Happy Days is an interesting point of comparison, but I'm not sure "twee" is quite the right descriptor for that particular pre-packaged nostalgia trip. Ditto for "Grease." Camp, I think, is more like it.
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When I think of venerable twee, it's stuff that Wes Anderson himself valorizes, J.D. Salinger and E.B. White and A.A. Milne and other people named [Initial] [Initial] [WASP-y Last Name].
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Anderson traffics in nostalgia for that sensibility.
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Replying to @SWGoldman @HeerJeet
Clearly -- so you're not the audience. But nostalgia can also be a powerful force for diminishment. What looks to you like a loving tribute may look to a more critical eye like parody.
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Replying to @BloggerGideon @SWGoldman
I think there's a continuum between parody, pastiche, and camp. There's a type of nostalgic art that can be charged with critique (Philip Guston or Crumb, say) as well as nostalgia that is just wallowing in lost pleasures.
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Replying to @HeerJeet @SWGoldman
Not sure I agree that it’s a continuum, precisely, but I think I get the distinction you’re drawing.
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Nostalgia is all about loss, though, which is why I find second-hand nostalgia—lovingly recalling something lost that in fact you never knew—particularly irksome.
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Since my critical work increasingly revolves around our relationship with art of the past (recently: https://isi.org/modern-age/green-shoots-on-stage-and-screen-or-not/ …, earlier: https://isi.org/modern-age/possessed-by-the-past/ …), I should probably try to think more systematically about the question, but I’ve never been much of a theory-builder.
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On the theory front, Benjamin and Jameson (in his post-modernism essays) are both great theorists of nostalgia and its various forms.
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