Crossroads in Cultural Studies Conference 14-17th December 2016 Program Index
Crossroads-2016-final-draft-program-30-Nov
Crossroads-2016-final-draft-program-30-Nov
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symptomatic of the work<strong>in</strong>g class <strong>in</strong> general, but also has been carefully cultivated through the discourse of<br />
meritocracy, “a core pr<strong>in</strong>ciple of governance <strong>in</strong> S<strong>in</strong>gapore” (Low, 20<strong>14</strong>). However, as a pr<strong>in</strong>ciple that offers<br />
equal opportunities, not outcomes, it has <strong>in</strong>creas<strong>in</strong>gly been criticized for creat<strong>in</strong>g <strong>in</strong>equality and elitism. I<br />
argue that meritocracy, as national or govern<strong>in</strong>g ideology, is part of the superstructure mach<strong>in</strong>ery and<br />
should be identified as an ideological state apparatus which re<strong>in</strong>forces the patterns of consumption that<br />
perpetuate social and class status quos. Through an analysis of the family’s consumption habits and their<br />
socio-economic aspirational lean<strong>in</strong>gs, this film unveils and critiques the cultural hegemony beh<strong>in</strong>d the<br />
dom<strong>in</strong>ant discourse of meritocracy <strong>in</strong> S<strong>in</strong>gapore – a discourse that is constructed for a specific mode of<br />
consumption that feeds and ma<strong>in</strong>ta<strong>in</strong>s the myth of a meritocratic society.<br />
Rachael Wallis Liv<strong>in</strong>g the dream: conceptualis<strong>in</strong>g rural life <strong>in</strong> Country Style magaz<strong>in</strong>e<br />
Lifestyle migration serves to enhance ongo<strong>in</strong>g transformations of the self through the enactment of ideals<br />
found with<strong>in</strong> social imag<strong>in</strong>aries. This work, part of a larger research project <strong>in</strong>to lifestyle migration, exam<strong>in</strong>es<br />
representations of place presented <strong>in</strong> the Australian magaz<strong>in</strong>e Country Style, where readers choose to<br />
suspend disbelief to <strong>in</strong>habit the magaz<strong>in</strong>e’s symbolic space portray<strong>in</strong>g an imag<strong>in</strong>ary rural ideal. The lifestyle<br />
illustrated is an idealised myth that m<strong>in</strong>imises, excludes or romanticises harsher aspects of rural reality while<br />
enabl<strong>in</strong>g and encourag<strong>in</strong>g consumption that commodifies the process of becom<strong>in</strong>g. Three themes are<br />
discussed, <strong>in</strong>clud<strong>in</strong>g authenticity, rural abundance and personal transformation. This discussion contributes<br />
to understand<strong>in</strong>g of the representation of rural life <strong>in</strong> popular media and to an area of lifestyle migration<br />
research that is not widely represented <strong>in</strong> the literature. It differs from previous work on lifestyle migration<br />
by offer<strong>in</strong>g <strong>in</strong>sights <strong>in</strong>to the way social imag<strong>in</strong>aries work through myths <strong>in</strong> a popular magaz<strong>in</strong>e.<br />
Kylie Cardell<br />
Life Capture: Mediated memories, self-help, and a “good life”<br />
What k<strong>in</strong>d of life will you leave for others to f<strong>in</strong>d? Who will excavate the “real you” from the digital clutter, a<br />
mass of self-documentation ly<strong>in</strong>g unprocessed (unproductive, unorganised) on devices or <strong>in</strong> the cloud? In<br />
this paper, I explore the rise of commercial journal<strong>in</strong>g and scrapbook<strong>in</strong>g websites, such as the Australian<br />
“modern school of memory” Life: Captured, Inc., or U.S. based digital scrapbook<strong>in</strong>g empire Becky<br />
Higg<strong>in</strong>s.com. Address<strong>in</strong>g a contemporary subject adrift <strong>in</strong> flows of everyday visual ephemera – haunted by<br />
their raw and unorganised photo archives, by memories not yet made, by a lack of “story” – these<br />
enterprises sell services and tra<strong>in</strong><strong>in</strong>g that speak to broad contemporary anxieties about the “virtualness” of<br />
digital lives. In do<strong>in</strong>g so, there is a drive to the material – “Our mission is to help people document their<br />
stories and create timeless, tangible keepsakes to be treasured for generations to come” (Life: Captured,<br />
Inc.,) – that is also a rhetorical and ideological stance. A “good life” must be preserved (created); it is<br />
narrated, illustrated, organised, and it is beautiful.<br />
8U<br />
Testimonies of violence and displacement (Chair, Raka Shome)<br />
Meyda Yegenoglu<br />
The Unexperienced Experience of Genocide: Testimony, Secrecy and Community<br />
The Turkish official narrative denounces Armenian genocide by <strong>in</strong>validat<strong>in</strong>g the factuality of the fact.<br />
However as Marc Nichanian suggests genocide is dest<strong>in</strong>ed to annual itself as fact, as the essence of genocide<br />
is the destruction of the archive. Primo Levi suggests that the logic of the executioner is based on the<br />
understand<strong>in</strong>g that the no accurate facts are to be found. What is at issue <strong>in</strong> try<strong>in</strong>g to come to terms with<br />
the Armenian genocide is not the factuality of the “event” but the experience of those who survived. The<br />
only archive that is left is the survivors’ testimony. However testimony does not establish factual truth. Nor<br />
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