Nostalgia, as has long been recognized, can have a powerful impact on the construction and reception of screen texts (e.g., Boym, 2001; Cardwell, 2002; Cook, 2005; Higson, 1993, 2003; Monk and Sargeant, 2002). Closely linked to the processes of memory production, it has become an important way of analysing the way in which representations of the past assume historically and nationally specific functions. While often associated with a kind of cultural conservatism, nostalgia has also been recognized as a legitimate part of historical narratives and an integral aspect of the act of remembering. As such, different ways of analysing its impact on British primetime television have emerged, going beyond its often-discussed manifestation in the heritage film and incorporating the many different forms in which representations of the past and history appear on the screen, as well as programmes that deliberately play with a nostalgia for television as a medium. These programmes1 often explicitly play with notions of personal and public memory and nostalgia in ways which contextualize them not only historically and culturally but also institutionally through a deliberate address and meshing of private memory and a more public sense of collective remembered experience (e.g., Holdsworth, 2008, pp. 137-44).
Kleinecke-Bates, I. (2010). Flog it!: nostalgia and lifestyle on British daytime television. In E. Bell, & A. Gray (Eds.), Televising History : Mediating the Past in Postwar Europe (221-233). London: Palgrave Macmillan. https://doi.org/10.1057/9780230277205_16