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Abstract
In the context of critical global media studies, this article demonstrates how Western visual-aesthetic registers can invisibilize an existing place and its inhabitants through the uncritical celebration of its imagined futures. Taking Singapore as a case study, the article focuses on two sites of mediatization: the 2018 National Geographic documentary feature, City of the Future: Singapore, and 2019–20 media reports on the filming of HBO’s Westworld in Singapore. It argues that these media artifacts employ the trope of allochronic futurity: a denial of coevalness that seeks recourse in a future time-outside-time. This media trope is produced and sustained by two kinds of registers—a discursive register and a visual-aesthetic register—that inform promotional mediatized genres. While the promotional genres and discourses analyzed here construct Singapore’s distinctiveness, the visual-aesthetic register renders Singapore generic in its visualized futuristic-ness.