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Author Biography
Jerome de Groot is Lecturer at the University of Manchester. He is the author of Royalist Identities (2004) and numerous articles on popular history, manuscript culture and the English Civil War
Table of Contents
| Acknowledgements | p. xi |
| Introduction: history and popular culture | p. 1 |
| The prizewinning past | p. 7 |
| Selling historically | p. 8 |
| Desiring history | p. 10 |
| Historiocopia/historioglossia | p. 11 |
| The popular historian | p. 15 |
| The public historian, the historian in public | p. 17 |
| The 'new gardening' and the publicity historian | p. 17 |
| History, historians, historigraphy, and celebrity: Great Britons | p. 22 |
| The David Irving libel trial and aftermath | p. 27 |
| Popular history in print | p. 31 |
| Narrative history | p. 32 |
| Political diaries and witness accounts | p. 33 |
| Autobiography, personal memoir and biography | p. 35 |
| Historical biography | p. 38 |
| The past for children: school and Horrible Histories | p. 39 |
| The status of the popular history author | p. 42 |
| Popular circulation: magazines | p. 44 |
| Reception and consumption: reading groups and reader-reviews | p. 46 |
| The historian in popular culture | |
| 'That's you, that is': historian as child, adventurer, and hero | p. 49 |
| The Da Vinci Code | p. 53 |
| Enfranchisement, ownership and consumption: 'Amateur' histories | p. 59 |
| The everyday historical: local history, metal detecting, antiques | p. 62 |
| Local history | p. 62 |
| Metal detecting, popular archaeology, treasure hunting | p. 65 |
| History as hobby: collecting and antiquing | p. 67 |
| Antiques on television: Antiques Roadshow, Flog It! Bargain Hunt | p. 68 |
| Genealogy: hobby, politics, science | |
| 'I'm getting more and more Jewish as this goes on': self-identity and celebrity revelation | p. 77 |
| Roots, identity genealogy and America | p. 84 |
| Science: genetic genealogy and daytime detection | p. 86 |
| Digital history: archives, information architecture, encyclopaedias, community websites and search engines | p. 90 |
| New sources, new tools, new archives | p. 90 |
| Networked interfaces with information: search engines, Wikipedia | p. 93 |
| Hacking history: Google Earth | p. 98 |
| Open source code and community websites | p. 99 |
| Performing and playing history | p. 103 |
| Historical re-enactment | p. 105 |
| Combat re-enactment: WARS and the Sealed Knot | p. 105 |
| Re-enactment and place as historical evidence: documentary | p. 109 |
| Living theatre: museums, live and Living History | p. 116 |
| Getting medievalish: anachronism, faires and banquets | p. 119 |
| Recycling culture and re-enactment/cultural re-enactment | p. 124 |
| Music, performance and remakes | p. 124 |
| The first time as atonement, the second time as art: Lifeline and Jeremy Deller | p. 127 |
| The 'extreme historian': reinhabiting the past | p. 129 |
| History games | p. 133 |
| First person shoot 'em up history | p. 133 |
| Role playing and history as identity | p. 139 |
| Civilization and disc contents: strategy games | p. 141 |
| Wargames and scale models | p. 144 |
| History on television | p. 147 |
| Contemporary historical documentary | p. 149 |
| Documentary as form: self-consciousness and diversion | p. 149 |
| 'Neither wholly fictional nor wholly factual': history on television | p. 150 |
| 'Contemporary, lively and egalitarian': Schama and Starkey | p. 154 |
| History on international television | p. 160 |
| Reality History | p. 163 |
| Empathy, authenticity and identity | p. 163 |
| Reality TV | p. 165 |
| Historical difference and ideology | p. 172 |
| Authenticity and the historical revelation of self | p. 176 |
| The 'historical' as cultural genre | p. 181 |
| Historical television: classic serial, costume drama and comedy | p. 184 |
| Adaptation and costume drama | p. 185 |
| Queering the genre: Tipping the Velvet and The Line of Beauty | p. 192 |
| Boy's own authentic drama: Sharpe and Hornblower | p. 196 |
| Innovation and obscenity: Rome and Deadwood | p. 199 |
| 'Good moaning': comedy and time travel | p. 201 |
| Historical film | p. 208 |
| National cinema, international audiences and historical film | p. 208 |
| The heritage debate and British film | p. 211 |
| History, complexity and horror: Atonement and The Wind that Shakes the Barley | p. 214 |
| Imagined histories: novels, plays and comics | p. 217 |
| 'A bodice-ripper with a bibliography': historical novels | p. 217 |
| Graphic novels and hybrid genres | p. 225 |
| Historical stage drama | p. 228 |
| Artefact and interpretation | p. 233 |
| Museums and physical encounters with the past | p. 236 |
| Museums and government policy | p. 236 |
| Digitisation and economics | p. 240 |
| Conclusions: nostalgia isn't what it used to be | p. 248 |
| Notes | p. 251 |
| Index | p. 287 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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