Media and Nostalgia: Yearning for the Past, Present and Future

249 Pages·2.313 MB·English

by  Katharina Niemeyer (eds.)

PalgraveMacmillanMemoryStudies
SeriesEditors:AndrewHoskinsandJohnSutton
InternationalAdvisoryBoard:StevenBrown,UniversityofLeicester,UK,MaryCarruthers,
NewYorkUniversity,USA,PaulConnerton,UniversityofCambridge,UK,AstridErll,Uni-
versityofWuppertal,Germany,RobynFivush,EmoryUniversity,USA,TilmannHabermas,
University of Frankfurt am Main, Germany, Jeffrey Olick, University of Virginia, USA,
SusannahRadstone,UniversityofEastLondon,UK,andAnnRigney,UtrechtUniversity,
theNetherlands.
ThenascentfieldofMemoryStudiesemergesfromcontemporarytrendsthatincludeashift
fromconcernwithhistoricalknowledgeofeventstothatofmemory,from‘whatweknow’to
‘howwerememberit’;changesingenerationalmemory;therapidadvanceoftechnologies
ofmemory;panicoverdecliningpowersofmemory,whichmirrorsourfascinationwiththe
possibilitiesofmemoryenhancement;andthedevelopmentoftraumanarrativesinreshap-
ingthepast.
Thesefactorshavecontributedtoanintensificationofpublicdiscoursesonourpastoverthe
lastthirtyyears.Technological,political,interpersonal,socialandculturalshiftsaffectwhat,
howandwhypeopleandsocietiesrememberandforget.Thisgroundbreakingseriestackles
questionssuchas:Whatis‘memory’undertheseconditions?Whatareitsprospects,and
alsotheprospectsforitsinterdisciplinaryandsystematicstudy?Whataretheconceptual,
theoreticalandmethodologicaltoolsforitsinvestigationandillumination?
SilkeArnold-deSimine
MEDIATINGMEMORYINTHEMUSEUM
Empathy,Trauma,Nostalgia
RebeccaBramall
THECULTURALPOLITICSOFAUSTERITY
PastandPresentinAustereTimes
IritDekel
MEDIATIONATTHEHOLOCAUSTMEMORIALINBERLIN
AnneFuchs
AFTERTHEDRESDENBOMBING
PathwaysofMemory1945tothePresent
IrialGlynnandJ.OlafKleist(editors)
HISTORY,MEMORYANDMIGRATION
PerceptionsofthePastandthePoliticsofIncorporation
AndreaHajek
NEGOTIATINGMEMORIESOFPROTESTINWESTERNEUROPE
TheCaseofItaly
AmyHoldsworth
TELEVISION,MEMORYANDNOSTALGIA
JasonJames
PRESERVATIONANDNATIONALBELONGINGINEASTERNGERMANY
HeritageFetishismandRedeemingGermanness
SaraJones
THEMEDIAOFTESTOMONY
RememberingtheEastGermanStasiintheBerlinRepublic
EmilyKeightleyandMichaelPickering
THEMNEMONICIMAGINATION
RememberingasCreativePractice
AmandaLagerkvist
MEDIAANDMEMORYINNEWSHANGHAI
WesternPerformancesofFuturesPast
PhilipLeeandPradipNinanThomas(editors)
PUBLICMEMORY,PUBLICMEDIAANDTHEPOLITICSOFJUSTICE
EricaLehrer,CynthiaE.MiltonandMonicaEileenPatterson(editors)
CURATINGDIFFICULTKNOWLEDGE
ViolentPastsinPublicPlaces
OrenMeyers,EyalZandbergandMottiNeiger
COMMUNICATINGAWE
Media,MemoryandHolocaustCommemoration
AnneMarieMonchamp
AUTOBIOGRAPHICALMEMORYINANABORIGINALAUSTRALIANCOMMUNITY
Culture,PlaceandNarrative
MottiNeiger,OrenMeyersandEyalZandberg(editors)
ONMEDIAMEMORY
CollectiveMemoryinaNewMediaAge
KatharinaNiemeyer(editor)
MEDIAANDNOSTALGIA
YearningforthePast,PresentandFuture
MargaritaSaona
MEMORYMATTERSINTRANSITIONALPERU
AnnaSaundersandDebbiePinfold(editors)
REMEMBERINGANDRETHINKINGTHEGDR
MultiplePerspectivesandPluralAuthenticities
V.Seidler
REMEMBERINGDIANA
CulturalMemoryandtheReinventionofAuthority
BryoniTrezise
PERFORMINGFEELINGINCULTURESOFMEMORY
EvelynB.TribbleandNicholasKeene
COGNITIVEECOLOGIESANDTHEHISTORYOFREMEMBERING
Religion,EducationandMemoryinEarlyModernEngland
BarbieZelizerandKerenTenenboim-Weinblatt(editors)
JOURNALISMANDMEMORY
PalgraveMacmillanMemoryStudies
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Media and Nostalgia
Yearning for the Past, Present and Future
Editedby
Katharina Niemeyer
TheFrenchPressInstitute/CARISM,Pantheon-AssasUniversity,Paris2,France
Introduction,selectionandeditorialmatter©KatharinaNiemeyer2014
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Contents
ListofFigures vii
Acknowledgements viii
NotesonContributors ix
Introduction:MediaandNostalgia 1
KatharinaNiemeyer
Part I AnalogueNostalgias
1 AnalogueNostalgiaandtheAestheticsof
DigitalRemediation 27
DominikSchrey
2 HomesickforAgedHomeMovies:WhyDoWeShoot
ContemporaryFamilyVideosinOld-FashionedWays? 39
GiuseppinaSapio
3 TheInstantPast:NostalgiaandDigitalRetroPhotography 51
GilBartholeyns
4 Retromania:CrisisoftheProgressiveIdealand
PopMusicSpectrality 70
MaëlGuesdonandPhilippeLeGuern
Part II ExploitedNostalgias
5 RetrotypingandtheMarketingofNostalgia 83
MichaelPickeringandEmilyKeightley
6 Anti-nostalgiainCitroën’sAdvertisingCampaign 95
EmmanuelleFantin
7 NetworksasMediaforNostalgiainan
OrganisationalContext 105
ThibautBardon,EmmanuelJosserandandFlorenceVillesèche
8 MediaandtheClosureoftheMemoryBoom 118
AndrewHoskins
v
vi Contents
Part III ScreenedNostalgias
9 NostalgiaIsNotWhatItUsedtoBe:SerialNostalgiaand
NostalgicTelevisionSeries 129
KatharinaNiemeyerandDanielaWentz
10 AMC’sMadMenandthePoliticsofNostalgia 139
DavidPierson
11 TheTelevisionChannelARTEasaTimeMachineand
MatrixforEuropeanIdentity 152
AlineHartemann
12 Nostalgia,TintedMemoriesandCinematic
Historiography:OnOttoPreminger’s
BonjourTristesse(1958) 160
UteHoll
Part IV CreativeNostalgias
13 CreativeNostalgiaforanImaginedBetterFuture:Iltreno
delSudbytheMigrantFilmmakerAlvaroBizzarri 179
MorenaLaBarba
14 NostalgiaandPostcolonialUtopiainSenghor’sNégritude 191
NadiaYalaKisukidi
15 ImpossibleNostalgia 203
ItzhakGoldberg
16 JourneysthroughthePast:Contempt,Nostalgia,Enigma 212
JohnPotts
PoeticTransferofa(Serious)Situation 223
MarineBaudrillard
Index 229
Figures
3.1 Theappsreplicatethelookproducedbyoldtechnical
processes.Theyrevealthematerialityofphotographs
andhowimagesage 53
3.2 LittleTrippingNostalgiabyVladLunin,27
December2010 56
3.3 ScreenshotofthelistofWeHeartIt.com,3May2013 57
3.4 Coversandanaloguesimulationsofolddigitalphotos.
Topandbottom:Gak,halfwayupMtMcKaycircatheearly
1980’s,18February2011,byGaryA.K.;Cousins,26
April2010,byAnneH. 59
3.5 Tophotographancientartefactsandenvironments,to
disclosetheirhistoricity.Topandbottom:Coastaldrive,
10October2012;TheAllure.Vintagephotoboothvendor
attheSanBernardinoCountyFair,5May2011 61
3.6 Restoringthevisualaestheticsoftheirtimetothings.
Topandbottom:Gotthedeckhookedup,10July2011,by
JohnCommon;NostalgiainSnow,5January2011,by
TanjaTaube 63
3.7 Thevirtualmaterialityofcamerasandfilms.‘Pastmeets
presentmeetsyou’ 64
3.8 Betweenthesubjectmatterandourselves:the
‘image’.Arcana1996/2008,Cambridge,March1992
byJoachimSchmid 66
5.1 Hovisprintadfrom1993:‘SundayBest’ 84
12.1 DirectgazeofSebergintothecamera(Bonjour
Tristesse,screenshot) 168
16.1 InstallationView:ThomasDemand,‘TheDailyies’,
KaldorPublicArtProject25,Sydney,2012.Photo:
KaldorPublicArtProjects/PaulGreen(caption1) 221
16.2 InstallationView:ThomasDemand,‘TheDailyies’,
KaldorPublicArtProject25,Sydney,2012.Photo:
KaldorPublicArtProjects/PaulGreen(caption2) 221
vii
Acknowledgements
In the winter of 2011, I was sitting with Céline and Olivier in a living
roomsomewhereinQuebecandourconversationswerefilledwithnos-
talgicthoughtsofpasttimesanddistantplaces.Webegantalkingabout
theincredibleboomoftheselongingsinmedia,andthatveryevening
Idecidedtoorganiseaninternationalconferenceonthetopic.Iteven-
tually took place in September of the following year at the University
of Geneva under the name ‘Flashbacks – Nostalgic Media and Other
Mediated Forms of Nostalgia’. Most of the chapters in this volume are
basedonpapersfromtheconference.Iwouldthusliketofirstthankthe
Faculty of Economic and Social Sciences, especially the Dean, Bernard
Morard;theAdministrativeCommissionandtheInstituteforCommu-
nication, Media and Journalism Studies at the University of Geneva,
as well as the Swiss National Science Foundation for their support.
ThanksalsogotomyformercolleaguesPatrickAmey,Marie-Antoinette
Belloccio, Luc Gauthier, Chloé Rosselet, Sandra Zanelli and Virginie
Zimmerli, as well as to my former students for their intellectual and
organisational assistance. I am grateful to each of the contributors to
this book for their passionate and reflective work on media and nos-
talgia, and many thanks to Marine Baudrillard for ‘the letter’, Emilie
Camacho for dancing thoughts and Marlène Dorgny for the cover pic-
ture. I am indebted to Felicity Plester, Chris Penfold and the staff of
Palgrave Macmillan for their extraordinarily professional help in pro-
ducingthisbook.IwouldalsoliketothankAndrewHoskinsandJohn
Sutton, the editors of the Palgrave Macmillan Memory Studies Series,
aswellasthereviewersfortheirinterestandconfidenceintheproject.
I express my gratitude to all translators and correctors of the chapters,
JaneLinekarforherhelpconcerningthebookproposal,andespecially
PeterClayburnforhisthoughtfulworkcorrectingtheIntroductionand
severalchapters.Iwouldalsoliketothankmystudentsandcolleagues
attheFrenchPressInstitute(Pantheon-AssasUniversity,Paris2)forthe
many lively and rather controversial discussions on the topic. Lastly,
thankyouDaniela,foryourendlesssupportandhelpfulcritiques.This
volume is dedicated to my beloved grandparents, to my parents, to
Kerstinforthereasonssheknowsand,lastbutnotleast,toOlivierwho
isalwaysonmyside.
viii
Contributors
Thibaut Bardon is an assistant professor and head of the consulting
majoratAudenciaNantesSchoolofManagement,France.Hereceiveda
PhDdoublediplomafromtheUniversityofGeneva,HEC,Switzerland,
andUniversitéParis-Dauphine,DRM-CREPA,France.Hismainresearch
interests are identity, management practices and epistemology, from a
critical and post-structuralist perspective. His work has been published
inOrganisationandM@n@gement.
Gil Bartholeyns holds the chair in visual culture studies at the Uni-
versity Lille III, France. He has received degrees and held positions at
theuniversitiesofBrusselsandOxford,theÉcoledesHautesÉtudesen
Sciences Sociales and the Musée du Quai Branly in Paris. After work-
ing on the visual construction of medieval society, he has focused on
issues of materiality, the value of objects and norms of visual produc-
tion in pre-industrial Europe. Regarding images, his work explores the
anthropological aspects of their efficacy. His research encompasses the
representations and uses of the past in the visual arts and scientific
discourse. He is a member of the editorial boards of Techniques & Cul-
ture, Civilisations, EditionsPapiers.org and CultureVisuelle.org. He has
authoredorco-editedImageetTransgressionauMoyenÂge(2008),LaPer-
formance des Images (2010), ‘Les Apparences de l’Homme’ (Civilisations,
59/2,2011)andCulturesmatérielles,uneAnthologie(2011,2vols).
Marine Baudrillard is Jean Baudrillard’s wife. In 2009 she created
the association Cool Memories, Jean Baudrillard’s Friends (http://
coolmemories.fr/),anassociationthataimsatcontributingtothedevel-
opment and transmission of Jean Baudrillard’s work in France and
elsewhere. Marine Baudrillard organises conferences that explore the
philosopher’s work. In 2012, the association participated in a confer-
ence in Nankin (13–14 October, International Seminar on Studies of
Baudrillard,NanjingUniversity).Sherecentlyintroducedseveralexhibi-
tionsdedicatedtoJeanBaudrillard’sphotographicworkinChina(Times
Museum of Canton, CAFA Art Museum of Peking, Tap Seac Gallery in
Macao) and organised a one-day conference at the National Library of
France(BNF)inParis(November2013).
ix