Vår samtid genomgår stora förändring i allt från digitalisering till klimatpåverkan och ett resultat av detta är vår längtan efter att få uppleva och ta del av innehåll som påminner oss om en svunnen tid. Nostalgiska inslag finns i många delar av vårt samhälle och denna uppsats undersöker hur ett tidigare decennium representeras i en samtida medieprodukt och bidrar till en nostalgisk upplevelse. Idag finns det en förkärlek till en 80-talsnostalgi vilket blir synligt i många nyproducerade filmer och serier. I uppsatsen analyseras hur man i serien Sex Education (2019-2020) har valt att representera 80-talet i en samtida kontext för att skapa en nostalgisk effekt hos mottagaren. Vidare blir effekten av att blanda ett nostalgiskt grepp (nostalgisk mise-en-scene, musik och genrerefenser) med ett nutidsgrepp (den moderna gestaltningen av tematiken) att dessa kontraster skapar en friktion som väcker tittarens intresse. I uppsatsen tillämpas kvalitativ filmanalys, baserad på en kategoriserande modell, på estetik och tematik i serien Sex Education. Syftet är påvisa seriens nostalgiska inslag och belysa hur de skapas. / Our present time is experiencing a major change in everything from digitalisation to climate change, and one result of this is our longing to experience and share content that reminds us of another time. Nostalgic elements can be seen in many parts of our society and this essay examines how a past decade is represented in a modern media product and the nostalgic experience it generates. Today, there is a love for '80s nostalgia, which becomes visible in many newly produced films and series. The thesis is based on analyzing how the series Sex Education (2019-2020) has chosen to represent the 80s in a contemporary context to create a nostalgic effect on the recipient. Furthermore, the effect of mixing a nostalgic grip (nostalgic mise-en-scene, music and genre references) with a contemporary grip (the modern form of the theme) is that it creates contrasts which causes a friction that arouses the viewer's interest. The thesis applies qualitative film analysis, based on a categorizing model, to aesthetics and themes in the series Sex Education. The purpose is to demonstrate the series' nostalgic features and highlight how they are created.

Nostalgia for the Soviet past has been relevant for more than three decades since the demise of the USSR in 1991. The first scholars who studied this phenomenon believed that it related to backward Soviet mentality typical of the old generations. However, with the passage of time it has become clear that young people also not only express interest in the Soviet legacy, but many of them clearly state that they have nostalgia for the USSR. Here, we encounter an intriguing question: can we contend that nostalgia may be provoked by the live experience only, or it can be a longing for the unexperienced past? Nowadays, there are many online nostalgic Russian-speaking communities that provide rich material for studying post-Soviet nostalgia. But Russian language should not be confused with “Russianness”. Moreover, as we go deeper into this topic, we understand that those people who are nostalgic for the USSR, experience longing for different aspects of the Soviet life, depending on their ethnic belonging. This study addresses the difference between Russians who long for the grandeur of the Soviet Union which was the most powerful and effective embodiment of the Russian empire, and the representatives of other nationalities who have another perspective on their Soviet past. This thesis deals a lot with the issue of values, because, as it is shown in the research, longing for socialism is not a matter of age, but rather a matter of values. The most essential point which is recalled by many nostalgic persons is aspiration for the future. Now Russia and other post-Soviet countries do not have a clear plan for the future, while the USSR provided its population with a goal for future development. On the other hand, many nostalgic subjects admit, that a unique spirituality that was embedded in Soviet life is lost. It is another paradox, because the Soviet state was atheist, and now in Russia and other former Soviet republics, religion plays a significant role, however, the decrease of morals in comparison to Soviet times is apparent. Therefore, this thesis discusses compatibility of Communist (socialist) values and religion. Many nostalgic subjects feel that the USSR was a bastion of science and technological advancement in comparison to the backward obscurantist Russia of today. They mourn the downfall of the USSR as a failed project of modernity. This is another important topic that is addressed in the thesis. This study is based on online ethnographies of a few nostalgic communities on three Russian-speaking internet platforms: VKontakte, Odnoklassniki and Facebook. Initially, the focus of the study was on a group level of analysis, but the most valuable portion of this project turned out to be interviews conducted with individual participants of the studied communities. The research participants were from the following countries: Belarus, Latvia, Lithuania, Moldova, Russian and Ukraine. The task of this research was to understand the nature of their nostalgia and to reveal their visions of the to-be-restored USSR. Depending on their worldviews (socialist/ non-socialist, nationalist/internationalist) the research participants provided very different and instructive pictures of this new potential unity which the researcher approached from the perspective of Benedict Anderson’s theory on imagined communities.

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WEAVING PAST INTO PRESENT revolves around contradictory feelings towards, on the one hand, the lure of a mythic past, and on the other hand its absurdity and potential danger. This is done by stating that craft and weaving is inherently conservative, closely connected to nostalgia and claimed as something more authentic and pristine. In continuation used in the creation of an idealized and romanticized past generating a separation between an “us and them”. These problems are created by the main quest and question of this work, to weave the past into present and then ask; which past is woven into the present presence of the tapestries? The paper then continues to describe the methods and considerations used and made in this time-translation. Looking at the sketch and the collage as ways of materializing and enmeshing the transient flow of time through cacophonies of ephemera and threads. Concluding that I, just as the ones creating mythic pasts, am not weaving a past at all. But merely weaving a sketch trying to highlight the feeling and fear of loss apparent today in encountering the accelerated present, the eerie future, and the desirable progressive changes towards equality / WEAVING PAST INTO PRESENT rör sig kring motsägelsefulla känslor gentemot å ena sidan, lockelsen i ett mytiskt förflutet, och å andra sidan dess absurditet och potentiella fara. Detta görs genom att påstå att konsthantverk och vävning i sig är konservativt, nära kopplat till nostalgi och ansett som något mer autentiskt och ursprungligt. Fortsättningsvis används det i skapandet av ett idealiserat och romantiserat förflutet som skapar en separation mellan ett “vi och dom”. Dessa problem har uppstått tillsammans med arbetets huvudsakliga mål och frågeställning, att väva det förflutna in i nuet och fråga sig; vilket förflutet är det som vävs till den nuvarande närvaron av bildvävarna?  Uppsatsen fortsätter sedan med att beskriva de metoder och överväganden som använts och gjorts i denna tidsöversättning. Genom att betrakta skissen och collaget som sätt att materialisera och sammanfoga tidens förgängliga flöde genom kakofonier av det efemära och trådar. Slutfattningsvis att jag, precis som de som skapar mytiska förflutna, inte alls väver ett förflutet. Utan bara väver en skiss som försöker belysa den känsla och rädsla för förlust som är uppenbar idag i mötet med det accelererande nuet, den kusliga framtiden och de önskvärda progressiva förändringarna mot jämlikhet.

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In March 2020, Tom Hanks announced he had contracted COVID-19 while shooting the Elvis Presley Biopic in Australia. On Instagram, he encouraged fans to take the disease seriously and be aware of how severe of a disease it was. Character brands and nostalgia have been found to foster trust in products and encourage relationships with those brands. Using the lens of nostalgia and uses and gratification to examine Tom Hanks as a character brand, the researcher analyzed five blockbuster films with Tom Hanks as the lead character. The study used narrative thematic analysis to observe Hanks and the depictions of character identity, trauma, mortality, affectional emotion, memory, and catharsis in these films. The goal was to better understand how nostalgia might contribute to brand trust between the audience and the celebrity.

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