Citations (9)
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Tim Highfield & Tama Leaver. (2016) Instagrammatics and digital methods: studying visual social media, from selfies and GIFs to memes and emoji. Communication Research and Practice 2:1, pages 47-62.
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Aspasia Papadima & Evangelos Kourdis. (2016) Global meets local: typographic practices and the semiotic role of subtitling in the creation of parodies in Cypriot dialect on Internet texts. Social Semiotics 26:1, pages 59-75.
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Aziz Barkın KADIOĞLU & M. Elif DEMOĞLU. (2023) TARİHSEL FİGÜR OLARAK HITLER TEMSİLİNİN SİNEMADAKİ DÖNÜŞÜMÜ: SON ON GÜN (1955), ÇÖKÜŞ (2004), BAK KİM GERİ DÖNDÜ (2015) FİLMLERİNİN TARİHSEL ANALİZİ. sinecine: Sinema Araştırmaları Dergisi 14:2, pages 307-338.
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Galia Hirsch. (2023)
Blending parody: The case of
My Corona
. Lodz Papers in Pragmatics 19:1, pages 87-103.
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Piotr Siuda, Jakub Nowak & Robert W Gehl. (2023) Darknet imaginaries in Internet memes: the discursive malleability of the cultural status of digital technologies. Journal of Computer-Mediated Communication 28:1.
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Peter Jonathan Freeth. (2021) “Germany asks: is it OK to laugh at Hitler?”. Translation Spaces 10:1, pages 115-137.
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Amanda M. Brian. (2020) The Strange Afterlife of Adolf Hitler in American Popular Culture. The Journal of Popular Culture 53:2, pages 363-383.
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Galia Hirsch. (2019) Hitler's out of Dope: A cross-cultural examination of humorous memes. Journal of Pragmatics 149, pages 25-39.
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Jakub Nowak. (2016) The Good, the Bad, and the Commons: A Critical Review of Popular Discourse on Piracy and Power During Anti-ACTA Protests. Journal of Computer-Mediated Communication 21:2, pages 177-194.
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