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1 Adorno, T. 1967. “Valéry Proust Museum.” In Prisms, translated by S. Weber and S. Weber, pp. 173–185. Cambridge, MA: MIT Press.

2 Baker, J. 2008. “Beyond the Rational Museum: Toward a Discourse of Inclusion.” International Journal of the Inclusive Museum 1(2): 23–29.

3 Baker, J. Forthcoming. Sentient Relics: Museums and Cinematic Affect. Farnham, UK: Ashgate.

4 Bennett, J. 2005. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA: Stanford University Press.

5 Bennett, T. 2004. “The Exhibitionary Complex.” In Grasping the World: The Idea of the Museum, edited by D. Preziosi and C. Farago, pp. 413–441. Aldershot, UK: Ashgate.

6 Best, S. 2011. Visualizing Feeling: Affect and the Feminine Avant-Garde. London: I. B. Tauris.

7 Braidotti, R. 2013. The Posthuman. Cambridge: Polity.

8 Brennan, M. 2010. Curating Consciousness: Mysticism and the Modern Museum. Cambridge, MA: MIT Press.

9 Brennan, T. 2004. The Transmission of Affect. Ithaca, NY: Cornell University Press.

10 Clifford, J. 1985. “Objects and Selves: An Afterword.” In Objects and Others: Essays on Museums and Material Culture, edited by G. W. Stocking, pp. 236–246. Madison: University of Wisconsin Press.

11 Clough, P. T., ed. 2007. The Affective Turn: Theorizing the Social. Durham, NC: Duke University Press.

12 Crimp, D. 1985. “On the Museum’s Ruins.” In Postmodern Culture, edited by H. Foster, pp. 43–56. London: Pluto.

13 Damasio, A. 2000. The Feeling of What Happens: Body and Emotion in the Making of Consciousness. London: Heinemann.

14 Deleuze, G., and F. Guattari. 2004. A Thousand Plateaus. Translated by B. Massumi. London: Continuum.

15 Duncan, C., and A. Wallach. (1978) 2002. “The Museum of Modern Art as Late Capitalist Ritual: An Iconographic Analysis.” In Grasping the World: The Idea of the Museum, edited by D. Preziosi and C. Farago, pp. 483–500. Aldershot, UK: Ashgate.

16 Elkins, J. 2004. Pictures and Tears: A History of People Who Have Cried in Front of Paintings. New York: Routledge.

17 Grossberg, L. 1997. Bringing It All Back Home: Essays on Cultural Studies. Durham, NC: Duke University Press.

18 Guattari, F. 1995. Chaosmosis: An Ethico-Aesthetic Paradigm. Translated by P. Bains and J. Pefanis. Sydney: Power.

19 Harris, J. 2001. The New Art History: A Critical Introduction. London: Routledge.

20 Hetherington, K. 1997. “Museum Topology and the Will to Connect.” Journal of Material Culture 2(2): 199–218.

21 Kristeva, J. 1986. Powers of Horror: An Essay in Abjection. New York: Columbia University Press.

22 Massumi, B. 2011. Semblance and Event: Activist Philosophy and the Occurrent Arts. Cambridge, MA: MIT Press.

23 Thrift, N. 2008. Non-representational Theory: Space/Politics/Affect. London: Routledge.

24 Tlili, A. 2008. “Behind the Policy Mantra of the Inclusive Museum: Receptions of Social Exclusion and Inclusion in Museum and Science Centres.” Cultural Sociology 2(1): 123–147.

25 van Alphen, E. 2012. “Making Sense of Affect.” In Francis Bacon: Five Decades, edited by A. Bond, pp. 65–73. Sydney: Art Gallery of New South Wales.

26 Vergo, P., ed. 2000. The New Museology. London: Reaktion.

27 Wallach, A. 2003. “Norman Rockwell at the Guggenheim.” In Art and Its Publics: Museum Studies at the Millennium, edited by A. McClellan, pp. 97–115. Oxford: Blackwell.

Janice Baker is Lecturer in the School of Media, Culture, and Creative Arts at Curtin University, Australia. Her current research explores encounters with material culture and difference through fictional representations of museum artifacts as cinematic images.