Keeping Keepsakes by miranda phillips

KEEPING KEEPSAKES; WHY DO WE PLACE MEMORY IN OBJECTS?

MIRANDA PHILLIPS N0259671 FASHION COMMUNICATION AND PROMOTION DAVC 30022 EMMA FERRY

I WOULD LIKE TO THANK MY TUTOR, DR. EMMA FERRY, FOR HELPING ME FIND MY PASSION FOR DVC

Fig. 1 Teddy bear necklace (2012)

CONTENTS Rationale What is a Keepsake and How Can it be Defined? Childhood Memories

1 - 8 9 - 22

When do they transform from objects to possesions?

24 25 - 36

How do we keep them?

37 - 40

Where do we keep them? When do they transform from objects to possessions?

42 - 48 50 51 - 56

How do we keep them?

58 - 62

Where do we keep them?

65 - 68

Morose Mementoes When do they transform from objects to possessions?

70 71 - 76

How do we keep them?

77 - 86

Where do we keep them?

87 - 94

Romantically Inscribed Objects

Public Memories Why do we Place Memory in Objects and The Culture of Forgetting To reassert our character To dwell on the past So we do not have to remember anything ourselves

95 - 102

104 105 - 110 111 - 114 115 - 120

APPENDIX List of References List of Illustrations Bibliography

135 - 138

Consent Forms

139 - 142

Tutorial Record Sheet Dissertation Declaration

122 123 - 126 127 - 134

143 - 148 149

For Dazed & Confused’s Anniversary edition they asked a collection of fashion collaborators to choose a personal memento that summed up the past two decades for them.

Fig. 2 Gareth Pugh’s obsidian cube given as a memento for Dazed & Confused’s time capsule (2011)

Memory is anything but a photographic record of experience; it is a doorway full of potholes, in need of repair, worked on day and night by revisionist crews. What is registered is highly selective and thoroughly transformed by interpretation and semantic encoding at the moment of experience. (Antze and Lambek, 1996: 176) When I was about 5 I was asked to be a bridesmaid at my mum’s friends’ wedding, and as a thank you I received a little teddy bear necklace. I found this necklace again when I was about 12 years old, whilst rooting around in one of my many boxes of old stuff, and began to wear it.

I never took it off and I

realise now I often began playing with it whenever I was nervous or upset, it became something I relied upon when my emotions were raised.

It is an odd

thought, but it became so much more than a necklace to me. Whilst at University on a night out, the teddy managed to break free and it was too late once I’d realised to try to find him. I genuinely felt a little bit lost without him around my neck and quickly replaced him with another necklace which, if I’m honest, felt wrong. Page 1

My encounter with the teddy bear inspired me to look into keepsakes.

I’ve

always been fascinated by the way things can instantly remind us of past events and having researched the subject thoroughly I now realise that I store these keepsakes around me much more than I had ever thought. Keepsakes can essentially take any form, their only similarity is the way they are created; “The spatial contexts of objects, together with spatially located social practices, are important interrelated dimensions in the formation of lived material cultures.” (Hallam and Hockey, 2001: 78) Hallam and Hockey argue that when events take place in our lives we draw upon the objects around us to store these memories in, consequently when we see these objects again the feelings, and emotions we had are brought back to us instantaneously. Throughout this essay I aim to explore why people place memories in objects and how this can affect them. Chapter 1 considers and defines ‘Keepsakes’; as previously mentioned keepsakes are multiform and can be created in any given object for example; jewellery, letters, and even body parts.

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At the Foundlings Museum in London there is a collection of objects exhibited which date from from 1740; mothers gave up children they could not care for, and left tokens representing their love; some were valuables like necklaces and charm bracelets, some were marked with the parent’s name, and some had no clear connection that could be explained by anyone but the mother.

I visited this

museum in late 2011 and it demonstrated to me how varied keepsakes could be; one mother left a hazelnut shell with her abandoned child, no-one other than she could explain its sentimentality and yet when looking at it, its importance was laid bare. The next Chapter is focussed on Childhood.

Keepsakes given and collected

during childhood imprint on our memory more so than when we are adults since we are more receptive to objects at this age. In Sherry Turkle’s (2007) “Evocative

Objects” she looks at several different peoples’ ideas of keepsakes; one of whom Shayna - was not allowed to take her teddy into school when she was a child, so, in order not to lose his companionship she gave him the power of telepathy which enabled her to keep him with her whereever she went. Whilst doing primary research, one of my subjects, Holly, showed me her thimble collection(Fig. 24); as a child she had coveted her grandma’s collection, however she was never allowed to touch them. Page 3

Holly inherited the thimbles when her grandmas died, and although obviously upset about the situation, she secretly felt overjoyed that she could finally have the chance to play with them.

Holly had longed for these thimbles as a child, and

since she was not able to fulfil her hunger during her childhood, when the keepsakes were passed on to her she felt the same emotions and desires for them just as she had when she was a child. Holly’s story demonstrates that despite around 10 years passing between her encounters with her keepsakes, they were still capable of affecting her greatly. Chapter 2 explores Romantically Inscribed Objects.

This is often when most

keepsakes come in to play; mass-produced souvenirs from holidays and excursions litter our surroundings, they are bought as a reminder of ‘good times’ and are carried around with us in order to

constantly reassure ourselves. Wheth-

er they be photos in wallets, an Eiffel Tower keyring or wedding mementos, romantic keepsakes act as constant reminders that we are or once were loved. The third chapter looks in to Morose Memories; Memento Mori - defined as “remember, you will die” - Trophy Killers, and Displaced People.

Throughout this

whole chapter we see a key theme of loss; “To invest emotionally...in accessible

objects, ideas and dreams rather than in the living people around one” (Parkin, 1999: 308).

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When going through the grieving process, mourners tend to grasp on to objects belonging to the deceased in order to help them with their loss, by reminding themselves of the times shared with them.

‘Memento Mori’ were used to remind the

living how precious life was, and how close by death was. “The central message of the memento mori is that the material of life, including the body and all worldly possessions, will inevitably decay” (Hallam and Hockey, 2001: 75).

Similarly,

‘Trophy Killers’ will take objects from their victims which they will then use afterwards to reminisce over their brutality. Sometimes this process of summoning back the memory images is instead seen in bodily impressions which cause a certain type of amnesia of the event, as demonstrated in the film, The Butterfly Effect (2004), and Interview with a Serial Killer (1993). Looking into the mourning process inevitably led me to public forms of memory; often people who have lived through traumatic situations want to forget their past however cannot because they feel obliged to constantly recognise the others who were hurt in the trauma. Public mementoes, such as war memorials and remembrance days, encourage this public form of mourning and as a result these public forms of keepsakes become entrapped in every viewer’s memory. Page 5

My final chapter will investigate why we feel the need to place memory in objects, and the culture of forgetting.

Whilst exploring this chapter I felt the need to

split it in to three further sub headings which are; reasserting their character, dwelling on the past, and not having to remember anything ourselves. In â&#x20AC;&#x153;The System of Objectsâ&#x20AC;? (1996), it is argued that;

The relationship with objects has one characteristic that can never be found in the intersubjective realm: no object ever opposes the extension of the process of narcissistic projection to an unlimited number of other objects; on the contrary, the object imposes that very tendency, thereby contributing to the creation of a total environment, to that totalization of images of the self that is the basis of the miracle of collecting. For what you collect is always yourself. (Baudrillard, 1996: 91)

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Baudrillard contends that people collect things in order to create a â&#x20AC;&#x2DC;total environment of the selfâ&#x20AC;&#x2122;; that it is based around the narcissism of the collector trying to imprint his character on to many objects.

I hope to show you, through

this essay, that in keeping keepsakes we begin to store parts of ourselves in objects and, unintentionally, create an environment within which we are commander.

Words: 1,145

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Page 8

WHAT IS A KEEPSAKE AND HOW CAN IT BE DEFINED?

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Fig. 3 Robbie Spencer’s ornament given as a memento for Dazed & Confused’s time capsule (2011)

“Since the physical environment is part of the context of almost every memory task, aspects of the surrounding are often the

ENCODED WITH,

and tied to,

MEMORY TRACES

that are established.” (Hermann and Searleman, 1994: 206)

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“The

OBJECT

thus in the strict sense of the word a

MIRROR...and

indeed, as a mirror the object is perfect, precisely because it sends back

NOT REAL IMAGES, but desired ones.” Baudrillard, Fig. 4 A mother reflects on the childhood of her lost son (2011)

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1996: 89

Fig. 5 Reflected version of ‘A mother

reflects on the childhood of her lost son’ (2011)

"OBJECTS..BECOME MENTAL PRECINCTS over which I HOLD SWAY, they become things of which I AM THE MEANING, they become MY PROPERTY and MY PASSION.” Page 12 (Baudrillard, 1996: 85)

Fig. 6 Contents of my treasure chest (2011)

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Fig. 7 Memory box (2007)

“A vast array of objects with which we routinely

TANGIBLE RECORDS‘ of RELATIONSHIPS, EVENTS and FEELINGS thus interact can become ‘

forming personalized ‘repositories of memory’.” Hallam and Hockey, 2001: 18

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When we are children we are often encouraged to write diaries about our experiences and emotions. Reading through these diaries as an adult takes you straight back to that time; the diaries hold dear the emotions we would quickly forget.

Fig. 8 Vtech kids diary (2011)

Fig. 9 Adult leather diary with lock (2011)

“The public at large...is obsessed by the fear of losing its memory in a kind of

COLLECTIVE AMNESIA

a fear that is awkwardly expressed in the taste for

the fashions of earlier times, and shamelessly

NOSTALGIA-MERCHANTS.” Hallam and Hockey, 2001: 19

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EXPLOITED BY

Fig. 10 Memory collection (2008)

MEMORY

" has thus become a Hallam and Hockey, 2001: 19

BEST-SELLER

in a

CONSUMER SOCIETYâ&#x20AC;? Page 16

Fig. 11 Mattâ&#x20AC;&#x2122;s baby album (2011)

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Looking back on old photos can be an arresting experience; as children we do not remember events as clearly and so although we know it is us in the photographs, it seems like a foreign world.

RECALLING DEFINES THE PERSON “Such

in relation to time by invoking...notions of a past interaction with an

EXTERNAL WORLD

” Antze and Lambek, 1996: 229

Page 18

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Fig. 12 Contents of my secret box (2011)

Fig. 13 Emmas memory box from her 18th“We birthday (2011) our

PRESERVE MEMORIES

EPOCH

of each in lives, and these are continually reproduced;

through them..by a

CONTINUAL

RELATIONSHIP,

a sense of our

perpetuated.” Halbwachs, 1992: 47

IDENTITY

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“An object can thus become more than simply a “metaphor for the self”. It becomes a

PIVOT FOR REFLEXIVITY

INTROSPECTION, a tool of AUTOBIOGRAPHICAL SELF-DISCOVERY,

and

a way of knowing oneself through things.” Hoskins, 1998:198

Fig. 14 Non-valuable items kept from my childhood (2011)

Page 22

Page 23

CHILDHOOD MEMORIES - WHEN DO THEY TRANSFORM FROM OBJECTS TO POSSESSIONS?

Page 24

Fig. 15 Murray the stuffed

bunny with telepathic abilities (2007)

“When Shayna starts pre-school and its rules insist that Murray cannot accompany her, she is challenged to invent ways of bringing him along. He develops the ability to read Shayna’s mind and intuit her every emotion. In doing so, Murray makes it possible for separation to be not-quite separation.” Turkle, 2007: 314 Page 25

Fig. 16 Me and all my teddies (2011)

“A child went forth everyday/ and the first object he look’d upon,

THAT OBJECT HE BECAME.” Turkle, 2007:10

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“You could say that what drew me to comics the week my mother died

NOSTALGIA which can be described as a desperate hunger to RETURN TO A TIME AND PLACE THAT NEVER REALLY EXISTED , a utopian fantasy through which our current longings get was

mapped onto the past.” Turkle, 2007: 200

Fig. 17 Death-defying superheroes (2007) Fig. 18 Death-defying superheroes 2 (2007)

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“Objects such as photographs, letters, beads, keys form accessible

NON-COMMODITY, gift-like objects’ NARRATIVE and SENTIMENT’” ‘

INSCRIBED

that are ‘

with

Parkin, 1999: 303

Fig. 19 Display Case of tokens (2011) At the Foundlings Hospital mothers could leave their unwanted children to be cared for by the nurses who worked there. Often the mothers would leave a token or something by which they could be identified which usually symbolised their love for the child. Page 30

‘Hazelnut’, it is an example of something that has

MONETARY VALUE

whatsoever. Out of context it is an object of no interest, yet because it was left as a personal identifier to an unknown

POWERFUL SYMBOL OF LOVE

child, it becomes a and expression.” Bright and Clarke, 2011: 8

Fig. 20 Foundlings Token of a hazelnut shell (2011)

Page 31

The Hazelnut Shell became renowned in The Foundlings Museum due to it being such a non-commmodity object; its meaning could only be explained by its owner who never returned.

Fig. 22 Foundlings Token of a thimble (2011)

Fig. 21 Foundlings Token of a button (2011)

“Some parents used the token as a means of

EXPRESSING THEIR FEELINGS

on parting but again this was done as a way to make an object memorable.” Bright and Clarke, 2011: 3

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â&#x20AC;&#x153;A large number are clearly very

PERSONAL,

possibly owned by one of the

parents before they were used as a token, and therefore

INSTANTLY

RECOGNISABLE

to its original owner.â&#x20AC;? Bright and Clarke, 2011: 18

Fig. 23 Foundlings Token of Ale Sign (2011) Many of the Foundlings Tokens that were left with the children were obviously very personal to the parent however were difficult to interpret by anyone else

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Fig. 24

Childhood memories (2006)

“The transitional

OBJECTS

how easily an individual develops a capacity

AESTHATIC EXPERIENCE, PLAYFULNESS.” Turkle, 2007: 314

INFLUENCE for JOY,

of the nursery... and creative

Page 36

HOW DO WE KEEP THEM?

Page 37

“Clusters of

MEMENTOES KEPT in the FORM of SCRAPBOOKS, MEMORY QUILTS, and photograph albums

and changes that punctuate the life course” Stewart in Hallam and Hockey, 2001: 51

Fig. 25 Alice from a Page 38 baby to two (2011)

MEMORY PROCESSES, TEMPORALITY and MATERIAL OBJECTS ARE, then, INTERWOVEN and these persist in “

long-term historical traditions that continue to register in the twentieth century” Hallam and Hockey, 2001: 49

Page 39

Fig. 26 Matt’s baby album 2 (2011)

“Whether intensely private or overtly public,

REMEMBERING is a SOCIAL PRACTICE

that

makes apparent the shared cultural images through

PERSONAL and SOCIAL IDENTITY is PRODUCED.” which

Hallam and Hockey, 2001: 45 Fig. 27 Regent street cenotaph

erected in memory of Holocaust Page 40 victims (1925)

Page 41

WHERE DO WE STORE THEM?

Page 42

“Notions such as

CONTAINMENT

articulated in metaphors of boxes or storerooms testify to the sense of

MEMORY

as otherwise

FLEETING

or ephemeral.” Hallam and Hockey, 2001:45

Page 43 Fig. 28 Grandma’s thimbles (2011)

“We ‘keep’ and ‘preserve’ our memories almost as though they are

OBJECTS IN A PERSONAL MUSEUM” Hallam and Hockey, 2001: 3

Page (2011) 44 Fig. 29 Mado’s keepsakes

HOME

“

Home can act as a place

TIMES PASSAGE FIXED or CONDENSED,

within which becomes

where

‘fossilized duration’ is ‘concretized’... Even after twenty years, the memory of the house where we were born can reanimate in us the feelings and gestures we knew at that time.” Bachelard, 1958: 13

Page 45

Fig. 30 The house I grew up in on the day my brother was brought home from hospital (1987)

RECOVER INTIMACY EXPERIENCEDthere,

“To remember the home is to the

the thoughts, dreams and sensations that

NOT necessarily to RECAPTURE the HOME THAT ACTUALLY EXISTED.” were particular to it but

Bachelard, 1958: 16

Fig. 31 Me and Matt in fancy dress in the house we grew up in (1994)

Page 46

Fig. 32 Matt Aged Six (1992

Fig. 33 Matt On His

First Day To School (1990)

HOW we PERCEIVE THE WORLD and HOW WE ACT in it are PRODUCTS of HOW and WHAT WE REMEMBER. We’re all just a BUNDLE OF HABITS SHAPED BY OUR MEMORIES.” “

Foer, 2011: 269

Fig. 34 Me Doing The “Washing Up” (1993

SNAPSHOTS”,

“Memories are “

process of registration.

They

Fig. 35 Me Demonstrating My Acrobatic Abilities (1992)

laid down at the time of experience through a

PERSIST UNCHANGED

throughout our lives to be

recalled when we look for them, like opening a photo album.” Antze and Lambek, 1996: 176

Page 48

FIG. 36 Bloody heart cupcake (2011)

Page 49

ROMANTICALLY INSCRIBED OBJECTS WHEN DO THEY TRANSFORM FROM OBJECTS TO POSSESSIONS?

Page 50

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Fig. 37 Eiffel Tower keyring bought on a trip to Paris with ex-boyfriend (2012)

MASS-PRODUCED OBJECTS as well as being ‘functional’, in many instances are INFUSED WITH EMOTIVE CAPACITIES not only through advertising but “

also when objects become enmeshed in their owners’ everyday lived world of relationships, work, housekeeping, and leisure.” Hallam and Hockey, 2001: 42

Page 52

Fig. 38 Hollyâ&#x20AC;&#x2122;s bridesmaidâ&#x20AC;&#x2122;s wreath from 1994 (2011)

Page 53

“Objects that have become part of the

TERRITORY OF THE SELF’ LOSE their EXCHANGE VALUE as ‘

commodities and become unattractive to other consumers” Lupton in Hallam and Hockey, 2001: 18

Fig. 39 Roses given to me by ex-boyfriend (2011)

Page 54

Fig. 40 Wallet snapshot (2011)

MATERIALS OF MEMORY

“The , whether in the form of texts, visual images, objects or bodies, hinge upon and acquire their significance

CONCEPTUAL LINKAGES MATERIAL WORLD.” through

Hallam and Hockey, 2001: 39 Page 55

between

PERSONHOOD

and the

“Even though from a theoretical point of view

HUMAN ACTORS ENCODE

THINGS WITH SIGNIFICANCE, from a methodological point THINGS-IN-MOTION that ILLUMINATE their HUMAN and SOCIAL CONTEXT.”

of view it is the

Appadurai, 1986:5

Fig. 41

Titanic’s Heart of The Ocean (1997)

In the film ‘Titanic’, Rose is given the necklace by a lover and she keeps it throughout her life to remind her of what she has been through. Only when she has finally let go of her pain can she let go of the keepsake.

Page 56

Page 57

HOW DO WE KEEP THEM?

Page 58

SOMATIC NATURE HEART, which received “The

stored these messages.” Carruthers in Hallam and

Page 59

MEMORY was

conveyed through ideas about the

impressions, and the brain which Hockey, 200: 30

Fig. 42 My cousin and her boyfriend have lockets of each other (2010)

“Pitting memory against history, he

MEMORY with a SEARCH for a MELANCHOLIC FORM OF EMOTION, which represents an aligns...

‘addiction’ and is potentially ‘neurasthenic and disabling’.” Maier in Whitehead, 2009: 3

Fig. 43 Holly in dead husbands clothes (2007) In the film ‘P.S I Love You’, Holly mourns for her late husband by dressing up in his possesions and lamenting in her depression

Page 60

“Thus, it is not only the cultural production of the object and its physical properties that are significant, but also the unfolding

OBJECT as it moves through time ABSORBING TRACES OF ITS OWN HISTORY.”

SOCIAL LIFE

of the

or having impressed upon it,

Hallam and Hockey, 2001:50

Fig. 44 Ring given Page 61

to me by my exboyfriend (2012)

“A halved item might be cut and/or otherwise marked so that the two pieces, when brought back together, would prove a match.” Bright and Clarke, 2011: 9

Fig. 45 Foundlings Token reading;

“You have my heart, tho wee must part” (2011)

Page 62

WHERE DO WE STORE THEM?

Page 63

Fig. 46 A collection of mementoes each

relating to different people and different relationships (2012)

â&#x20AC;&#x153;Each significant

RELATIONSHIP, whether

to persons and periods and events of her past, ultimately became

REDUCED TO just one or two OBJECTS, as other mementoes made way for other relationships.â&#x20AC;? Miller, 2010: 149

Page 64

Page 65

OBJECTS we LOVE; OBJECTS we think with.”

“We think with the

LOVE

we the Turkle, 2007: 5

Fig. 47 Rankin’s 3D resin rendition of his wife Tuuli taken from Dazed & Confused’s time capsule (2011)

Page 66

Fig. 48 Mum and Dad in Paris (1995)

â&#x20AC;&#x153;They retain a few photos from the wedding, the holidays, the moments when the relationship came closest to its ideal.â&#x20AC;? Miller, 2010:151

Fig. 49 Mum and Dad on their wedding day (1986)

â&#x20AC;&#x153;The photograph infuses almost all levels of memory, even those of which it is not directly part. It constitutes a meta-value of memory construction, its tentacles spread out, blurring and constructing memory in its own insistent image.â&#x20AC;? Kwint, Breward, and Aynsley, 1999:221

Page 69

MOROSE MEMENTOES -WHEN DO THEY TRANSFORM FROM OBJECTS TO POSSESSIONS?

Page 70

REMEMBER any past FORCIBLE MANNER.”

“When we

event, the idea of it

FLOWS

in upon the mind in

a Whitehead, 2009: 59

Fig. 50 Perfume-The Story of a Murderer, Jean-Baptiste with his collection of human scents (2011) In the film ‘Perfume-The Story of a Murderer’, Jean-Baptiste kills women in order to collect their scent, each time he and others smells their scent again they recall its previous owner Page 71

“In situations where the

PHYSICAL BODY is NO LONGER ASSOCIATED

WITH A PERSON (or is no longer perceived as the self that it once was) it can SLIDE INTO OBJECT, or even abject, STATUS: ‘such patients constitute “body-objects” in the most extreme form’” Lawton in Hallam and Hockey, 2001: 44

Fig. 52 Fig. 51

Leatherface, with his collection of human bodyparts

(1974)

Ed Gein robbed graves in order to make items out of their bones

(2009)

In the film ‘Texas Chainsaw Massacre’, Leatherface killed and ate his victims but would then keep Page 72 their bones and certain bodyparts to make up for his own deformities

Fig. 53 Evan

reflecting over his old diaries (2004)

In the film ‘The Butterfly Effect’. when Evan reads his old diaries he has flashbacks from the past. It is later explained that during all of the events he was traumatised and has post-traumatic amnesia.

TRAUMATIC SITUATIONS...the working of this part of the brain is suppressed, which ‘results in AMNESIA for the specifics of traumatic experiences but not the feelings associated with them. The MEMORY...is instead ORGANIZED as BODILY SENSATIONS, behavioral reenactments, “In

nightmares, and flashbacks.” Whitehead, 2009: 115

Fig. 54 Tunisians fleeing Libya early in 2011 (2011)

“Even under these conditions of immediate flight or departure, people do, if they can, seek minimal

WHO THEY ARE and WHERE THEY COME FROM” reminders of

Parkin, 1999:313 Page 74

RELIC-OBJECTS’

‘

objects that were

connected to the body and thus possessed a potency to

OWNERS

EVOKE the QUALITIES

their , acting as mementoes of love and friendship.” Hallam and Hockey, 2001: 78

Page 75

Clockwise from left; Fig. 55 Locket (1872) Fig. 56 Stock pin (Early 19th Century) Fig. 57 Ring (1550 - 1600) Fig. 58 Pendant torre abbey jewel (1540 - 1550) Fig. 59 Bodice ornament(1860-70)

PSYCHE PROCESSES LOSS

“The , whereby...it accumulates precious objects, and incorporates them as means

FILLING THE HOLE

of ” Kwint, Breward, and Aynsley, 1999:51

Page 76

HOW DO WE KEEP THEM?

Page 77

Fig. 60 Seymour looking at his collection of stolen photos (2002)

“The associative work of memory is non-intentional and seems to initiate

CHAOTIC if not threatening, chain of activity, which relates memories from the ‘DARK CELLS’ within which they have hitherto been secured a

and confined.” Whitehead, 2009:55

In the film ‘Memento’, Seymour collects duplicate prints of a particular family’s photos he develops and obsesses over their perfect life.

Page 78

“Since monuments tend to they become

reduce themselves to dust

MATERIAL ENACTMENTS OF THE MENTAL DECAY of images supposed to forgetting and, ultimately Forty, 1999:5

Page 79

constitute the process of oblivion.”

Opposite page: Fig. 61 Pendant (1660) Fig. 62 Locket (1775-1800) This Page: Fig. 63 Charm bracelet (1860)

Page 80

REMEMBER

SUFFERED

“That faraway world where we that we , nevertheless exercises an incomprehensible attraction on the person who has survived it

and who seems to think he has

BEST PART OF HIMSELF, which Halbwachs, 1992: 49

Page 81

LEFT THERE THE

he tries to recapture.”

Fig. 64 War veterans remember their friends lost on Remembrance Day (2007)

Page 82

One man is reported as carrying nothing more than a bible, as if to indicate

IMPORTANCE as being GREATER THAN THAT OF OTHER PROPERTY. its

Parkin, 1999: 313

Page 83

Fig. 65 Bible (2008)

“Instruments of measurement including

were employed as a means to capture and the processes which was

of seemingly more urgent

when was near.”

HOURGALSSES, WATCHES, AND CLOCKS FOCUS MEMORY DEATH

Hallam and Hockey, 2001: 72 Fig. 66 Pocket watch (unknown)

Page 84

Fig. 67 Mums Urn at last! (2009) Page 85

ABSENCE

â&#x20AC;&#x153;

is addressed..to involve various material forms..all of which are brought into play as a means to

RECALL persons, relationships and events that are no longer immediately present.â&#x20AC;? Hallam and Hockey, 2001: 25

Page 86

WHERE DO WE KEEP THEM?

Page 87

“Psychodynamic theory allows much of our behavior to be interpreted as

SYMPTOMS AND SIGNS that are

RESIDUES OF REPRESSED MEMORIES , kept out of awareness by

UNCONSCIOUS MECHANISMS OF DEFENSE.” Antze and Lambek, 1996: 177

Fig. 68 Arthur Shawcross talks about his childhood (2011)

In the documentary ‘Interview with a Serial Killer’, Arthur Shawcross explains that as a child he was sexually abused which led him to sexually abuse children and ultimately become a serial killer. Page 88

In the novel â&#x20AC;&#x2DC;Great Expectationsâ&#x20AC;&#x2122;, Miss Havisham is jilted on her wedding day. From that day on she remains alone in her house and insists on every aspect of her wedding (which was to be in her house) to stay the same. She cannot move on from her heartache and so relies on the objects around her to constantly remind her of what happened in her past.

Fig. 69 Miss Havisham keeps

everything the same as it was on her day (2011) Page wedding 89

“The impact of personal mementoes of this type rests upon their

CONNECTIONS with the life histories of their past owners and hence their capacity to retain

FRAGMENTS OF THE PAST WITHIN Hallam and Hockey, 2001:72

Fig. 70 Miss Havisham in her

wedding dress with her flowers (2011)

THE PRESENT.”

Page 90

“The use of fragments of the dead body (for example hair) as

MEMORY or the keeping objects that

EMBODIED those who

Fig. 71 Bracelet made out Parkin of hair (1785) Page 91

TREASURED OBJECTS of other material

EVOKE THE PERSON of have died.”

in Hallam and Hockey, 2001: 25

“Jewellery made of, as well

FETISH

hair...constitutes a anthropological definition object, something with an unrepeatable Kwint, Breward

as that containing, human according to the of an irreducible material enduring form and the force of event.” and Aynsley, 1999: 42

Fig. 72 Hair-work brooch and box (1842)

“The saving of a lock of hair

VAIN ATTEMPT TO COUNTERACT marks a moment of transition, a

the impossibility of bridging the gap between two individuals, between the then and now,

THE LIVING AND THE DEAD.”

Kwint, Breward and Aynsley, 1999:48

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Fig. 73 Memento Mori watch given commissioned by Mary Queen of Scots (1850)

“A photograph from c.1890 shows

THE HEAD,

the bodily fragment understood as the site of personal identity,

FRAMED BY THE FACE OF TIME. Both time and bodily decay are arrested by the photograph intended for domestic display to sustain family memories.” Hallam and Hockey, 2001: 72

Fig. 74 Woman’s face superimposed on clock (1890)

Page 94

PUBLIC MEMORIES

Fig. 75 Elvis Presley Memorial where fans Page 95

leave thousands of flowers and letters to commemorate his death (2011)

DISPLACED INDIVIDUALS and families in such CRISIS SITUATIONS will SEIZE UPON OBJECTS which resonate with personal meanings...later a person will ‘INVEST EMOTIONALLY..in accessible objects, IDEAS and DREAMS rather than in the living people.” Page 96 “

Parkin in Hallam and Hockey, 2001:25

“Delbo articulates a powerful sense of the inextricability of remembering and forgetting, so that she is constantly caught between her

DESIRE TO COMMEMORATE THE DEAD, to hold them in her mind, and her equally urgent need to

FORGET IN ORDER TO LIVE in the present.” Delbo in Whitehead, 2009: 121

Fig. 76 Woodbury War Memorial (2011)

Page 97

ACTIVELY FORGET the SUFFERING of the recent past “To

would be more truly

‘

UNBEARABLE’ than to carry their weight with him.” Kundera in Whitehead, 2009: 88

Fig. 77 Holocaust Memorial (2008)

Page 98

Fig. 78 Remembrance poppies (2011)

FORGETTING

“Although may indeed be

DESIRABLE, to degree, for the

some

SURVIVORS of

Remembrance Day recognises every year the death of those lost during World War 1. They use poppies as an emblem since they bloomed across one of the battlefields in France.

horrific crimes..they may also ‘encounter some difficulties in carrying out such a program, especially when millions of other victims were also involved.” Whitehead, 2009: 122

The death of Princess Diana brought the nation to its knees; thousands flocked to Buckingham Palace to pay their respects and lay flowers down in memory of her. The Queen was reluctant to hold a state funeral on Diana’s behalf, however she backed down and inevitably the funeral ended up being a huge affair. Despite not actually knowing Diana the public needed to mourn her loss, they could not simply move on and forget her. Page 99

Fig. 79 Flower’s for Princess Diana’s funeral (1997)

Page 100

â&#x20AC;&#x153;As the place of burial was removed from local churchyard to distant park, the dead were more likely to be

REMEMBERED forgotten)

(and

BY MONUMENTS than by continued observances in which their spirits were invokedâ&#x20AC;? Hallam and Hockey, 2001:41

Page 101

Fig. 80 Cambodian Memorial (2009)

The objects are also, I suggest,

ARCHETYPAL possibilities for the COMMEMORATION of the DEATH of

those in flight and even of a community, in the event that resettlement is never achieved by that person or that group.â&#x20AC;? Parkin, 1999:314

Fig. 81 War Memorial in Siam Reap (2004) The people of Cambodia have created a memorial to ensure they never forget the pain inflicted upon them by their leader Pol-Pot in the 1970â&#x20AC;&#x2122;s

Page 102

Page 103

WHY DO WE NEED TO PLACE MEMORY IN OBJECTS? & THE CULTURE OF FORGETTING

Page 104

In the film ‘The Truman Show’, Truman is unable to assert his character once he realises his world was created by a tv show; he feels as though his personality has been manipulated by the show and without it he is void.

TO REASSERT OUR CHARACTER

Page 105

Fig. 82 Truman cannot adjust to reality once his â&#x20AC;&#x153;normalityâ&#x20AC;? is taken away (1998)

Page 106

In the film ‘The Shawshank Redemption’, since Brooks has spent the majority of his life behind bars he becomes institutionalized and upon leaving cannot adjust to the changes in society. He has no personal belongings and therefore no sense of self.

“Some refugees suffering from repressed expression of bereavement or grief who complain of psychosomatic ill-effects but also of

DEPERSONALIZATION

Fig. 83 Brooks cannot adjust

to society when he re-enters

(1994)

Page 107

one said he felt like a stranger everywhere, others that for a long time they had felt

NUMB” Parkin, 1999: 314

As a result of not being able to cope in modern society Brooks kills himself.

Fig. 84 Brooks commits suicide (1994)

“A

PERSON LACKS a

ESSENCE but is MADE through TAKING ON THE MEANINGS OF THINGS

fixed, de contextualized

social interaction and by

standing in a special relationship to him or her. It is only ASCETICS who, by

REVERSE THIS PROCESS and achieve their non-selfhood by DENOUNCING SELFHOOD and withdrawing from social relationships.”

definition,

Parkin, 1999:314

Page 108

Page 109

Fig. 85 Holes in the Memory (1975)

PERSONAL IDENTITY IS CONSTITUTED BY MEMORY. Any type of AMNESIA results in SOMETHING being STOLEN “

from oneself; how much worse if it is

REPLACED BY false A NONSELF.”

memories,

Hacking, 1995: 264

Page 110

TO DWELL ON THE PAST

Page 111

“Photographs express a desire for memory and the

ACT OF KEEPING A PHOTOGRAPH is, like other souvenirs, an act of

FAITH in the FUTURE.

They are made to hold the fleeting, to still time, to create memory.” Kwint, Breward, and Aynsley, 1999: 222

Fig. 86 The photos on my wall (2007)

“Memory is

PLACE CAN REVIVE

itself ‘a

PAST SURVIVE”

wherein the

and Whitehead, 2009: 10

Page 112

Fig.87 Memorial Tattoo (2010)

“While a memory might be sensed as either a

SCAR’

‘ or

OBSESSION,

a pleasurable journey or an arresting sensation, remembering in relation to death is a crucial social process in which metaphorical and material dimensions are profoundly significant.” Hallam and Hockey, 2001: 47

MEMORY to be the SOURCE OF BOTH THE MALADY concerned, AND THE THERAPY is proffers.”

“Psychoanalysis takes

with which it is Krell in Whitehead, 2009: 88

Page 113

“Memory is, crucially, concerned with holding up for and

PAST experiences;

COMPARISON PRESENT

far from simply reproducing an image of ones past,

remembering represents a process of Whitehead, 2009: 52

REFLECTION upon

it.”

Fig. 88 Past - Present (2012)

Fig. 81

Page 114

SO WE DO NOT HAVE TO REMEMBER ANYTHING OURSELVES

Page 115

“Within the Aristotelian tradition, if objects are made to stand for memory, their

DESTRUCTION IMPLY FORGETTING.” decay or

(as in the act of iconoclasm) is taken to

Forty, 1999: 4

Fig. 89 Letter from Clementine used to forget her (2004) In the film ‘Eternal Sunshine of the Spotless Mind’, Clementine and Joel have a special procedure which allows them to forget their feelings for each other through deleting the memories associated Page 116 with objects collected during their relationship.

OLD MEMORIES, habits, and friends tend to INTERFERE with the acquisition and retention of NEW ONES. The many memories and RECOLLECTIONS are PITTED AGAINST THE ONE FORGETTING, which “The common assumption is that

Fig. 90 Facebook album of Laurens 21st (2011)

We rely on technology to remember what we cannot; when those memories are unintentionally erased they are forever lost

cannot be pluralized in turn.” Krapp, 2004: xii Fig. 92 Facebook album of a day out in Camden (2011) Fig. 91 Facebook album

of our last night of second year (2011)

SUBSTITUTE,

“(M)emory is of course a surrogate, or consolation

FOR SOMETHING THAT IS MISSING”

Davis and Starn in Hallam and Hockey, 2001: 235 Page 117

Fig. 93 Facebook album of zine fair (2011)

“Amnesia provides a dramatic demonstration of the efficacy of habit, in

DIFFERENCE between MEMORY as AND SKILLS, and MEMORY as the power TO RECOGNIZE specific things.’” exposing ‘the

retention

OF LANGUAGE RECOLLECT AND

Craig in Whitehead, 2009: 12

Fig. 94 Memento movie still (2000) In the film ‘Memento’, Leonard has short-term memory loss and so uses pictures and tattoos on his body to remind himself daily who he is and what he is doing

Page 118

Fig. 95 Remove memory and memory cover (2006)

Page 119

“You have to begin to lose your memory, if only in bits and pieces, to realize that memory is what makes our lives.

LIFE WITHOUT MEMORY IS NO LIFE AT ALL, just as an intelligence without the possibility of expression is not really an intelligence.

OUR MEMORY IS OUR COHERENCE, OUR REASON, OUR FEELING, EVEN OUR ACTION. Without it, we are nothing.” Bunuel, 1984: 5

Page 120

Page 121

APPENDIX

Page 122

LIST OF REFERENCES Rationale Antze and Lambek, 1996: 176 Hallam and Hockey, 2001: 78 Parkin, 1999: 308 Hallam and Hockey, 2001: 75) Baudrillard, 1996: 91

What is a Keepsake and How can it be defined? Hermann, D., and Searleman, A., 1994: 206 Baudrillard, 1996: 89 Baudrillard, 1996: 85 Hallam and Hockey, 2001: 18 Hallam and Hockey, 2001: 19 Hallam and Hockey, 2001: 19 Antze and Lambek, 1996: 229 Halbwachs, 1992: 47 Hoskins, 1998: 198

Childhood Memories Turkle, Turkle, Turkle, Parkin, Page 123

2007: 314 2007:10 2007: 200 1999: 303

Bright and Clarke, 2011: 8 Bright and Clarke, 2011: 3 Bright and Clarke, 2011: 18 Turkle, 2007: 314 Stewart in Hallam and Hockey, 2001: 51 Hallam and Hockey, 2001: 49 Hallam and Hockey, 2001:45 Hallam and Hockey, 2001: 3 Bachelard, 1958: 13 Bachelard, 1958: 16 Antze and Lambek, 1996: 176

Romantic Keepsakes Hallam and Hockey, 2001: 42 Lupton in Hallam and Hockey, 2001: 18 Hallam and Hockey, 2001: 39 Appadurai,1986: 5 Carruthers in Hallam and Hockey, 200: 30 Maier in Whitehead, 2009: 3 Hallam and Hockey, 2001:50 Bright and Clarke, 2011: 9 Miller, 2010: 149 Turkle, 2007: 5 Miller, 2010:151 Kwint, Breward, and Aynsley, 1999:221 Page 124

Morose Mementoes Whitehead, 2009: 59 Lawton in Hallam and Hockey, 2001: 44 Whitehead, 2009: 115 Parkin, 1999:313 Hallam and Hockey, 2001: 78 Kwint, Breward, and Aynsley, 1999:51 Whitehead, 2009:55 Forty, 1999:5 Halbwachs, 1992: 49 Parkin, 1999: 313 Hallam and Hockey, 2001: 72 Hallam and Hockey, 2001: 25 Antze and Lambek, 1996: 177 Hallam and Hockey, 2001:72 Parkin in Hallam and Hockey, 2001: 25 Kwint, Breward and Aynsley, 1999:42 Kwint, Breward and Aynsley, 1999:48 Hallam and Hockey, 2001:72

Page 125

Public Memories Parkin in Hallam and Hockey, 2001: 25 Delbo in Whitehead, 2009: 121 Kundera in Whitehead, 2009: 88 Whitehead, 2009: 122 Hallam and Hockey, 2001: 41 Parkin, 1999:314

Why Do we Place Memory in Objects and The Culture of Forgetting Parkin, 1999: 314 Parkin, 1999: 314 Hacking, 1995: 264 Kwint, Breward, and Aynsley, 1999: 222 Whitehead, 2009: 10 Hallam and Hockey, 2001: 47 Krell in Whitehead, 2009: 88 Whitehead, 2009: 52 Forty, 1999: 4 Krapp, 2004: xii Davis and Starn in Hallam and Hockey, 2001: 235 Craig in Whitehead, 2009: 12 Bunuel, 1984: 5 Page 126

LIST OF ILLUSTRATIONS Fig. 1 Teddybear necklace (2012) by British Jewellery Workshops [online] Available at: http://www. britishjewelleryworkshops.com/childhood-and-toys-s187 Accessed: 17th January 2012 Fig. 2 Gareth Pugh’s obsidian cube given as a memento for Dazed & Confused’s time capsule (2011) by Dazed and Confused Magazine [online] Available at: http://members.ebay.co.uk/ws/eBayISAPI.dll?View UserPage&userid=dazedmag Accessed: 1st November 2011 Fig. 3 Robbie Spencer’s ornament given as a memento for Dazed & Confused’s time capsule (2011) by Dazed and Confused Magazine [online] Available at: http://members.ebay.co.uk/ws/eBayISAPI.dll?View UserPage&userid=dazedmag Accessed: 1st November 2011 Fig. 4 A mother reflects on the childhood of her lost son (2011) by Ladyjang [online] Available at: http://dearphotograph.com/post/13223985055/dear-photograph-early-morning-walks-together-and Accessed: 15th November 2011 Fig. 5 A mother reflects on the childhood of her lost son - reflection (2011) by Ladyjang [online] Available at: http://dearphotograph.com/post/13223985055/dear-photograph-early-morning-walkstogether-and Accessed: 15th November 2011 Fig. 6 Contents of my Treasure Chest (2011) Own Photograph Fig. 7 Memory Box (2007) by Leslie [online] Available at: http://www.flickr.com/photos/lesliesquirrel/2072844848/ Accessed: 15th November 2011 Fig. 8 Vtech kids diary (2011) by Argos [online] Available at: http://www.argos.co.uk/static/Product/partNumber/9365368.htm Accessed: 17th January 2012 Fig. 9 Adult leather diary with lock (2011) by Etsy [online] Available at: http://www.etsy. com/listing/89182233/leather-journal-notebook-diary-unique?ref=sr_gallery_19&sref=&ga_ includes%5B0%5D=tags&ga_search_query=diary+with+lock&ga_page=1&ga_ref=related&ga_search_ type=all&ga_facet= Accessed: 17th January 2012 Fig. 10 Memory Collection (2008) by Daniel Sancho [online] Available at: http://www.flickr.com/photos/teclasorg/2852716491/ Accessed: 15th November 2011 Page 127

Fig. 11 Matt’s baby album (2011) by Madeleine Phillips Fig. 12 Contents of my secret box (2011) Own Photograph Fig. 13 Emmas memory box from her 18th birthday (2011) Own Photograph Fig. 14 Non-valuable items kept from my childhood (2011) Own Photograph Fig. 15 Murray the stuffed bunny with telepathic abilities (2007) by Tracy Gleason in Turkle, 2007: 177 Fig. 16 Me and all my teddies (2011) Own Photograph Fig. 17 Death-defying superheroes (2007) by Henry Jenkins in Turkle, 2007: 195 Fig. 18 Death-defying superheroes 2 (2007) by Henry Jenkins in Turkle, 2007: 206 Fig. 19 Display Case of Tokens (2011) by © The Foundling Museum Fig. 20

Foundlings Museum Token of a hazelnut shell

Fig. 21 Foundlings Token of a button (2011) by © The Foundling Museum Fig. 22 Foundlings Token of a thimble (2011) by © The Foundling Museum Fig. 23 Foundlings Token of ale sign (2011) by © The Foundling Museum Fig. 24 Childhood Memories (2006) by Aaron Sikkink [online] Available at: http://www.flickr.com/ photos/housequakecom/172794013/ Accessed: 1st November 2011 Fig. 25 Alice from a baby to two (2011) by Alice Campbell Fig. 26 Matt’s baby album 2 (2011) by Madeleine Phillips Fig. 27 Regent Street cenotaph erected in memory of holocaust victims(1925) from Swindon Viewpoint [online] Available at: http://www.swindonviewpoint.com/content/regent-circus-cenotaph-1925 Accessed: 11th January 2012 Page 128

Fig. 28 Grandma’s Thimbles (2011) by Holly Wilson Fig. 29 Mado’s keepsakes (2011) by Madeleine Phillips Fig. 30 The house I grew up in on the day my brother was brought home from hospital (1987) Own Photograph Fig. 31 Me and Matt in fancy dress in the house we grew up in (1994) Own Photograph Fig. 32 Matt on his first day to school (1990) Own Photograph Fig. 33 Matt aged six (1992) Own Photograph Fig. 34 Me doing the “washing up” (1993) Own Photograph Fig. 35 Me demonstrating my acrobatic abilities (1992) Fig. 36 Bloody heart cupcake (2011) by Lilli-Vanilli [online]. Available at: http://lily-vanilli. blogspot.com/2011/01/valentines-bleeding-hearts.html Accessed: 16th December 2011 Fig. 37 Eiffel Tower keyring bought on a trip to paris with ex-boyfriend (2012) Fig. 38 Holly’s bridesmaid’s wreath from 1994 (2011) by Holly Wilson Fig. 39 Roses given to me by ex-boyfriend (2011) Own Photograph Fig. 40 Wallet snapshot (2011) by Katie Derbyshire Fig. 41 Titanic’s heart of the ocean (1997) from Titanic [film] USA: Twentieth Century Fox Fig. 42 My Ccusin and her boyfriend have lockets of each other (2010) Own Photograph Fig. 43 Holly in dead husbands clothes (2007) from P.S I Love You [film] USA: Warner Bros Pictures Fig. 44 Ring given to me by ex-boyfriend (2012) Own Photograph Fig. 45 Foundlings Token reading; “You have my heart, tho wee must part” (2011) by © The Foundling Museum Page 129

Fig. 46 A collection of mementoes each relating to different people and different relationships (2012) Own Photograph Fig. 47 Rankinâ&#x20AC;&#x2122;s 3D resin rendition of his wife Tuuli taken from Dazed & Confusedâ&#x20AC;&#x2122;s time capsule (2011) by Dazed and Confused Magazine [online]. Available at: http://members.ebay.co.uk/ws/eBayISAPI.dll?ViewUserPage&userid=dazedmag Accessed: 1st November 2011 Fig. 48 Mum and Dad in Paris (1995) Own Photograph Fig. 49 Mum and Dad on their Wedding Day (1986) Own Photograph Fig. 50 Perfume - The Story of a Murderer, Jean-Baptise with his collection of human scents (2011) by allmoviephoto.com [online]. Available at: http://www.allmoviephoto.com/photo/2006_perfume_the_story_of_a_murderer_014_big.html. Accessed: 8th November 2011 Fig. 51 Leatherface with his collection of human body parts [film] USA: Vortex

(1974) from Texas Chainsaw Massacre

Fig. 52 Ed Gein robbed graves in order to make items out of their bones (2009) by Mary Rose [online]. Available at: http://www.google.co.uk/imgres?q=ed+gein+skull+bowl&um=1&hl=en&client=safari&sa=N& rls=en&biw=1062&bih=627&tbm=isch&tbnid=ZEwyfYA0Mfnm_M:&imgrefurl=http://society.ezinemark.com/ cruelest-murders-all-times-773617c1041e.html&docid=PEHaxxnmkYZv5M&imgurl=http://img.ezinemark. com/imagemanager1/files/2010/2/3/murders/normal_IMG_0262.jpg&w=400&h=300&ei=Y8rgTqCGIMKs8gPpx IWTCQ&zoom=1 Accessed: 3rd December 2011 Fig. 53 Evan reflecting over his old diaries (2004) from The Butterfly Effect [film] USA: New Line Cinema Fig. 54 Tunisians fleeing Libya early in 2011 (1999) by Geneva Lunch [online]. Available at: http://genevalunch.com/blog/tag/refugees/ Accessed: 16th January 2012 Fig. 55 Locket (1872) by V&A Collections [online]. Available at: http://collections.vam.ac.uk/item/ O73122/locket/ Accessed: 8th November 2011 Fig. 56 Stock pin (Early 19th Century) by V&A Collections [online]. Available at: http://collections. vam.ac.uk/item/O115275/stock-pin/ Accessed: 8th November 2011 Page 130

Fig. 57 Ring (1550 - 1600) by V&A Collections [online]. Available at:http://collections.vam.ac.uk/ item/O77393/ring/ Accessed: 8th November 2011 Fig. 58 Pendant torre abbey jewel (1540 - 1550) by V&A Collections [online]. Available at : http:// collections.vam.ac.uk/item/O33863/pendant-torre-abbey-jewel/ Accessed: 8th November 2011 Fig. 59 Bodice ornament(1860-70) by V&A Collections [online]. Available at: http://collections.vam. ac.uk/item/O120916/bodice-ornament/ Accessed: 8th November 2011 Fig. 60 Seymour looking at his collection of stolen photos (2002) from One Hour Photo [film] USA: Fox Searchlight Pictures Fig. 61 Pendant (1660) by V&A Collections [online]. Available at: http://collections.vam.ac.uk/item/ O114912/pendant/ Accessed: 8th November 2011 Fig. 62 Locket (1775-1800) by V&A Collections [online]. Available at:http://collections.vam.ac.uk/ item/O126168/locket/ Accessed: 8th November 2011 Fig. 63 Charm bracelet (1860) by V&A Collections [online]. Available at: http://collections.vam. ac.uk/item/O76488/bracelet/ Accessed: 8th November 2011 Fig. 64 War veterans remember their friends lost on Remembrance Day (2007) by Wayne Hiebert [online]. Available at: http://www.flickr.com/photos/waynehiebert/1975281568/ Accessed: 16th January 2012 Fig. 65 Bible (2008) by Billy [online]. Available at: http://www.flickr.com/photos/noshoes/2884199700/ Accessed: 16th January 2012 Fig. 66 Pocket Watch(unknown) from Science Museum [online]. Available at: http://www.sciencemuseum. org.uk/ Accessed: 8th November 2011 Fig. 67 Mums urn at last! (2009) by eggybird [online]. Available at: http://www.flickr.com/photos/ eggybird/4019426906/ Accessed: 16th January 2012 Page 131

Fig. 68 Arthur Shawcross talks about his childhood (2011) by Channel 5 [online]. Available at:http:// www.channel5.com/shows/serial-killer-an-interview-with-arthur-shawcross Accessed: 18th January 2012 Fig. 69 Miss Havisham keeps everything the same as it was on her wedding day (2011) by deerthings [online]. Available at: http://www.flickr.com/photos/gravedeer/6600826837/ Accessed: 18th January 2012 Fig. 70 Miss Havisham in her wedding dress with her flowers (2011) by deerthings [[online]. Available at: http://www.flickr.com/photos/gravedeer/6600826837/ Accessed: 18th January 2012 Fig. 71 Bracelet made out of hair (1785) by V&A Collections [online]. Available at: http://collections.vam.ac.uk/item/O122831/bracelet/ Accessed: 8th November 2011 Fig. 72 Hair-work Brooch and Box (1842) by V&A Collections [online]. Available at: http://collections.vam.ac.uk/item/O130484/hair-work-brooch/ Accessed: 8th November 2011 Fig. 73 Memento Mori watch given commissioned by Mary Queen of Scots (1850) by Godeyâ&#x20AC;&#x2122;s Lady Book [online]. Available at: http://www.history.rochester.edu/godeys/03-50/ammw-eng.html Accessed: 3rd November 2011 Fig. 74 Womanâ&#x20AC;&#x2122;s Face Superimposed on Clock (1890) in S.Burns (1990) Sleeping Beauty: Memorial Photography in America, Altadena: Twelvetrees Press Fig. 75 Elvis Presley Memorial where fans leave thousands of flowers and letters to commemorate his death (2011) by Erik Thrane [online]. Available at: http://www.roadblogusa.com/graceland-elvisweek/ Accessed:16th January 2012 Fig. 76 Woodbury World War 2 Memorial (2011) by Jerry Dougherty [online]. Available at: http:// www.flickr.com/photos/gcdougherty/6146833481/ Accessed: 16th January 2012 Fig. 77 Holocaust Memorial (2008) by Gavin Bloys [online]. Available at: photos/gavinbloys/2810742953/ Accessed: 1st November 2011

http://www.flickr.com/

Fig. 78 Remembrance poppies (2011) by Roy T [online]. Available at: http://www.flickr.com/photos/ fabulousminge/6345375128/ Accessed: 18th January 2012 Page 132

Fig. 79 Flowers for Princess Diana’s funeral (1997) by Maxwell Hamilton [online]. Available at: http://en.wikipedia.org/wiki/File:Flowers_for_Princess_Diana’s_Funeral.jpg Accessed: 18th January 2012 Fig. 80 Cambodian Memorial (2007) by Ian Layzell [online]. Available at: http://www.flickr.com/photos/ianlayzellphotographs/5734349956/ Accessed: 16th January 2012 Fig. 81 War Memorial in Siam Reap (2009) by Margaret Mendel [online]. Available at: http://www. flickr.com/photos/margaretmendel/414902257/ Accessed: 16th January 2012 Fig. 82 Truman cannot adjust to reality once his “normality” is taken away (1998) from The Truman Show [film] USA: Paramount Fig. 83 Brooks cannot adjust to society when he re-enters (1994) from Shawshank Redemption [film] USA: Castle Rock Entertainment Fig. 84 Brooks commits suicide (1994) from Shawshank Redemption [film] ment

USA: Castle Rock Entertain-

Fig. 85 Holes in the Memory (1975) by D. Appia Fig. 86 The photos on my wall (2007) by Maddy [online]. Available at:http://www.flickr.com/photos/ papercloud/2128924912/ Accessed: 16th November 2012 Fig. 87 Memorial Tattoo (2010) by Miguel Angel [online]. Available at: http://www.flickr.com/photos/maiktattoo/4399871708/ Accessed: 16th January 2012 Fig. 88 Past-Present (2012) by Sara Jane [online]. Available at: http://www.flickr.com/photos/ sarahjane_1986/6684701041/ Accessed: 17th January 2012 Fig. 89 Letter from Clementine used to forget her (2004) from Eternal Sunshine of The Spotless Mind Page 133 [film] USA: Focus Features

Fig. 90 Facebook album of Laurens 21st (2011) own image [online]. Available at: https://www.facebook.com/media/albums/?id=100001013284735 Accessed: 17th January 2012 Fig. 91 Facebook album of our last night of second year (2011) own image [online]. Available at: https://www.facebook.com/media/albums/?id=100001013284735 Accessed: 17th January 2012 Fig. 92 Facebook album of a day out in Camden (2011) own image [online]. Available at: https://www. facebook.com/media/albums/?id=100001013284735 Accessed: 17th January 2012 Fig. 93 Facebook album of zine fair (2011) own image [online]. Available at: https://www.facebook. com/media/albums/?id=100001013284735 Accessed: 17th January 2012 Fig. 94 Leonard has amnesia so uses photographs to hunt for the murderer of his wife (2000) from Memento [film]] USA: New Market Capital Group Fig. 95 Remove memory and memory cover (2006) by Jon Gaynor [online].. Available at: http://www. flickr.com/photos/jongaynor/165043369/in/photostream/ Accessed: 17th January 2012

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BIBLIOGRAPHY BOOKS Antze, P., and Lambek, M., eds., 1996. Tense Past: Cultural Essays in Trauma and Memory. London: Routledge. Appadurai, A. 1986. The Social Life of Things. Cambridge: Cambridge University Press. Bachelard, G. 1958. La Poetique de Lâ&#x20AC;&#x2122;Espace. France: Presses Universitaires de France Baudrillard, J. 1996. The System of Objects. Trans. J. Benedict. London: Verso. Bright, J and Clarke, G. 2011. An Introduction to the Tokens at the Foundling Museum. London: Synergie Group. Bunuel, L. 1984. My Last Sigh. UK: Vintage. Coleman, J. 1992.Ancient and Medieval Memories. Cambridge: Cambridge University Press Connerton, P. 2011. The Spirit of Mourning; History, Memory, and The Body. Cambridge: Cambridge University Press Foer, J., 2011. Moonwalking with Einstein. London: Allen Lane. Forty, A. , 1999. Introduction. In: A. Forty and S. Kuchler, eds. The Art of Forgetting. Oxford: Berg Hacking, Ian. 1995. Rewriting the Soul. Princeton, New Jersey: Princeton University Press Halbwachs, M. Eds, Lewis. A. Coser. 1992. On Collective Memory. Chicago: Chicago University Press Hallam, E., and Hockey, J., 2001. Death, Memory & Material Culture. Oxforc: Berg. Hobson, G., and Williams, V., 1995. The Dead. London: National Museum of Photography, Film and Television. Page 135

Hoskins, J. Routledge

1998. Biographical Objects; How Things Tell the Stories of Peoples Lives. New York:

Krapp, P,. 2004. Deja Vu; Aberrations of Cultural Memory. Minneapolis: University of Minnesota Press. wint, M., Breward, C., and Aynsley, J. eds. 1999. Material Memories; Design and Evocation. Oxford: Berg. Le Goff, J. 1949. History and Memory. Translated from French by S. Rendall and E. Claman. Columbia: Columbia University Press. Miller, D. 2010. Stuff. Cambridge: Polity Press Middleton, D. and Brown, S. 2005. The Social Psychology of Experience; Studies in Remembering and Forgetting. London: Sage. Santer, E. 1990. Stranded Objects; Mourning, Memory, and Film in Postwar Germany. New York: Cornell University Press. Turkle, S. 2007. Evocative Objects; things we think with. Massachusetts: Massachusetts Institute of Technology Press. Whitehead, A.2009. Memory. New York: Routledge.

ONLINE ARTICLES Parkin, D. 1999. â&#x20AC;&#x2DC;Mementoes as Transitional Objectsâ&#x20AC;&#x2122;, The Journal of Material Culture. 4 (3) Sage Publishing p.304 [online] Available at: http://mcu.sagepub.com/content/4/3/303.full.pdf+html Accessed:27th November 2011 Loucks, N., Smith Holt, S., Adler, J. 2009., Why We Kill. [online]. Taylor & Francis. Available at: http://lib.myilibrary.com?ID=246275 Accessed: 30 November 2011 Page 136

FILMS

28 Weeks Later, 2007. [film]. UK: Twentieth Century Fox A Lot Like Love, 2005. [film]. USA: Walt Disney Eternal Sunshine of The Spotless Mind, 2004. [film]. USA: Focus Features Harry Potter and the Philosophers Stone, 2001. [film]. USA: Warner Bros. Interview With a Serial Killer, 2011. [film]. UK: Channel 5. Memento, 2000. [film]. USA: New Market Capital Group Never Let Me Go, 2010. [film]. UK: Film4 Productions One Hour Photo, 2002. [film]. USA: Fox Searchlight Pictures Perfume, 2006. [film]. France: Metropolitan Films P.S I Love You, 2007. [film]. USA: Warner Bros. Shawshank Redemption, 1994. [film]. USA: Castle Rock Entertainment Texas Chainsaw Massacre, 1974. [film]. USA: Vortex The Bone Collector, 1999. [film]. USA: Universal The Book of Eli, 2010. [film]. USA: Metropolitan Films The Butterfly Effect, 2004. [film]. USA: New Line Cinema The Lovely Bones, 2009. [film]. USA: Dreamworks The Time Travellers Wife, 2009. [film]. USA: New Line Cinema Page 137

The Truman Show, 1998. [film]. USA: Paramount Titanic, 1997. [film]. USA: Twentieth Century Fox

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CONSENT FORMS

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TUTORIAL RECORD SHEET

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DECLARATION

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