By Michael D. Dwyer
During the Nineteen Seventies and Eighties, Hollywood studios and list businesses churned out motion pictures, albums, tune movies and promotional fabrics that sought to recapture, revise, and re-imagine the Nineteen Fifties.
Breaking from dominant knowledge that casts the craze as absolutely outlined via Ronald Reagan's politics or the increase of postmodernism, Back to the Fifties finds how Fifties nostalgia from 1973 to 1988 was once used by a number audiences for varied and infrequently competing agendas. motion pictures from American Graffiti to Hairspray and well known tune from Sha Na Na to Michael Jackson formed - and have been formed by way of - the complicated social, political and cultural stipulations of the Reagan period. via heavily analyzing the ways in which "the Fifties" was once remade and recalled, Back to the Fifties explores how cultural stories have been fostered for a iteration of childrens educated by way of pop culture to rewind, list, recycle and replay.
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Additional info for Back to the Fifties: Nostalgia, Hollywood Film, and Popular Music of the Seventies and Eighties
This small moment lets us know that the film is not set in the 1950s, but Reagan’s Fifties. This realization empowers Marty to utilize his Re-Generation knowledge and technological savvy to not only safely navigate the past but ultimately to improve it, enriching his family (and himself) in the process. First, however, Marty must deal with the problems that result from his accidental displacement of his father, George (Crispin Glover), as the object of his mother Lorraine’s (Lea Thompson) erotic desire.
Goldwater was steamrolled in the general election, winning only fifty-two electoral votes. Reagan’s stumping, according to Dallek, “mainly deepened the impression that conservatives were anti-communist paranoids who saw subversives under every rock” and marginalized him among journalists, who dismissed him as “a huffy simpleton with strong ties to the Republican right” (64–65). Goldwater’s landslide defeat in some quarters signaled the end of American conservatism and inspired calls for a more moderate Republican party.
With that understanding, we can recognize and imagine nostalgia’s effects, and affects, operating differently than we typically grant. So let’s begin with this: Back to the Future does not simply champion the Fifties. ” In the film’s construction of a fantasy vision of the Fifties, the historical 1950s are not erased but fixed, in two senses of the term. First, the historical 1950s are repaired, made to more closely represent a vision of a bygone period that embodies particular values perceived to be absent or under threat in the present.
Back to the Fifties: Nostalgia, Hollywood Film, and Popular Music of the Seventies and Eighties by Michael D. Dwyer