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Popular culture and world politics : theories, methods, pedagogies
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Popular culture and world politics : theories, methods, pedagogies (2015)Popular culture and world politics : theo…Eurovision Song Contest: From Apolitical to Mega‐Political? (2025)Eurovision Song Contest: From…“Be Creative, Be Friends and Share Cultural Experiences”: Genre, Politics, and Fun at the Junior Eurovision Song Contest (2023)“Be Creative, Be Friends and …Where We At? New Directions for Research on Popular Culture and World Politics (2020)Where We At? New Directions f…Visual narratives of global politics in the digital age: an introduction (2020)Visual narratives of global p…Popular Culture and the Transformation of Japan–Korea Relations (2020)Popular Culture and the Trans…Exploring the potential of the popular culture and world politics agenda: actors, artefacts and the everyday (2019)Exploring the potential of th…Exploring Ads of the World: How Social Issues Are Framed in Global Advertisements (2019)Exploring Ads of the World: H…The media and the military: editorial (2016)The media and the military: e…Normalizing violence through front-line stories: the case ofAmerican Sniper (2016)Normalizing violence through …Does khaki become you?: The militarisation of women's lives (1983)The Aesthetic Turn in International Political Theory (2001)Virtuous War: Mapping The Military- Industrial-media-entertainment Network (2001)Fighting for public health: The promotion of desirable bodies in interactive military marketing (2019)Nigerian Military Strategic Use of Social Media During Online Firestorms: An Appraisal of the NDA Terrorist Attack (2023)Archaeology of Knowledge (1970)The Cultural Politics of Emotion (2013)The Cultural Politics of Emotion (2014)Embodiment as an analytical category: an inquiry into the 10-year publication of the journal critical military studies (2025)The Framing of Decisions and the Psychology of Choice (1981)Framing: Toward Clarification of a Fractured Paradigm (1993)Advertising And Promotion: Integrated Marketing Communications Perspective (1997)International Relations Theory: A Critical Introduction (2001)Aesthetics and World Politics (2009)Philosophical Writings of Peirce (1955)The Past is a Foreign Country (1986)The Social Identity Theory of Intergroup Behavior (2004)Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color (1991)Book Review: Modernity at Large: Cultural Dimensions of Globalization (1998)Distinction: A Social Critique of the Judgement of Taste* (2018)THE LOGIC OF CONNECTIVE ACTION (2012)The Logic of Connective Action (2013)The age of surveillance capitalism: the fight for a human future at the new frontier of power (2019)Нарративные стратегии визуализации в пабликах глав регионов (на примере социальной сети ВКонтакте) (2024)Visual Storytelling as a Strategy for Online Political Communication (2025)From Getting Out to Vote (2026)The female complaint: the unfinished business of sentimentality in American culture (2008)Affect as Methodology: Feminism and the Politics of Emotion1 (2018)The Growth of the Firm in Planned Economies in Transition: Institutions, Organizations, and Strategic Choice (1996)From the Editors: For the Lack of a Boilerplate: Tips on Writing Up (and Reviewing) Qualitative Research (2009)Seeking Qualitative Rigor in Inductive Research (2012)
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Cited by

  • 2020Visual narratives of global politics in the digital age: an introduction57 cited
  • 2020Where We At? New Directions for Research on Popular Culture and World Politics48 cited
  • 2019Exploring Ads of the World: How Social Issues Are Framed in Global Advertisements10 cited
  • 2016Normalizing violence through front-line stories: the case ofAmerican Sniper9 cited
  • 2016The media and the military: editorial8 cited
  • 2020Popular Culture and the Transformation of Japan–Korea Relations6 cited
  • 2019Exploring the potential of the popular culture and world politics agenda: actors, artefacts and the everyday6 cited
  • 2025Eurovision Song Contest: From Apolitical to Mega‐Political?5 cited
  • 2023“Be Creative, Be Friends and Share Cultural Experiences”: Genre, Politics, and Fun at the Junior Eurovision Song Contest2 cited

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