brother “Killer” Kane: Resistance, Identification, and the Intersection of Rock Music and Religious Values in New York Doll. Journal of Media and Religion 18:2, pages 50-60.
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Patrick Shaou-Whea Dodge & Lisa Keränen. (2018) Sixty years of “peaceful liberation” at the Tibet Museum in Lhasa: triumphant modernization at the rooftop of the world. Chinese Journal of Communication 11:3, pages 306-323.
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Charles Fairchild. (2018) Transcendent myths, mundane objects: setting the material scene in rock, soul, and country museums. International Journal of Heritage Studies 24:5, pages 477-490.
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Jennifer Keohane. (2017) “The Most Important Dress in the Country”: The Rhetoric of Glamour in the Smithsonian’s “The First Ladies”. Women's Studies in Communication 40:3, pages 270-288.
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Sarah Baker, Lauren Istvandity & Raphaël Nowak. (2016) Curating popular music heritage: storytelling and narrative engagement in popular music museums and exhibitions. Museum Management and Curatorship 31:4, pages 369-385.
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Ako Inuzuka. (2016) Memories of the Tokko: An Analysis of the Chiran Peace Museum for Kamikaze Pilots. Howard Journal of Communications 27:2, pages 145-166.
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Phil Chidester. (2015) The Simian That Screamed “No!”: Rise of the Planet of the Apes and the Speculative as Public Memory. Visual Communication Quarterly 22:1, pages 3-14.
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Casey Ryan Kelly & Kristen E. Hoerl. (2012) Genesis in Hyperreality: Legitimizing Disingenuous Controversy at the Creation Museum. Argumentation and Advocacy 48:3, pages 123-141.
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Judy Liao. (2011) No more dancing for gods: constructing Taiwanese/Chinese identity through the Ilisin. Leisure Studies 30:1, pages 63-83.
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Valerie Lynn Schrader. (2020) Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six. Studies in Musical Theatre 14:3, pages 273-292.
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Sarah Baker, Lauren Istvandity & Raphaël Nowak. (2018) Curatorial practice in popular music museums: An emerging typology of structuring concepts. European Journal of Cultural Studies 23:3, pages 434-453.
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Xin Li, Zheng-Hui Wang, Bing Xia, Shih-Chih Chen & Silu Chen. (2019) Testing the associations between quality-based factors and their impacts on historic village tourism. Tourism Management Perspectives 32, pages 100573.
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Julia Khrebtan-Hörhager. (2018) Musée du Quai Branly: The Heart of Darkness in la Cité de la Lumière. Communication, Culture and Critique 11:2, pages 315-340.
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Sean Lee & Ian Phau. (2018) Young tourists’ perceptions of authenticity, perceived value and satisfaction: the case of Little India, Singapore. Young Consumers 19:1, pages 70-86.
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