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Mobile Engagement
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Mobile Engagement (2014)Mobile EngagementIn-Game (2011)In-GameA Community of Strangers? Mobile Media, Art, Tactility and Urban Encounters with the Other (2010)A Community of Strangers? Mob…Empowering audiences to measure quality (2009)Empowering audiences to measu…Computer games: text, narrative and play (2006)Computer games: text, narrati…Half-Real: Video Games between Real Rules and Fictional Worlds (2005)Half-Real: Video Games betwee…Theatre Audiences and Perceptions of ‘Liveness’ in Performance (2004)Theatre Audiences and Percept…The Experience of the Theatrical Event (2004)The Experience of the Theatri…Engaging the Moving Image (2003)Engaging the Moving ImageEngaging characters: fiction, emotion, and the cinema (1996)Engaging characters: fiction,…Family Television: Cultural Power and Domestic Leisure (1986)Family Television: Cultural P…THE SOCIAL USES OF TELEVISION (1980)Crossroads : the drama of a soap opera (1982)Women Read the Romance: The Interaction of Text and Context (1983)Mobile Communication as a Social Stage (2004)Do you identify as a gamer? Gender, race, sexuality, and gamer identity (2011)Intimacy as a Concept: Explaining Social Change in the Context of Globalisation or Another Form of Ethnocentricism? (2011)Rethinking authenticity in tourism experience (1999)Strategic Orientation and Firm Performance in an Artistic Environment (2000)A descriptive model of the consumer co-production process (2007)Accounting for quality: arts evaluation, public value and the case of “Culture counts” (2017)Audience development: a cross-national comparison (2017)Why Does Copyright Ignore Performers? The Case of Flamenco in Spain (2019)The Sociology of Georg Simmel (1950)Bowling alone: the collapse and revival of American community (2000)The New Mobilities Paradigm (2006)Developments and key issues in tourism mobilities (2013)Here, I Used to Be (2015)Mobile technology and the tourist experience: (Dis)connection at the campsite (2016)Digital Game Involvement (2007)Video Game Genre, Evolution and Innovation (2009)Gender, Simulation, and Gaming: Research Review and Redirections (2010)Beyond Play (2007)There is No Magic Circle (2009)The Lens of Intrinsic Skill Atoms: A Method for Gameful Design (2015)Evaluating cultural industries: investigating visitors' satisfaction in theatres (2010)Understanding customer satisfaction in opera: first steps toward a model (2010)A theory of structured experience (2017)Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film As Vernacular Modernism (2000)Some Like It Bad: Testing a Model for Perceiving and Experiencing Fictional Characters (2005)WILL THE REAL EMPATHY PLEASE STAND UP? A CASE FOR A NARROW CONCEPTUALIZATION (2011)Conceptualizing audience experience at the literary festival (2014)“Do We Have LIFT-Off?” Social Media Marketing and Digital Performance at a British Arts Festival (2017)Constructing the Live Experience at Pop Music Concerts (2023)Immersion in Digital Games: Review of Gaming Experience Research (2014)Tour guides’ performance and tourists’ immersion: facilitating consumer immersion by performing a guide plus role (2016)Video Games and Agency in Contemporary Society (2018)Narrative versus style: Effect of genre-typical events versus genre-typical filmic realizations on film viewers’ genre recognition (2008)Embodied, Embedded Language Use (2010)Intermediality in Film: A Historiography of Methodologies (2010)
this work references cited by second hop

References

  • 2005Half-Real: Video Games between Real Rules and Fictional Worlds2,150 cited
  • 1986Family Television: Cultural Power and Domestic Leisure999 cited
  • 1996Engaging characters: fiction, emotion, and the cinema766 cited
  • 2011In-Game486 cited
  • 2006Computer games: text, narrative and play229 cited
  • 2003Engaging the Moving Image149 cited
  • 2004The Experience of the Theatrical Event53 cited
  • 2004Theatre Audiences and Perceptions of ‘Liveness’ in Performance37 cited
  • 2010A Community of Strangers? Mobile Media, Art, Tactility and Urban Encounters with the Other33 cited
  • 2009Empowering audiences to measure quality18 cited

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