CFP Imaginaires \u2013 Pop Culture Online Journal<\/p>\n
https:\/\/imaginaires.univ-reims.fr\/index.php\/imaginaires\/about<\/a><\/p>\n University of Reims RETROPHILIA, NOSTALGIA, AND THE END OF POP CULTURE 1 \u2013 Retro-content and aesthetic 2- Retro and vintage culture: forms and formats SELECTED BIBLIOGRAPHY Source: Yannick Bellenger-Morvan<\/p>\n","protected":false},"excerpt":{"rendered":" CFP Imaginaires \u2013 Pop Culture Online Journal https:\/\/imaginaires.univ-reims.fr\/index.php\/imaginaires\/about University of Reims CIRLEP EA4299 RETROPHILIA, NOSTALGIA, AND THE END OF POP […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center 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University of Reims CIRLEP EA4299 RETROPHILIA, NOSTALGIA, AND THE END OF POP 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\nCIRLEP EA4299<\/p>\n
\nIn 2011, music critic Simon Reynolds’s essay Retromania came out, the main argument of which was that \u201cWe live in a pop age gone loco for retro and crazy for commemoration. [\u2026] Could it be that the greatest danger to the future of our music culture is \u2026 its past?\u201d (Reynolds ix). Reynolds\u2019s focus was on pop music at the turn of the new millennium, questioning the role of its producers and the tastes of its audience, stuck in a state of \u201chyper-stasis\u201d. One decade after Reynolds\u2019s thought-provoking analysis, one may wonder whether this assumption is still relevant today. Can it be extended to other objects of pop culture?
\nIn a 2021 Guardian article, Mark Singer contended that \u201cCovid has pushed pop culture into nostalgia. It\u2019s time for something new\u201d. The American journalist \u201cworried that culture was increasingly trapped in its own past, awash with reissues and remakes. In contrast to most of the 20th century, very little in the world of music or cinema felt radically new\u201d (<Covid has pushed pop culture into nostalgia. It’s time for something new | Mark Sinker | The Guardian> Last accessed 11\/08\/22). In the Post-pandemic age, is pop culture still fixated on its (and our) past? Is this \u201caddiction\u201d to the past a regressive trend or, on the contrary, an opportunity to reassess modern history and re-evaluate its legacy and its representation in popular mass media? In terms of forms and formats, can something \u201cradically new\u201d emerge from nostalgia?
\nPapers discussing those issues may tackle the following topics (but not exclusively):<\/p>\n
\n-Mediums concerned: music, cinema, TV series, videogames, tattoo art, fashion and design, advertising.
\n-Retro in the digital age: retro-gaming
\n-The definition of \u201cretro\u201d vs \u201cvintage\u201d
\n-Remakes, prequels, and reboots: a critical or idealised re-evaluation of our reconstructed past\/close history?
\n-Retromania in pop culture as a way of renegotiating cultural memory \/ reconquering history => looking at our past with a new, contemporary lens (post-colonial, post-\u201cme-too\u201d approaches). New \u201cgazes\u201d on past events and pop culture objects. Cf. How women are treated in Mad Men. What about women\u2019s empowerment (or lack thereof) in Call the Midwife? What is said of \u201cthe Troubles\u201d in Northern Ireland in the 1990s-set comedy show Derry Girls?
\n-Heritage films and heritage TV series: could the triumphant success of Downton Abbey in the US be another sign of retrophilia? This phenomenon is nearly \u201csquared\u201d retrophilia as the series is more reminiscent of other \u201cperiod\u201d series or films than it is (or is intended to be?) a reconstruction of the UK of the 1910-1920s. Can the same be said of Brideshead Revisited, of the innumerable adaptations of Jane Austen\u2019s novels? Another interesting example would be Bridgerton, perhaps, a reworking of Jane Austen \u201cwith a multicultural twist\u201d, where the anachronism is displayed and assumed.
\n-Post-modern dimension of the phenomenon: recycling past images, collage creating something new out of defunct periods of history?
\n-Aesthetic of the past \/ aesthetic of past pop culture productions \u2013> not only in \u201cperiod\u201d costumes or intradiegetic music but also in the very texture of the image (examples on Netflix: Stranger Things, Fear Street 1994 \/ 1978, Archive 81, etc.).
\n-Elements of today\u2019s pop culture to comment on the past cf. extradiegetic modern and anachronistic music in Peaky Blinders.
\n-Is there such a thing as \u201cNetflix Nostalgia\u201d?
\n-Retro, vintage, and heritage in fashion.
\n-Nostalgia for a pre-digital age that the under-20s cannot remember => Pseudo-nostalgia: \u201cWe call it pseudo-nostalgia because younger consumers of these revived products and services have never experienced the original. Generation Z will not have been there, done that. \/ In fact, they are buying retrotastic products and services that sometimes have little relation to 1980s reality whatsoever.\u201d (<https:\/\/theconversation.com\/its-not-nostalgia-stranger-things-is-fuelling-a-pseudo-nostalgia-of-the-1980s-186389<\/a>> last accessed 11\/08\/22)
\n-Consumption-based nostalgia for children: books, films, and toys.
\n\u2013 Retro-consumption in music: revival of vinyl discs, CDs, even cassettes (and their players) Old bands reforming for special concerts\/performances.
\n-Retro-parties or revival parties: The Jazz Age Lawn Party (New York City\u2019s original prohibition era inspired gathering. <https:\/\/jazzagelawnparty.com<\/a>>); The Blitz Party in London (\u201cLondon\u2019s best-loved and most authentic 1940s party\u201d, <https:\/\/www.theblitzparty.com\/<\/a>>).<\/p>\n
\n-Back to traditional forms of serialisation: weekly episodes vs binge watching \u2013 what narrative (and marketing) issues? Ex. On Netflix, Better Saul => one episode per week; more recently, Guillermo Del Toro\u2019s Cabinet of Curiosities built up viewers \u201ccuriosity\u201d by releasing two episodes every day.
\n-Viewers\u2019 relation to time => Television grid based on a chronological, linear programming to be opposed to digital, non-linear temporality => Can binge-watching be interpreted in terms of Foucault\u2019s heterochrony?
\n-Streaming platforms and social networks mimicking TV temporality \u2013 cf. Live broadcasts on Twitch.
\n-A new recipe with outdated ingredients: ex.: Black Mirror\u2019s interactive episode, \u201cBandersnatch\u201d (Netflix, December 2018) => Ambiguous example \u2013 using retrogaming mania in the digital age: the viewers can \u201cplay\u201d the episode and influence the plot and the fate of the main character.
\n-The death of television or a renewal of the \u201ctelevision\u201d format?
\n-Marketable nostalgia in the industry (food industry, fashion industry, etc\u2026) ex. Nostalgia for US Southern history in Dixie Land, the case of \u201cante-bellum restaurants\u201d serving \u201cplantation food\u201d: Aunt Pittypat\u2019s Porch, Mary Mac\u2019s TeaRoom, and Empire State South (cf. talk given by Lily Kelting at a London conference dedicated to \u201cPop Culture Nostalgia\u201d in 2016, entitled: \u201cFrom fried chicken to kimchi grits: restaurants and the nostalgia industry in the U.S. South\u201d).
\n-\u201cRetromarketing\u201d: defined as \u201crelaunch or revival of a product or service from a historical period, which marketers usually update to ultramodern standards of functioning, performance or taste.\u201d (<https:\/\/theconversation.com\/its-not-nostalgia-stranger-things-is-fuelling-a-pseudo-nostalgia-of-the-1980s-186389<\/a>> last accessed 11\/08\/22)
\n***
\nPlease send a 250\/300-word abstract with a short resume by December 27th 2022 to the following Email address:
\nyannick.bellenger
\nArticles will preferably be in English, occasionally in French.
\nPlanning:
\nNotification of acceptance by January 10th \u201823
\nFull papers due by April 15th \u201823
\nStyle sheet available here: Submissions | Imaginaires (univ-reims.fr<\/a>)
\nDouble-blind peer reviewing process until May 31st \u201823
\nRevised papers due by August 1st \u201823
\nOnline Publication fall\/winter 23<\/p>\n
\nBAUMAN, Zygmunt. Retrotopia. Cambridge: Politi Press, 2017.
\nBROWN, Ray B, and Ronald J. AMBROSETTI, ed. Continuities in Popular Culture. The Present in the Past and the Past in the Present and Future. Bowling Green (Ohio): Bowling Green University Popular Press, 1993.
\nBROWN, Stephen. Marketing. The Retro Revolution. London: Sage Publications, 2001.
\nBURNS, Jehnie I. Mixtape Nostalgia. Culture, Memory, and Representation. New York: Lexington Books, 2021.
\nDIKA, Vera. Recycled Culture in Contemporary Art and Film: The Rise of Nostalgia. New York: Cambridge UP, 2003.
\nFLYNN, Susan, and Antonia MACKAY, ed. Screening American Nostalgia. Essays on Pop Culture Constructions of Past Times. Jefferson (North Carolina): McFarland, 2021.
\nGRAINGE, Paul, ed. Memory and Popular Film. Manchester: Manchester UP, 2003.
\nHIGSON, Andrew. English Heritage, English Cinema: Costume Drama since 1980. Oxford: Oxford UP, 2003.
\nLEGGATT, Matthew, ed. Was it Yesterday? Nostalgia in Contemporary Films and Television. Albany: State University of New York Press, 2021.
\nLIZARDI, Ryan. Mediated Nostalgia. Individual Memory and Contemporary Mass Media. New York: Lexington Books, 2015.
\nNIEMEYER, Katharina, ed. Media and Nostalgia. Yearning for the Past, Present, and Future. New York: Palgrave McMillan, 2014.
\nPALLISTER, Katherine, ed. Netflix Nostalgia: Streaming the Past on Demand. New York: Lexington Books, 2019.
\nREYNOLDS, Simon. Retromania. Pop Culture\u2019s Addiction to its Own Past. London: Faber and Faber, 2011, 2012.
\nSPERB, Jason. Flickers of Films. Nostalgia in the Time of Digital Cinema. Rutgers UP, 2016.
\nSPRENGLER, Christine. Screening Nostalgia. Populuxe Props and Technicolor Aesthetics in Contemporary American Film. New York: Berghahn Books, 2009.
\nWESSELING, Elisabeth, ed. Reinventing Childhood Nostalgia. Books, Toys, and Contemporary Media Culture. New York: Routledge, 2018.<\/p>\n