Nostalgia is a hell of a marketing technique. It, as a concept, can be sufficiently disaggregated so that each person’s experience is both universal and personal. Lots of new media relies on the unreachable past. There exists, as I’ve written about before, a term called sonder, which means nostalgia for a time not one’s own. Midnight in Paris captures this feeling to the letter, and commodifies it so that its message can be bought and sold by the very people it aims to placate with dreams of subservience to the artistes de La Belle Époque. Nostalgia is also overwhelming. Instead of inspiration, nostalgic media inspires selective memory, further confusing past narratives. Drowning in nostalgia is akin to a drug-induced coma. Here’s the trick for those who insist on capitalizing on it: rinse and repeat. People will become nostalgic of their own nostalgia.
That’s where, in 1973, George Lucas sold middle-aged Boomers on a “better” time, some ten years earlier, before fake war and realpolitik took generations of Americans to dirt futures. The concept is bizarre, because presumably these very Boomers lived this era, perhaps not as wantonly as the four underdeveloped kids, but they very much existed and had formed their own memories of 1962. Remember, 1962 was the apex year of postwar prosperity for an average American kid. The question for Lucas and his producer, somehow Francis Ford Coppola, is not what they should write the movie about, it’s who is this movie for, exactly? Was it a dopamine insult for Americans who couldn’t stand having family and friends napalming Cambodians and systematically picked off near Hanoi? Was a movie going to suddenly placate the hippies? The answer, in short, is totally, absolutely, and exactly. Here’s a mind-blowing number: in 2019 dollars American Graffiti would have made $800 million on a budget of just over $4 million. This movie made an overwhelming amount of money selling a truly empty version of American Life. Continue reading