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Cited by

• 2017Conflict imagery in a connective environment: audiovisual content on Twitter following the 2015/2016 terror attacks in Paris and Brussels45 cited
• 2017The Iconic Image in a Digital Age39 cited
• 2015The Fragility of Photo-Truth33 cited
• 2017The Personalisation of Conflict Reporting32 cited
• 2016The rise of eyewitness video and its implications for human rights: Conceptual and methodological approaches31 cited
• 2019Agenda divergence in a developing conflict: Quantitative evidence from Ukrainian and Russian TV newsfeeds29 cited
• 2017Bearing the cost to witness: the political economy of risk in contemporary conflict and war reporting28 cited
• 2017Digital images and globalized conflict28 cited
• 2020Why do soldiers swap illicit pictures? How a visual discourse analysis illuminates military band of brother culture27 cited
• 2020Social media as public journalism? Protest reporting in the digital era26 cited
• 2018Proximity and distance in the mediation of suffering: Local photographers in war-torn Aleppo and the international media circuit19 cited
• 2022Open-source investigation as a genre of conflict reporting13 cited
• 2021Perpetrator witnessing: Testing the norms and forms of witnessing through livestreaming terror attacks12 cited