This is the first scholarly collection to examine the social and cultural aspects on the worldwide interest in the faded remains of advertising signage (popularly known as ‘ghost signs’). Contributors to this volume examine the complex relationships between the signs and those who commissioned them, painted them, viewed them and view them today. Topics covered include cultural memory, urban change, modernity and belonging, local history and place-making, the crowd-sourced use of online mobile and social media to document and share digital artefacts, ‘retro’ design and the resurgence in interest in the handmade. The book is international and interdisciplinary, combining academic analysis and critical input from practitioners and researchers in areas such as cultural studies, destination marketing, heritage advertising, design, social history and commercial archaeology.

This volume offers a comprehensive discussion of Media Memory and brings Media and Mediation to the forefront of Collective Memory research. The essays explore a diversity of media technologies (television, radio, film and new media), genres (news, fiction, documentaries) and contexts (US, UK, Spain, Nigeria, Germany and the Middle East).

Exposing how memory is constructed and mediated in different societies, this collection explores particular contexts to identify links between the politics of memory, media representations and the politics of justice, questioning what we think we know and understand about recent history.

News in Public Memory brings together a team of international experts to investigate the media-transmitted history of the twentieth century as it exists in the memories and minds of people living in diverse cultures across the globe. This book compares media-related childhood memories across three generations in nine countries. Results reveal that events of the past century are not only historical «facts» but have become substantial elements of a new global collective memory that has been integrated into generational identity worldwide. The global approach of this research encourages the idea that the world is an interconnected whole, but it also helps to advance a better understanding of the different perceptions of global and local news as they emerge from various cultural angles and geographical regions.

Sorensen investigates the manner in which Chilean media and public culture discuss human rights violations committed during the dictatorship of General Augusto Pinochet (1973-1990) as well as human rights problems which still exist.

Gordon shows that while individual memory is crucial to establishing and maintaining identity, public memory is contested terrain - official customs and traditions, monuments, historic sites, and the celebration of anniversaries and festivals serve to order individual and collective perceptions of the past. Public memory is therefore the product of competitions and ideas about the past that are fashioned in a public sphere and speak primarily about structures of power. It conscripts historical events in a bid to guide shared memories into a coherent narrative that helps individuals negotiate their place in broader collective identities. The contest over public memories involves an exclusiveness that packages "others" according to the ideological preferences of the dominant cultures. Gordon shows that in Montreal ethnic, class, and gender voices strove to stake their own claims to legitimacy. Rather than acknowledging a single past, Montreal's many publics made and celebrated many public memories.

Narratives of Nation Media, Memory & Representation in the Making of the New South Africa

Offering a cross-media exploration of Israeli media on Holocaust Remembrance Day, one of Israel's most sacred national rituals, over the past six decades, this fascinating book investigates the way in which variables such as medium, structure of ownership, genre and targeted audiences shape the collective recollection of traumatic memories.

Why does the Great War seem part of modern memory when its rituals of mourning and remembrance were traditional, romantic, even classical? In this highly original history of memory, David Williams shows how classic Great War literature, including work by Remarque, Owen, Sassoon, and Harrison, was symptomatic of a cultural crisis brought on by the advent of cinema. He argues that images from Geoffrey Malins' hugely popular war film The Battle of the Somme (1916) collapsed social, temporal, and spatial boundaries, giving film a new cultural legitimacy, while the appearance of writings based on cinematic forms of remembering marked a crucial transition from a verbal to a visual culture. By contrast, today's digital media are laying the ground for a return to Homeric memory, whether in History Television, the digital Memory Project, or the interactive war museum. Of interest to historians, classicists, media and digital theorists, literary scholars, museologists, and archivists, Media, Memory, and the First World War is a comparative study that shows how the dominant mode of communication in a popular culture - from oral traditions to digital media - shapes the structure of memory within that culture.