In Flickers of Film: Nostalgia in the Time of Digital Cinema, Sperb implies that the kind of nostalgia displayed in films today no longer focuses solely on a longing for the past but rather, how corporations utilise the cost-efficient advancements in digital technology, and how this is used to progress into a more sustainable and economic future. Cross also theorises a similar interpretation of how nostalgia has evolved in Consumed Nostalgia: Memory in the Age of Fast Capitalism. Rather than longing for a personal connection to the past, pop culture and the consumerist outlook plays a larger role in enhancing certain emotional responses as many people's childhoods were incredibly commercialised.
Sperb also discusses how by making certain aesthetic choices and looking into certain trademarks of the past, we can manipulate the audience's reactions while still focusing on making a profit and producing sustainable and effective pieces of art. Jordan Mintzer praises Mike Mort on this in his film review of Chuck Steel: Night of the Trampires as he comments on how Mort has looked back at pop culture from his own childhood and as he remains faithful to the source material by featuring clichés and certain recognisable aesthetic choices from the films he grew up with, he is able to capture this sense of commercialised nostalgia.
I found this task quite difficult as I often needed to reword certain parts so that it wasn't from a first person perspective and was instead more objective. I also struggled with keeping it under the word limit which meant I had to remove a couple paragraphs.
No comments:
Post a Comment