Populist Nostalgia in Post-2008 British Film and Television

2008年后英国电影和电视中的民粹主义怀旧

• 批准号: 2597529
• 金额: --
• 依托单位: University of Leicester
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2597529
• 关键词: Populist; Nostalgia; Post; 2008; British

Since the onset of the Global Financial Crisis, there has been an intensification in the nostalgic character of British film and television. Period pieces, historical subject matters, and nostalgic inflections in reality television - whilst not unique to the post-GFC period - have taken centre stage commercially, being of particular interest to audiences and scholars alike. This phenomenon is not unique to commercial media either, as non-mainstream and more radical productions have likewise turned towards nostalgic sentiment. As an affective force, nostalgia encourages us to look backwards in search of answers to the insufficiencies of the present. This search for answers is not exclusive to British film and television but is something felt throughout the neoliberal world. This is exemplified by what Mark Fisher (2014) has called "lost futures" or what Svetlana Boym refers to as "the off-modern" ( 2017), whereby the temporal inertia of neoliberalism - understood more broadly as "the End of History" (Fukuyama, 1992) - forces us to consult with our relationships to the past. Yet whilst this nostalgia has been and remains a ubiquitous topic of academic and intellectual interest, and some strides have taken place towards understanding this post-GFC upswell, its significance in the context of British film and television remains underexplored.As such, this thesis seeks to examine this nostalgic upswell in British film and television in the context of the sociocultural and philosophical dimensions of this post-GFC nostalgic intensification. It reads the intensification as a result of neoliberal crisis, as the contradictions of "capitalist realism" - the rationale that capitalism is the only logical system of socioeconomic governance - are exacerbated through a legacy of recurring crises; of which the GFC is one. It also looks to challenge the idea that nostalgia is fundamentally conservative, as evidenced by radical approaches to nostalgia, but also by arguing how anti-nostalgia only serves to fuel neoliberal crises whilst also existing as a contradictory position. Consequently, this thesis offers three lenses for navigating what I call post-GFC nostalgia: conservative nostalgia, anti-nostalgia, and radical nostalgia. It will engage in three primary case studies - focusing on Downton Abbey (ITV, 2010-2015), The Great British Bake Off (2010-present), and Bait (dir. Mark Jenkin, 2019) - and demonstrate the respective conservative, anti-nostalgic, and radical qualities of their nostalgic utterances. These case studies will also compare the texts both to other examples in post-GFC British film and television and to the pre-GFC - and where appropriate pre-neoliberal - media texts that provide a foundation to this intensification. This thesis' research philosophy is grounded in post-structuralist and anti-neoliberal discourses, taking cues from writers on philosophy and culture such as Mark Fisher, Svetlana Boym, Jacques Derrida, and Fredric Jameson; nostalgia/emotion scholars such as Alistair Bonnett and Sara Ahmed, and media scholars such as Andrew Higson, Pam Cook, and Thomas Elsaesser.

自全球金融危机开始以来，英国电影和电视的怀旧特征一直存在着强度。现实电视中的时期作品，历史主题和怀旧的变化 - 虽然不是GFC后时期所独有的 - 在商业上占据了中心舞台，这对观众和学者都特别感兴趣。这种现象也不是商业媒体所独有的，因为非主流和更激进的作品同样转向了怀旧情绪。作为一种情感力量，怀旧鼓励我们向后看寻找目前不足的答案。这种寻找答案并不是英国电影和电视的独特之处，而是整个新自由主义世界的感觉。马克·费舍尔（Mark Fisher，2014年）称之为“失落的期货”，或者Svetlana Boym称之为“偏离现代”（2017年），这是一个例证，在这种情况下，新自由主义的时间惯性被更广泛地理解为“历史的终结”（福克山，1992年） - 我们与过去的关系进行了协商。然而，尽管这种怀旧一直是并且仍然是一个普遍的学术和智力兴趣的话题，并且在理解这一后GFC之后的表现方面取得了一些进步，但在英国电影和电视的背景下，它的意义仍然不足。因此，本文旨在探讨这一在英国电影和电视上的社会上，并探讨了这种怀念性的态度，并涉及社会上的社会上的态度。怀旧强化。由于“资本主义现实主义”的矛盾，这是由于反复危机的遗产而加剧了“资本主义现实主义”的矛盾，因此它读了由于“资本主义现实主义”的矛盾，这是新自由主义的危机的强化，即资本主义是唯一的社会经济治理体系的理由。其中全球金融危机是其中之一。它也似乎挑战了怀旧的观念，这在根本上是保守的，这是对怀旧的激进方法证明的，而且还通过争论抗怀旧性如何仅供新自由主义危机造成新自由主义危机，而同时也是一种矛盾的立场。因此，本论文提供了三种镜头，用于导航我所说的GFC后怀旧：保守的怀旧，抗怀旧和激进的怀旧。它将参与三个主要案例研究 - 重点关注唐顿修道院（ITV，2010-2015），《大英国烘焙》（2010年至今）和诱饵（Dir。MarkJenkin，2019年） - 并展示了各自的保守，抗抗态性的和自然的质量。这些案例研究还将将文本与GFC后英国电影和电视和GFC的其他示例进行比较，以及在适当的neoliberal-Neoliberal-媒体文本的情况下，这些文本为这种强化提供了基础。该论文的研究哲学基于后结构主义和反自由主义的话语，从作者那里得到了关于哲学和文化的提示，例如马克·费舍尔，斯维特拉纳·博伊姆，雅克·德里达和弗雷德里克·詹姆森。怀旧/情感学者，例如Alistair Bonnett和Sara Ahmed，以及Andrew Higson，Pam Cook和Thomas Elsaesser等媒体学者。