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physical displacement. Nostalgia, from the Greek nostos (return home) and algia (longing), is an important dimension of the production of Afro-Caribbean identity and community. Nostalgia, once portrayed as a private, pathological, physical illness characteristic of those forced from their homes or unable to return to them (i.e., soldiers, slaves and refugees), evolved to be considered a normal

in Sport in the Black Atlantic
Cricket, Canada and the Caribbean diaspora

This book outlines the ways in which sport helps to create transnational social fields that interconnect migrants dispersed across a region known as the Black Atlantic: England, North America and the Caribbean. Many Caribbean men’s stories about their experiences migrating to Canada, settling in Toronto’s urban and suburban neighbourhoods, finding jobs, returning home for visits, and traveling to other diasporic locations involved some contact with a cricket and social club. The cricket ground brings black Canadians together as a unified community, not only to celebrate their homeland cultures or assuage the pain of the “racial terror” that unifies the Black Atlantic, but also to allay the pain of aging in the diaspora. Players and spectators corporeal practices, post-game activities, sport-related travel, as well as music, food, meetings, fundraisers, parties, and shared stories are analysed in this text as resources deployed to maintain the Black Atlantic, that is, to create deterritorialized communities and racial identities; A close look at what goes on before, during, and after cricket matches provides insights into the contradictions and complexities of Afro-diasporic identity performances, the simultaneous representation of sameness and difference among Afro-Caribbean, African-American, Black British, Indo-Caribbean and South-Asian groups in Canada. This book describes twenty-one months of ethnographic empirical evidence of how black identities are gendered, age-dependent and formed relationally, with boundary making (and crossing) as an active process in multicultural Canada.

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Editor: Paul Grainge

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

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New retro movies in 1990s Hollywood cinema

The most powerful cultural force operating in the seventies was definitely nostalgia . . . it will be impossible, twenty years hence, to revive the seventies; they have no style of their own. (James Monaco) 1

in Memory and popular film
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stardust 149 8 1 Stardust The Atacama Desert … is one place on the planet incredibly full of and alive with traces and footprints. – Patricio Guzmán2 Patricio Guzmán’s film Nostalgia for the Light is set in the Atacama Desert in Chile.3 The immense desert is visible from space: it is the only brown patch on the earth’s surface. It is devoid of moisture, and hence devoid of life: no insects, birds, or vegetation are to be found there. The air is clear – transparent – and that makes the desert an ideal site for astronomers to set up their observatories. Its

in Change and the politics of certainty
Journeys through postmodern Dublin

role to play in our drama and was in Dublin to join, in Bobs in Temple Bar, a group on a stag weekend which had left England two days before. In the taxi, I informed my collaborators of my plans to document our collective experience of postmodern Dublin and outlined my considered approach. I explained that I wished to write on the effects of globalisation on the city in such a manner that I might avoid the usual attitudes and platitudes: a jaded irony; a disaffected nostalgia inversely related to the extent of the experience of modernity; a Marxist superiority. To

in The end of Irish history?
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Street and theatre at the end of Fordism

institutions of the French stage and Bivouac’s boisterous spirit of transgression. More importantly for the current study, these productions reveal that French street theatre’s fraught relationship to Fordist-Taylorist modernity surfaces not only in historiography, but also in performance. At key moments in the emergence of contemporary street theatre, these productions take up the products and by-products of French industrialization and establish complex links to real and imagined pasts. Complex nostalgia: 2CV Théâtre The 2CV theatre is painted to resemble the marble of a

in Street theatre and the production of postindustrial space
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Memory and popular film

nostalgia film’ – his chosen label for the embodiment of postmodern pastiche – a form of evisceration or ‘blank parody’, Dyer holds a more positive view, suggesting a more complex cultural mode that has the potential to be critical and transgressive, but that can also suggest an awareness about the constructed nature of feelings and emotions while allowing them to be experienced and enjoyed. 21 While arriving at different

in Memory and popular film

kinds of political and religious perspectives that he would more boldly and clearly express in later dramas. The purpose of this chapter is to consider the ways that Spenser’s meaning to other satirists changed after his own death, after the Bishops’ Ban, and after the change of monarchs in 1603. Although I focus on changing literary uses of Spenserian indirect satire—for example, the inflection of nostalgia that attaches to Spenserianism in the early seventeenth century—I begin the chapter with an overview of Middleton’s religious and political sympathies over the

in Spenserian satire
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English do not uniformly indulge a patriotic racism and imperial nostalgia or play to persistent racial stereotypes of non-white peoples in England. His conservatism, too, is characterised by deeply conflicted attitudes to liberal principles with respect to racial issues and histories. Notes 1 V. S. Naipaul, ‘Our universal

in West Indian intellectuals in Britain