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| Acknowledgements | |
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| Introduction: history and popular culture | |
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| The prizewinning past | |
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| Selling historically | |
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| Desiring history | |
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| Historiocopia/historioglossia | |
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| The popular historian | |
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| The public historian, the historian in public | |
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| The 'new gardening' and the publicity historian | |
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| History, historians, historigraphy, and celebrity: Great Britons | |
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| The David Irving libel trial and aftermath | |
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| Popular history in print | |
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| Narrative history | |
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| Political diaries and witness accounts | |
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| Autobiography, personal memoir and biography | |
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| Historical biography | |
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| The past for children: school and Horrible Histories | |
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| The status of the popular history author | |
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| Popular circulation: magazines | |
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| Reception and consumption: reading groups and reader-reviews | |
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| The historian in popular culture | |
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| 'That's you, that is': historian as child, adventurer, and hero | |
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| The Da Vinci Code | |
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| Enfranchisement, ownership and consumption: 'Amateur' histories | |
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| The everyday historical: local history, metal detecting, antiques | |
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| Local history | |
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| Metal detecting, popular archaeology, treasure hunting | |
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| History as hobby: collecting and antiquing | |
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| Antiques on television: Antiques Roadshow, Flog It! Bargain Hunt | |
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| Genealogy: hobby, politics, science | |
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| 'I'm getting more and more Jewish as this goes on': self-identity and celebrity revelation | |
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| Roots, identity genealogy and America | |
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| Science: genetic genealogy and daytime detection | |
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| Digital history: archives, information architecture, encyclopaedias, community websites and search engines | |
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| New sources, new tools, new archives | |
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| Networked interfaces with information: search engines, Wikipedia | |
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| Hacking history: Google Earth | |
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| Open source code and community websites | |
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| Performing and playing history | |
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| Historical re-enactment | |
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| Combat re-enactment: WARS and the Sealed Knot | |
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| Re-enactment and place as historical evidence: documentary | |
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| Living theatre: museums, live and Living History | |
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| Getting medievalish: anachronism, faires and banquets | |
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| Recycling culture and re-enactment/cultural re-enactment | |
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| Music, performance and remakes | |
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| The first time as atonement, the second time as art: Lifeline and Jeremy Deller | |
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| The 'extreme historian': reinhabiting the past | |
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| History games | |
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| First person shoot 'em up history | |
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| Role playing and history as identity | |
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| Civilization and disc contents: strategy games | |
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| Wargames and scale models | |
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| History on television | |
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| Contemporary historical documentary | |
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| Documentary as form: self-consciousness and diversion | |
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| 'Neither wholly fictional nor wholly factual': history on television | |
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| 'Contemporary, lively and egalitarian': Schama and Starkey | |
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| History on international television | |
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| Reality History | |
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| Empathy, authenticity and identity | |
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| Reality TV | |
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| Historical difference and ideology | |
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| Authenticity and the historical revelation of self | |
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| The 'historical' as cultural genre | |
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| Historical television: classic serial, costume drama and comedy | |
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| Adaptation and costume drama | |
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| Queering the genre: Tipping the Velvet and The Line of Beauty | |
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| Boy's own authentic drama: Sharpe and Hornblower | |
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| Innovation and obscenity: Rome and Deadwood | |
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| 'Good moaning': comedy and time travel | |
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| Historical film | |
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| National cinema, international audiences and historical film | |
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| The heritage debate and British film | |
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| History, complexity and horror: Atonement and The Wind that Shakes the Barley | |
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| Imagined histories: novels, plays and comics | |
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| 'A bodice-ripper with a bibliography': historical novels | |
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| Graphic novels and hybrid genres | |
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| Historical stage drama | |
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| Artefact and interpretation | |
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| Museums and physical encounters with the past | |
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| Museums and government policy | |
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| Digitisation and economics | |
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| Conclusions: nostalgia isn't what it used to be | |
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| Notes | |
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| Index | |