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Crossroads in Cultural Studies Conference 14-17th December 2016 Program Index

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<strong>in</strong>vestor <strong>in</strong> their own fortunes who was rhetorically cast aga<strong>in</strong>st unworthy persons such as refugees and the<br />

unemployed. This vision was enacted through familiar “trickle-down” fiscal policy, but also a range of state<br />

subsidies to <strong>in</strong>vestors and to consumers of privatised health and education services. The result was<br />

Australia’s dist<strong>in</strong>ctive form of neoliberalism, with among the world’s highest private debt and property<br />

prices, and the world’s most expensive set of tax expenditures (government subsidies to<br />

<strong>in</strong>vestors/consumers/<strong>in</strong>dustry via tax concessions)—but also apparently a budget crisis that must now be<br />

paid for by cuts to direct government spend<strong>in</strong>g on health, education and welfare.<br />

7E<br />

Girl knowledge and power (Chair, Kyra Clarke)<br />

Crystal Abid<strong>in</strong><br />

Authentic replicas: Influencers, Knock-off culture, and Circuits of aspirational knowledge<br />

Look<strong>in</strong>g closely at knock-off material culture as facilitated by social media, this article <strong>in</strong>vestigates young<br />

women Influencers’ and followers’ exchanges of f<strong>in</strong>ancial, social, and cultural capital regard<strong>in</strong>g counterfeit<br />

products. Draw<strong>in</strong>g on <strong>in</strong>-depth ethnographic fieldwork and through grounded theory analysis, I <strong>in</strong>vestigate<br />

Influencers’ enactments of knock-off culture on social media and <strong>in</strong> physical spaces, and the ways <strong>in</strong> which<br />

they posture as arbiters of taste, gatekeepers of discount luxury, and tastemakers of democratic aspirations.<br />

Specifically, I exam<strong>in</strong>e a hierarchy of knock-off consumption and displays through a vocabulary of<br />

euphemisms and approachable grammar, and an ecology of manufacturers, suppliers, models, and<br />

consumers. Through these practices, Influencers create and curate circuits of aspirational knowledge <strong>in</strong><br />

which watered-down luxury fashion procures accretive value as authentic replicas.<br />

Anne Harris<br />

Creativity, Religion and Global Youth Cultures<br />

This paper provides an <strong>in</strong>tervention <strong>in</strong>to debates about the identity practices and creative religious activities<br />

of diasporic young women, who are forg<strong>in</strong>g new, globalised and transnational communicative citizenship<br />

practices, communities and identities. Extend<strong>in</strong>g Appadurai, I theorise youth identities, cultures and<br />

communities <strong>in</strong> conditions of globalisation, mobility, super-diversity and new life patterns. Through an 11-<br />

year ethnographic project with South Sudanese and Samoan background Christian youth <strong>in</strong> Melbourne,<br />

Australia, I demonstrate how they generate creative capital from a position of local embeddedness <strong>in</strong> a<br />

Southern, subaltern, disaporic context that nonetheless always <strong>in</strong>tersects with global, mobile and virtual<br />

networks. This paper explores the complexity faced by young people who seek to express agency, politics,<br />

connection and creativity locally and at the same time pursue global visibility and cachet through the<br />

commodification and commercial applications of their images and outputs.<br />

Kathleen Williams<br />

Nostalgic Teens: Mediated Memories and Materiality <strong>in</strong> Rookie<br />

US-based Rookie Mag (rookiemag.com) was launched <strong>in</strong> 2011 by then teen fashion blogger Tavi Gev<strong>in</strong>son. It<br />

has become a popular community, full of content typically created by and for teen girls. Rookie encompasses<br />

playful, networked articulations of girlhood, with contributions often us<strong>in</strong>g screen and media culture to<br />

articulate seem<strong>in</strong>gly ritualised elements of be<strong>in</strong>g a teen girl. This paper explores how evok<strong>in</strong>g and play<strong>in</strong>g<br />

with temporality and collective/<strong>in</strong>dividual mediated memories (Van Djick 2007) can underm<strong>in</strong>e notions of<br />

authenticity and the privileg<strong>in</strong>g of lived experience <strong>in</strong> popular culture nostalgia. In particular, I look at<br />

materiality <strong>in</strong> Rookie – from the pr<strong>in</strong>ted yearbooks filled with illustrations and collage, to tutorials on how to<br />

create pop culture “shr<strong>in</strong>es” that draw upon copies and collections. This paper <strong>in</strong>vestigates how Rookie’s<br />

community ties together the collective and <strong>in</strong>dividual lived experiences of teen girls through confession,<br />

collect<strong>in</strong>g, art, music and fashion.<br />

176

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