The London Bombings: Mobile Witnessing, Mortal Bodies and Globital Time Anna Reading. 2011. The London Bombings: Mobile Witnessing, Mortal Bodies and Globital Time. Memory Studies. 4(3):298-311.
Some Sense of Time: Remembering Television Jérôme Bourdon. 2003. Some Sense of Time: Remembering Television. History & Memory. 15(2):5-35.
Memory and the Moving Image: French Film in the Digital Era (review) Phil Powrie. 2011. Memory and the Moving Image: French Film in the Digital Era (review). French Studies: A Quarterly Review. 65(2):281-282.
Reporting War: Journalism in Wartime Stuart Allan, Barbie Zelizer. 2004. Reporting War: Journalism in Wartime. :374.
'New face of Serbia' at the Eurovision Song Contest: international media spectacle and national identity. Marijana Mitrovic. 2010. 'New face of Serbia' at the Eurovision Song Contest: international media spectacle and national identity.. European Review of History. 17(2):171-185.
Siegfried Kracauer and Walter Benjamin: Memory from Weimar to Hitler Esther Leslie, Susannah Radstone, Bill Schwarz,. Submitted. Siegfried Kracauer and Walter Benjamin: Memory from Weimar to Hitler. :123-135.
The collective memory of the atomic bombings misrecognized as objective history: The case of the public opposition to the national air and space museum's atom bomb exhibit Theodore O. Prosise. Submitted. The collective memory of the atomic bombings misrecognized as objective history: The case of the public opposition to the national air and space museum's atom bomb exhibit. Western Journal of Communication. 62(3):316-347.
Growing Up White and Female During the American Great Depression: Popular Communication, Media, and Memory Shayla Thiel-Stern, Rebecca C. Hains, Sharon R. Mazzarella. 2011. Growing Up White and Female During the American Great Depression: Popular Communication, Media, and Memory. Women's Studies in Communication. 34(2):161-182.
By Way of Introduction: Digitality and the Memory of Cinema, or, Bearing the Losses of the Digital Code Timothy Murray. 1999. By Way of Introduction: Digitality and the Memory of Cinema, or, Bearing the Losses of the Digital Code. Wide Angle. 21(1):3-27.
