nostalgia
ICA
2024
Table of contents
COLOFON
PREFACE
ONCE UPON A TIME, THERE WAS A GAME
DREAMING OF GHOSTS:
A QUICK DIP INTO PIXEL POWERS
BITS OF THE SELF
NOSTALGIA- DRIVEN CONSUMER CHOICES
NOSTALGIA MARKETING
NOSTALGIA AND FOOD
MEET THE TEAM
BIBLIOGRAPHY
Colofon
Text editors Iulia Lazăr
Media editors Yuvan Gupta
Editor in Chief Iulia Lazăr
External authors
Frank Bosman, Tim Wulf, Nicholas D. Bowman, Zoë Anne Laks, Wanzhou Wu, Christian Dam, Viki Conner
The editors reserve the right to shorten and edit articles or not to post them. Acquisition of (parts of) articles is only permitted after consultation with the editors.
The ICA (Institute for Cultural Anthropology) is the semi-scientific journal of Itiwana, study association Cultural Anthropology and Development Sociology at the Leiden University. The ICA appears twice a year.
Preface
For many years, I believed (and still do) that nostalgia is one of the main aspects of life that brings us happiness. Of course, it's a happiness of the bittersweet kind, but it is still a source of comfort, melancholy and longing.
But through the articles of this lovely edition, we can see that nostalgia is a factor that can be analyzed, used, and is ever-present in the media we consume or the things we buy. Therefore, I feel like its presence is even more embedded in our daily lives than we think it is. And it can bring us not only happiness, but a multitude of feelings and experiences.
So, if any of this piques your interest, I invite you to give this edition a read, and I hope you enjoy it!
Iulia Lazar
Iulia is a third year student of Cultural Anthropology and the Secretary of the current Itiwana board. When she’s not working on study association related things, she enjoys reading, skating, hanging out with friends and exploring nature.
Once upon a time, there was a game…
On video game nostalgia
Frank G. Bosman
Video game nostalgia is officially a thing. Older players remember fondly and long for the ‘good old days’ of the Commodore, Atari, and NES games. A younger generation discover these ‘vintage games’ as playable historical curiosa. Frank Bosman is a video game theologian, who recently published on ‘video game romanticism’. Especially for us he dives deeper into the whole phenomenon.
In October 2022, while visiting some old friends in Mere, UK, they took me holiday shopping at the local B&M Bargains. B&M Bargains is one of those British megastores whose inventory precariously follows the seasons and some other unidentifiable criteria known only to its management. As I browsed through the various Christmas cards and USB cables, I stumbled upon two very peculiar keyrings: miniature versions of an old GameBoy-like handheld console, offering either Tetris or Pac-Man.
The Tetris keyring promised ‘original sounds’ and ‘original gameplay,’ while both games' boxes displayed monochromatic gameplay screenshots. The choice of these games, one from 1984 and the other from 1980, paired with the adjective ‘original,’ seemed aimed at adult customers seeking a nostalgic trip down memory lane. It's hard to imagine younger generations, accustomed to the superior gameplay and aesthetics of 21st-century games
Caption: Keyrings with a Tetris (1984) or Pac-Man (1980) game, produced by Fizz Creations GMBH. Photo credit: Frank G. Bosman.
The Tetris keyring promised ‘original sounds’ and ‘original gameplay,’ while both games' boxes displayed monochromatic gameplay screenshots. The choice of these games, one from 1984 and the other from 1980, paired with the adjective ‘original,’ seemed aimed at adult customers seeking a nostalgic trip down memory lane. It's hard to imagine younger generations, accustomed to the superior gameplay and aesthetics of 21st-century games like Horizon Zero Dawn (Guerrilla Games, 2017) or Red Dead Redemption 2 (Rockstar Studios, 2018), being enticed by a cheap knock-off of a decades-old device and its games.
Video game romanticism
Nevertheless, the ‘old’ is ‘in’ again. Take for example the emerge of the ‘boomer shooter’ sub genre, retro FPS games styled after ‘90s classics, appealing mainly to older gamers who nostalgically remember industry milestones like Wolfenstein 3D (id Software, 1992), Doom (id Software, 1993), and Quake (id Software, 1996). Notably, the first two have been rebooted as Wolfenstein: The New Order (MachineGames, 2014) and Doom (id Software, 2016). Other examples of boomer shooters include Ion Fury (Voidpoint, 2019), Project Warlord (Buckshot Software, 2018), and Nightmare Reaper (Blazing Bit Games, 2022).
These games are part of a relatively new phenomenon labelled ‘game nostalgia’ or ‘retro gaming.’ This phenomenon is naturally recent, given the relatively young age of the video game medium. Considering that many adult gamers began playing as children or adolescents in the late 1970s and early 1980s, it was only in the late 2000s and early 2010s that they reached an age where nostalgia for their childhood games could develop. However, the appreciation for older games and their aesthetics isn't limited to older players; younger gamers also enjoy retro-style, pixelated games like Shovel Knight (Yacht Club Games, 2014), The Binding of Isaac (Edmund McMillen, 2011), and Broforce (Free Lives, 2015).
Video game nostalgia is actually to be understood as a kind of video game romanticism. Video game romanticism, as an application of the general understanding of romanticism to the field of video games, is the idealization of the past, presumed technologically inferior but culturally, socially and/or spiritually superior to our time, by means of video games. Older video games are technologically inferior, no one will claim otherwise, but that is not the point of their appeal. Older video games are a remembrance to an (idealized) version of one’s individual and/or collective past, when ‘things were better’.
Retro gaming
This video game romanticism can take several forms: retro gaming, remakes & reboots, vintage play, and game nostalgia in the strict sense of the word. To start with retro gaming, this means the appropriation of older video games’ aesthetics and mechanics into modern games. This isn't about returning to the original 'pixelated' games of the NES 8-bit or the Sega Genesis – whether on native consoles or through emulators – but rather about reusing the look and feel of those games in new releases. As mentioned earlier, Shovel Knight, The Binding of Isaac, and Broforce.
Historically, early games were played in arcades in the 1970s, where players were encouraged to spend as many coins as possible on machines, and where technological and practical limitations prevented saving game progress. Later, in the 1980s, games transitioned to home consoles, eliminating the financial constraint on the number of attempts and introducing the ability to save progress either through passwords or battery-powered save systems. In recent games, saving is done automatically, removing the need for players to do this manually.
The re-introduction of limited lives or permadeath resembles the old arcade model but, on a deeper level, it is a response by game developers to the demands of hardcore players who seek a challenging environment where every decision matters. While games like Spelunky (Mossmouth, 2008) and The Binding of Isaac (Edmund McMillen, 2011) prominently feature permadeath, other games, particularly in the role-playing genre, such as Diablo 2 (Blizzard North, 2000) and Diablo 3 (Blizzard Team 3, 2012), offer permadeath as an optional, extra-difficult mode
Remakes and Reboots
The second form is that of remakes & reboots. Remakes are the re-publishing of older games on modern platforms, while reboots are the re-imagining of older games in modern games, sharing key ludic and/or narrative elements. Remakes tend to stay closer to their source material, while reboots take more freedom towards their inspiration. Both forms ensure that older games can be played by new audiences by releasing them to modern consoles and pc’s, answering to contemporary computer games’ standards, both visually and technologically.
Examples of remakes include Castlevania. Symphony of the Night (Konami, 1997) from the original PlayStation to Xbox360, PlayStation Portable, and PlayStation 4; Sid Meier's Colonization (MicroProse, 1994) on DOS to Civilization IV: Colonization (Firaxis, 2008) for Windows and Mac OSx; and Day of the Tentacle (LucasArt, 1993) for DOS and Classic Mac OS to Day of the Tentacle Remastered (Double Fine Productions, 2016) on Windows, Mac OSx, PlayStation 4, PlayStation Vita, Linux, and iOS.
Examples of reboots include Tomb Raider (Crystal Dynamic, 2013) re-starting the series with the same name that started in 1996 with an identically named game (Core Design); Wolfenstein. The New Order (MachineGames, 2014) re-kindling the Wolfenstein series that started in 1981 with Castle Wolfenstein (Muse Software); Prince of Persia (Ubisoft, 2008) that re-ignited the series with the same name that – again – started with an identically named game (Broderbund); and the 2013 DmC. Devil May Cry (Ninja Theory) reboot of the Devil May Cry series, started in 2001 (Capcom).
Game Nostalgia
The third of video game romanticism is game nostalgia in the truest sense of the word: the ‘fondly return’ of an older generation of players to the video games of their youth. Especially the wide variety of free and simple-to-us emulators contributed greatly to the realisation of this game nostalgia. Emulators are software (or sometimes also hardware) that enables one computer system (the ‘host’) to behave like another one (the ‘guest’). Versions are available for – among others – NES, SNES, Nintendo 64, GameCube, Wii, Game Boy, PlayStation, PlayStation 2, and PlayStation 3. Usually, a PC is the host for the older video games, but some modern consoles, like Nintendo’s Switch or the PlayStation Classic, also present the possibility to download and play older games.
Of all forms of video game romanticism and its idealization of the past, game nostalgia is the most direct: it involves the fond memories older players have of their gaming history. These players "play" the past they remember, but their reconstruction through video games is still an idealized one. They seek to play old games because of their association with "simpler" times—childhood and adolescence, and the family and friends with whom they shared these games. It is not a desire for a historical reconstruction of the past, but a reimagining of an idealized version of that past.
Vintage Play
The fourth form of video game romanticism is vintage play, the re-appraisal of older video games by modern players. These gamers are too young to have been playing the original games in their appropriate time – since they were not born yet – but nevertheless appreciate the older products for their historical and entertainment values. Again, emulators play a big role in making vintage play possible.
Vintage as a concept is embedded in a larger cultural trend that also incorporates things like vintage clothing, slow cooking, the re-emergence of analogue photo cameras and so forth. Slow gaming and slow cooking, with their longing for 'old-fashioned' and 'authentic' products, are heirs of Romanticism and its idealization of the past. This is vintage, not nostalgia, since most of these slow gamers and cooks do not have personal memories of the past they yearn for; instead, they long for an idealized version of a collective past.
Nostalgia is here to stay. And video games are just one other means by which this is realised.
Of all forms of video game romanticism and its idealization of the past, game nostalgia is the most direct: it involves the fond memories older players have of their gaming history. These players "play" the past they remember, but their reconstruction through video games is still an idealized one. They seek to play old games because of their association with "simpler" times—childhood and adolescence, and the family and friends with whom they shared these games. It is not a desire for a historical reconstruction of the past, but a reimagining of an idealized version of that past.
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Dr. Frank G. Bosman
Dr. Frank G. Bosman is an assisting professor of cultural theology at the Tilburg School of Catholic Theology, the Netherlands. He is specialized in theology, religion, and digital gaming. His recent publications include Gaming and the Divine. A New Systematic Theology of Video Games (Routledge 2019), Video games as art. A communication-oriented perspective on the relationship between gaming and art (together with Archibald van Wieringen, De Gruyter 2022), and Nazi Occultism, Jewish Mysticism, and Christian Theology in the Video Game Series Wolfenstein (Lexington/Fortress 2024).
Assisting professor cultural theology, Faculty of Catholic Theology, Tilburg University, Tilburg, the Netherlands; f.g.bosman@tilburguniversity.edu, www.frankgbosman.nl.
Dreaming of Ghosts:
A Reflection on Spectral Nostalgia
Zoë Anne Laks
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This article explores the spectral qualities of nostalgia through formal analysis of Dracula: Pages from a Virgin’s Diary (Guy Maddin 2002). Through anachronism and fantasy, this kind of nostalgia functions to fracture common-sense perceptions of time as ordered, homogenous, and continuous when we conjure ghosts from our past through our longing for them to be present once more.
If you have ever felt nostalgic, you may have experienced a warm feeling, a pleasant rush, alongside a heartbreaking reminder of what you have lost – a ghost of another time. And indeed, when we are nostalgic, in some sense we conjure ghosts from the past; these ghosts pass between past and present, blending the fantasy of our imaginations with the mundanity of daily life. In this reflection, I offer a meditation on how this spectral quality of nostalgia appears in Guy Maddin’s 2002 film Dracula: Pages from a Virgin’s Diary. This film offers insights on both spectrality and nostalgia in light of Maddin’s preoccupation with the past (both personal and filmic) and his films’ proclivity for linking nostalgia and formal artifice.
I have argued elsewhere that nostalgia derives its power from a dialectic poised between two irreconcilable positions, between the absent then and the present now, in our desire for and acceptance of a past that is impossible to recover. Here I will suggest that the ghostly aspect of nostalgia exposes how our affective experience of time is anything but a homogenous, linear, and forward-facing present, instead being made up of disparate parts joined through imagination and longing. When we allow nostalgia to shape our experience of time, its ghostliness allows an imagined past to inhere in and shape our present, as something promising both the comfort of return (nostos) and the pain of its impossibility (algia). It is in this way that nostalgia’s object (noema) becomes simultaneously absent and present – spectral – in the lived moment. Spectral nostalgia, then, does not smoothly integrate past and present but instead allows a radical splitting to emerge between temporalities, exposing the anachronistic power of nostalgia.
In the case of Dracula specifically, nostalgia inheres both in the form and the spectral figures of the film which hail from “other” times – as simulacra of silent film and folklore – and linger discontinuously in the present. I read the film as nostalgic as a result of its affective treatment of these “other” times: fondness inheres in the film’s homages to the narrative richness of Stoker’s lore, the loving-mocking portrayals of antiquated supernatural beliefs, and the abstract world of dance and dream at play throughout. Each “other” time evokes both the past and the fantastical and thereby join the present through imagination and longing. These are not times anterior to the now, but are instead unreal, absent, and immiscible with respect to our own. In this way, Dracula suggests that we cannot bring a past to which we are nostalgically attached unproblematically into our present, just as we cannot smoothly integrate silent film codes or the ghostly and vampiric into our present without splitting our perception of time as homogeneous and continuous. Through spectral nostalgia the film’s relationship to temporality becomes unmoored and discontinuous, unbound by the ordering logic of history.
Dracula’s Spectral Nostalgic Aesthetics
For those unfamiliar, Dracula: Pages from a Virgin’s Diary is a dance film restaging the Royal Winnipeg Ballet’s adaptation of Bram Stoker’s Dracula. It features familiar characters from Stoker’s lore, iincluding Dr. Van Helsing, Renfield, Lucy, Jonathan Harker, and of course, Dracula himself. The film has an audiovisual quality one might describe as “hazy,” with punctuations of digital ghostliness and a low-budget aesthetic that relies on silent film era codes. This film appears ghostly as a result of its poor-image aesthetics, creeping fog motif, and overall visual haze, as well as through its use of analog techniques hailing from the filmmaking past that literally and figuratively create ghosts in the image. For example, soft-focus (Vaseline) cinematographic filters blur the edges of the film’s frame, conjuring ghosts at the margins of the images and fading the borders of the human figures. The film also uses superimpositions, perhaps most evident in the film’s opening moments as Lucy’s transparent face dances spectrally overtop her dream of ocean waves.
Disclosure statement: This article is a revised version of the unpublished third chapter of the author’s master’s thesis.
In a way reminiscent of Laura Marks’s (1997) “disappearing images” and Lindsey Green Simms’s (2012) spectral affect, these dispersed visuals create a liminal space where past, present, and fantasy can blend into a haunted temporality through nostalgic longing, one that involves both love and loss. The film’s denied visibility in its aesthetics places the film’s events at a remove from us, seemingly beyond our reach, ghostly and separate from the film’s present. This imagery is both spectral and affective, and when this affectivity becomes past-directed, as with Dracula’s many allusions to the cinematic and folkloric past, we see this affectivity expressed as a form of nostalgia, pulled between the allure of the past and its dis-belonging in the present.
Spectral Nostalgia as Temporal Fracture
Dracula is in some ways quite typical of Maddin’s filmmaking, concerned as it so often is with revisiting the past through a sort of nostalgic fondness, especially by relying on the language of silent cinema. However, this film is also quite different in that it does not contain overt autobiographical elements as do his other films (such as his “Me Trilogy”) and so it does not relate its nostalgia to a truthful, indexical past. Instead, the film connects its temporalities through nostalgic longing for a past that never existed, primarily through the way it melds genres and tone, balancing supernatural elements with a melodramatic storyline and ballet performances through its self-reflexive tone, which draws attention to the film’s modern consciousness and critical attitude toward past beliefs. So when Van Helsing tries to ward off Dracula in the film, he does not give Lucy a head or garland of garlic, but instead has her lie on a comically overwrought bed and blanket of garlic that obscures her body completely under the weight of preternatural belief. In this love and mockery, the film does not simply align the past with the lost and inaccessible but instead exposes the filmic past that we may fondly recall as a naïve and simple time as a fantasy; this homage to silent era filmmaking is not in fact referencing a historical past but instead a world of ghosts and vampires, a time of the supernatural which cannot be connected to our own through a linear timeline. In Bliss Cua Lim’s (2009) terms, aspects of the supernatural past appearing within the present result in “calendrically noncoincident, dislocated times and spaces” (169).
The immiscibility of these temporalities also becomes apparent through the film’s aesthetics, which set more modern cinematic techniques alongside those from the era of early cinema, for instance in its use of lighting setups inspired by German Expressionism and 1930s horror and an editing style resembling Eisensteinian montage (Beard 2010, 173, 179-80), while also relying on more modern cinematic techniques. For instance, during the film’s climax, Van Helsing and Dracula are framed in a 360-degree tracking shot that resembles a modern-day action sequence. The film uses black and white cinematography alongside digital colourization in its blazing blood-red droplets that seem to float on the surface of the film, creating a digital-analog hybrid realm similar to the one Shaunak Sen (2014) explores in his investigation into poor images and spectrality in the context of contemporary Hindi horror cinema. The film thereby employs a spectral-nostalgic logic to bring the past (or, the fantasy-past) into conflict with the film’s present, haunted as it is by the generic codes and beliefs from the past even as it makes clear its modern positionality.
Though Dracula is largely silent, its sparing uses of sound similarly serve to evoke heterogeneous spectrality, carrying ghosts from the past that do not comfortably fit the present. The artificiality of this nostalgic connection to the cinematic past is made clear through the characteristically Maddinian sound effects that place their extra-diegetic source too “close” to the surface of the sound, functioning as hyperbolic and artificial as well as visceral. These sounds seem to come from elsewhere as they do from elsewhen, fracturing the construct of the now into a fantasy-bound multiplicity. When characters are decapitated, for instance, the unpleasant squelching that accompanies the action draws attention to the Foley process occurring in the past as well as to the cinematic illusion of the film’s constitutive parts. The disruptive sound effect thereby emphasizes the artificiality of the film’s nostalgia, which pulls the past (associated specifically with early-era filmmaking) into the present. This overt discontinuity thereby links the now to an unspecified then, with these two temporalities occurring simultaneously. In this way, the idea that the present is homogenous and self-contained is exploded through the logic of spectral nostalgia, so that the past becomes revivified within the present in a uniquely appealing and disjunctive way.
Conclusions
Ultimately, Dracula uses a spectral form of nostalgia to make connections to “other” times. In turn, the film invites its audience to take up a nostalgic subject position that reflexively recognizes both our attraction to and acceptance of what has been lost, reminding us that the past we nostalgically long for is also a ghost – a dream or fantasy, not indexical truth. And through this reflexive nostalgia, we may also remind ourselves that the present is a multiplicity, made up of ghosts from the real and non-indexical past alike. Spectral nostalgia works affectively and reflexively to reveal both past and present as spectral, unstable, and heterogeneous; this is what allows access to our dreams of the past, even as it also reminds us that such times are forever lost – ghosts haunting in the inexorable flow of time.
Zoë Anne LakS
Zoë Anne Laks is a doctoral student at Concordia University in Quebec, Canada. Her research has been funded by SSHRC and FRQSC and she is currently completing her dissertation project on ecology and empathy in film and new media. She has worked as editor-in-chief with peer-reviewed journals Cinephile and Synoptique and she has published articles with New Review of Film and Television Studies, Canadian Journal of Film Studies, Cinémas, and Studies in Eastern European Cinema
A quick dip into pixel powers:
A brief immersion into nostalgic gaming experiences and their psychological implications
Tim Wulf
This essay offers a short overview of the evocative phenomenon of nostalgia in video gaming, exploring its definitions, psychological implications, and its impact on well-being. This essay will describe interdisciplinary factors that are meaningful for video game nostalgia such as personal past experiences, game design, and socio-cultural factors. Furthermore, substantial evidence is presented linking nostalgic experiences with psychological well-being, and directions for future research are suggested.
Author note
This essay is a shortened version of an upcoming book chapter. Thus, I would like to thank my co-authors Nicholas David Bowman, Jordan King, and Sarah Hodge for the work we have done together. The full book chapter (in press) will be released under the following citation:
Bowman, N. D., Wulf, T., King, J., & Hodge, S. (in press). “Take eight bits, and call me in the morning:” Video games, well-being, and the psychology of nostalgia. In F. A. Igarzábal, E. Guardiola, C. Johann, & K. Tillmanns (eds.): Video Games and Mental Health: Perspectives of Psychology and Game Design. Bielefeld, Germany.
Video Games as Mental Time Machines
For nearly 60 years, video games have formed a significant aspect of global culture, engaging a staggering number of players and generating substantial economic impact. As an industry that has reached nearly $400 billion in revenue in 2023, gaming is not merely a hobby; it represents a widespread cultural phenomenon (Clement, 2023). Being interactive in addition to other entertainments’ audiovisual nature, video games have a unique ability to foster deep emotional connections, serving as “digital time machines” that transport players back to fond memories of their past (Wulf et al., 2018). Indeed, 90s kids might be able to return to the exact sample places which they have discovered approximately 30 years ago in their youth using the same (or extended) technology today. This evocative power is what makes nostalgia in gaming particularly rich and compelling.
The Nature of Nostalgia
Etymologically, the term "nostalgia" comes from the Greek roots for "homecoming" and "pain," encapsulating the inherent dualities of joy and sorrow that it carries (Sedikides et al., 2015). Defined by current psychological research, nostalgia is a bittersweet emotion that is often triggered by reminiscence of positive experiences from the past. Sedikides et al. (2015) emphasize that nostalgia is not just about longing; it is a multifaceted and fundamentally social emotional experience that can heighten a sense of well-being.
In the context of video games, this emotion plays an essential role. Nostalgia can manifest in two primary forms: personal nostalgia, which arises from an individual’s own memories and experiences, and historical nostalgia, which relates to a collective understanding of a bygone era (Natterer, 2014). Both forms can significantly enhance the gaming experience, making it more personal and multidimensional. The psychological implications of nostalgia in gaming extend beyond mere emotional resonance. Research indicates that nostalgic experiences can significantly contribute to psychological well-being.
Video Games as Nostalgic Experiences
Numerous studies illustrate how video games can trigger nostalgic feelings through various mechanisms. For example, modern versions of classic games, such as Pokémon Go, allow players to reconnect with their childhood memories while playing in a contemporary context (Bonus et al., 2018). These experiences form a bridge between personal histories and the present, enhancing emotional engagement in gameplay. Moreover, game design itself can play a critical role in evoking nostalgia. Titles like The Beatles: Rock Band not only reference past cultural moments but also recreate the stylistic and narrative elements of those eras (Hodson, 2012). This engagement with the past offers players an opportunity to immerse themselves in a stylized version of history, often leading to feelings of nostalgia regardless of their actual experience with the original content.
According to Wulf et al. (2020), nostalgia fosters social connectedness, helping individuals feel more engaged and less isolated. Playing games like World of Warcraft with guild members has shown to reduce loneliness and social anxiety, signifying how gaming can serve as an important social platform (Robinson & Bowman, 2021). Additionally, nostalgia can enhance self-esteem and optimism. When players engage with nostalgic content, they often report higher levels of vitality and self-worth (Wulf & Baldwin, 2020). This connection is tied to the idea that reflecting on past positive experiences can bolster one’s intrinsic self-concept, making nostalgia a powerful tool for self-esteem. Such findings align with the Media-Induced Nostalgia Contributions to Well-Being (MINCoW) model, which posits:
1. Nostalgia directly influences entertainment experiences and outcomes, namely enjoyment and appreciation.
2. Nostalgia contributes directly to well-being through existential, self-oriented, and social functions.
3. Nostalgia indirectly impacts well-being via entertainment outcomes (Wulf et al., 2018).
Despite the extensive history of video games, research specifically focused on nostalgia in this context remains relatively limited. However, there are emerging pathways that emphasize the design of games with nostalgia in mind. For instance, Grainge (2000) discusses the concept of “nostalgic mode,” which refers to recreating the aesthetic and gameplay mechanics associated with earlier video games while introducing new narratives and characters.
Engaging Nostalgia Through Game Mechanics
Indie games have taken this approach to great lengths, with titles like 9 Years of Shadows employing retro aesthetics and gameplay elements that harken back to the 8-bit and 16-bit eras. Such games typically feature pixelated art, chiptune music, and gameplay mechanics that evoke memories of classic games while also providing fresh stories to engage modern audiences (Makai, 2018).
Moreover, exploring how individuals share and create connections to past gaming experiences is another avenue in which nostalgia can flourish. For instance, saved game files and persistent avatars act as digital artifacts that represent a player’s journey. The interest in sharing these files through social media, where individuals discover their parents’ old saved games, highlights the emotional and identity-centric aspects of gaming's legacy (Bowman & Wulf, 2023). Such sharing allows younger generations to understand their parents' gaming histories, thus bridging the gap between past and present.
An important but often overlooked aspect of nostalgic gaming experiences is the sense of place developed within virtual environments. Tuan (1975) argued that familiarity with a location influences emotional attachment, a sentiment that has been echoed in studies of digital spaces. Emerging research highlights that digital locations can evoke similar feelings of nostalgia to that of physical spaces. For instance, Bowman et al. (2020) explored how playing Fallout 76 cultivated a sense of place among players, leading them to develop emotional connections to West Virginia, the state depicted in the game.
Future Perspectives on Nostalgic Gaming
Despite these rich insights, the exploration of nostalgia in gaming is still in its early stages. Research has primarily focused on nostalgia from a psychological angle without fully assessing the broader cultural implications. Future studies could provide deeper insights into how gaming narratives directly influence collective memory and cultural references while also examining how societal shifts impact childhood gaming experiences and nostalgia.
Summarizing this short ride through time and gaming, it becomes evident that nostalgia influences gaming on multiple levels—emotionally, socially, and finally economically. Video games have evolved to become vessels of nostalgia, connecting players with not only their own past experiences but also with the cultural history surrounding gaming. This might be an answer of the question why both, retro games as replicas of past eras’ video games and such games that let players dive into bygone eras such as Assassin’s Creed are still successful on the gaming market. Considering the past and future of gaming, nostalgia plays an important role in shaping player experiences and interactions. Developers, researchers, and players alike should keep this in mind when analyzing trends and effects of game play.
Dr Tim Wulf
Tim Wulf (Ph.D., University of Cologne, Germany) is a researcher at the intersection of media studies, communication science, and psychology. His research interests include media-induced nostalgia, the uses and effects of video games, and persuasion through narrative media and storytelling. After his PhD at the University of Cologne in Germany in 2018, Tim Wulf held a PostDoc position at the Department of Media and Communication at the Ludwig-Maximilians-University in Munich, Germany. In 2021, he was granted the Kyoon Hur Dissertation Award of the Mass Communication Division of the International Communication Association for his research on media-induced nostalgia. Currently, he is working as a Senior Advertising Researcher at RTL Data (RTL Deutschland GmbH).
For more information, see https://www.tim-wulf.de
Bits of the Self:
Quantifying Nostalgia in Video Games
Nicholas David Bowman, PhD
From the first “computer simulations” of the 1960s to persistently online and social digital worlds of today, video games have been a prominent form of media entertainment for more than 60 years. With generations of gamers having engaged the medium, there is renewed focus in understanding the construction of nostalgia from video game play. This essay overviews media psychological approaches to qualifying and quantifying nostalgia, with suggestions for future research.
Introduction
Almost to a person, we can name our favorite video game or game character—and in this, we already glean quite a bit about one’s background. For me, “Sonic the Hedgehog” comes to mind and with that, the console wars of the 1990s in which “more bits” meant “better games.” This was hardly true, but tied up in memories of Sonic include sleepovers with pals, schoolyard rumors about secret cheat codes (many of which turned out to be true), and the day-long Christmas 1992 “Sonic the Hedgehog 2” marathon with my little brother. For gamers reading this essay, they’ve already pegged me as a “geriatric Millennial” who grew up on the Sega Genesis and who’s probably in their 40s. Those readers would be correct.
The serious scholarly study of video games and nostalgia from a media psychology perspective is nascent. Among many reasons for this shift is a recognition that both the medium and the players who engage it have matured; by some estimates, more than 80% of people who use the internet are gamers, inclusive of ages 16 to 65+. The average age of a gamer in the United States is in their 30s, and more than 60% of the population plays on a regular basis. And of course, video games have been the most profitable of media entertainment forms for most of the 21st century (approaching $400B globally).
These numbers also inform the study of gaming nostalgia, because they suggest a medium with a lineage for which to be nostalgic about—to have provided players with bygone experiences that they might long for, and to have formed lasting self-referential memories that inform the Self today. Put simply, engaging those bits and pixels from the past has left traces relevant to identity and well-being today.
Video games as digital time machines
An aspect of video games that is especially compelling is the nature by which one engages their content. As an interactive medium, players are brought directly into the on-screen action as active agents in nearly unchanged digital worlds. Although we cannot recreate the entire experience of playing from our youth, digital worlds present themselves to us as “digital time machines” with on-screen people and places virtually untouched by the passage of time. Unlike engaging with a photograph or memory of the past, video games provide us with perceptually tangible artifacts of our past, from game save files to logs and ledgers of our former selves. When Blizzard Entertainment asked players for their memories of Azeroth via social media, we found that overwhelmingly those players referred to the game’s original release, referencing locations and events nearly 20 years old (Figure 1). Those same place memories were tied to deeper discussions of appreciation for the game’s aesthetic, memories of “epic” boss fights and close interpersonal relationships, and a sense of home within Azeroth’s many locales. Put another way, for a game having gone through at least 10 epic changes, players fondly recall the original. Similar research found that when players revisited WoW Classic in 2019, they also recalled bygone friends and social groups, such as guildmates and raids and other social events and in fact, their sense of place in Azeroth was highest when they recalled these social experiences. Such a finding reinforces the social nature of nostalgia.
Personal and historical nostalgia in video games
The psychological study of nostalgia is typically focused on one’s own memories, but there is growing interest in the concept of historical nostalgia: a sense of longing for experiences far beyond one’s own experience (such as having a nostalgia for “The Roaring 20s” or "The Wild West” in the US). In our studies on nostalgia on college campuses (with generally younger players), we found some evidence that they have formed rather accessible mental models about what they think the good ol’ days of gaming were like. For example, in an experiment where we had people play an emulated version of “Super Mario Bros.” for the NES using different controllers, those using an original NES controller were more likely to talk about a perceived “model matching” between (a) the platformer mechanics on-screen and (b) the older controller in their hands, and we saw this effect for people who had played the game before (personal nostalgia), but also for folks who had not (historical nostalgia).
To follow up, we did another experiment intentionally targeting younger gamers (average age of 21) and used a less recognizable game to maximize a lack of prior exposure in players (“Double Dragon 2). In that study, we found a very compelling interaction effect (Figure 1) in that for people who appreciated the gameplay experience (found it to be personally meaningful), the more they saw themselves as gamers, the more that they felt a sense of historical nostalgia for the video games. Put another way? It seems that there is a relationship between “being a gamer” and “appreciating retrogames” that directly informs how much historical nostalgia that a person feels for a classic video game. One player put it succinctly in that playing this games “makes me feel like I was born in the wrong era.”
Figure 2. Johnson-Neyman distribution of the relationship between perceived gaming self-efficacy (i.e., skill at games) and historical nostalgia, as a function of appreciation. It is only when players feel a sense of meaningfulness from playing a retrogame (vertical line) that they feel historical nostalgia for the content.
Places, parents, placebos, and other prognostications
We have already suggested that intersections between place and people are very key to nostalgic memories in video games and indeed, the study of how people make sense of digital places has gained a lot of attention lately. As recently as a few months ago, we’ve begun to discuss how people construct meaning based on the symbols, purpose, identity, relations, and emotions they attach to places and likely, this will be a key driver of what makes contemporary gaming nostalgic later.
Another enduring finding in the research on nostalgia is the emergent role that family plays in these memories. From players recalling parents and siblings even when not explicitly prompted, we see consistently that people tend to recall people as much as games when they think of bygone gaming experiences—I still recall the participant who remarked (at the end of a study) that: “My dad died when I was 10 so [playing Mario Kart with him] is one of my best memories of him.” Contemporary parents engage video games with their children and in this vein, there are opportunities to understand how these individual gaming events are likely fostering meaningful nostalgic memories for the future. In a sense, we have swung from moral panics that drove children from gaming to modern families actively engaging a globally relevant media past-time.
Conclusion
As video games have aged, so too has their capacity to encourage and inspire personal and historical nostalgia in their players. These feelings of nostalgia are often critiqued as marketing ploys or basal emotional appeals, but the psychology of nostalgia is such that nostalgic memories contribute to our (at least, short-term) sense of well-being and bring us closer together, bit by bit.
Figure 1. Specific references to World of Warcraft expansions by players in response to Blizzard asking via social media, “Which place in WoW do you like going back to just for a visit?” VA = World of Warcraft Classic, commonly called “vanilla.” Other initials represent WoW expansion, in order.
When prompted to recall these memories, research has shown that they serve to temporarily boost subjective well-being. On a sample of nearly 600 adult gamers, Gaming nostalgia was highest for when people were recalling older gaming memories that reminded us of close social others (such as family and friends), and the results of that nostalgia? Short-term increases in self-reported vitality, optimism, and connectedness to other people. When we looked more closely at the content of those memories, nostalgic memories were mostly about childhood (which we expected) but also with a distinct focus on the challenge of older games.
Figure 2. From nearly 25,000 human choices sorting through popular retrogames, players were able to train a machine learning algorithm to find at least 11 unique genres that mostly align with retro genres, such as “puzzle” and “action” and “simulation” games. Which genres do you see in the list below? The complete dataset is online at: https://osf.io/93s8d/
This latter finding was interesting, because is suggests that gamers have a distinct expectation for “retro” games has having mechanics that are seemingly less popular today, such as the all-too-familiar “platform” genre—moving left to right, hopping from one platform to the next, and avoiding the pitfalls (classic Sonic and Mario games fall decidedly into this category). We even tested this proposition with a machine learning task informed by more than 50,000 human pairing between game titles, and found convincingly that while retro games fall into nearly a dozen distinct categories representing distinct gameplay mechanics, modern games clustered into overlapping groups representing an increased hybridization of contemporary games.
Dr Nick Bowman
Nick Bowman (PhD, Michigan State University) is an associate professor in the S.I. Newhouse School of Public Communications at Syracuse University, USA. His research focuses on media psychology, unpacking the cognitive, emotional, physical, and social demands of interactive media. He has published more than 150 manuscripts and presented more than 250 manuscripts at regional, national, and global conferences. He holds faculty positions focused on gaming and interactive media in Canada, Mexico, and Taiwan. His retrogames collection is nearing 500 unique games and artifacts, and he’s always open to buying and trading.
Nostalgia-Driven Consumer Choices:
Emotions and Memories
in Vintage Treasures
Wanzhou Wu
Abstract: The obsession with vintage treasures has sparked an interest in changing consumer tastes. The appeal of nostalgia transcends generations and borders, driving people to embrace relics of the past while technology advances at a rapid pace. This study analyzes the complex relationship between consumer behavior and nostalgia through a literature review, revealing the market significance of vintage items. Nostalgia enhances the appeal of objects from the past by creating an emotional connection between people and them. Marketing has capitalized on the emotional value of vintage items by creating stories that are passed down from generation to generation, limited edition collections, and celebrity collaborations. However, emotional manipulation in marketing poses ethical challenges and requires a balance between authenticity and manipulation.K
Introduction
The preference for vintage treasures has become a topic worth exploring against a backdrop of rapidly changing consumer preferences and needs. Rooted in nostalgia, this trend crosses generational and cultural boundaries, leading people to seek solace in the past amidst modern technological advances. While existing literature has examined the impact of nostalgia on decision-making, emotions, and self-perceptions, there is still a research gap in understanding why people choose vintage items over modern alternatives. This study aims to explore the complex relationship between consumer behavior and nostalgia, revealing the allure of vintage products and their market influence, with a particular focus on how nostalgia affects purchase decisions.
2. Role of Nostalgia in Consumer Behavior :
Nostalgia can be defined as an emotional longing for the past. Memories of the past may relate to specific experiences or cultural backgrounds. This emotional resonance is one of the main reasons why people are attracted to antiques. This sentimental emotion stemming from memories of past events gives a sense of comfort and connection to the past[1]. Nostalgia is not just a passive emotion; it can also be a purchase motive. Many studies have explored the psychological effects of nostalgia, suggesting that it can be an effective tool for coping with fear. In other words, nostalgic memories can bring comfort.
Vintage items often reflect the aesthetics, craftsmanship, and design of another era. People are attracted to these objects not only because of their visual features but also because of the emotions they evoke ---- a feeling of nostalgia and reminiscence. People are drawn to items that represent a specific period because they attempt to recreate the essence of a more authentic era. Vintage items are a link between the past and the present, allowing people to retain memories and emotions.
3. Literature Review: Nostalgia and Consumer Preferences
The powerful emotion of nostalgia, which is intricately entwined with human experience, has drawn a lot of interest in the study of consumer behavior. Researchers have investigated how it affects decision-making, emotional reactions, and, most significantly, how it influences the preferences of people for vintage goods over more modern ones. The existing corpus of research is examined in this literature review, which reveals the complex relationship between consumer preferences for
vintage items and nostalgia.
3.1. examining the impact of nostalgia on consumer behavior
Research shows that evoking nostalgic emotions can positively influence consumers’ perceptions of a product’s appeal and, in turn, their purchase intentions. [2, 3] These studies highlight the importance of nostalgia as a driver of consumer decision-making, demonstrating its ability to create emotional connections between people and selected products.
3.2. Highlighting study results that indicate how nostalgia and a desire for vintage items are related
There is a strong correlation between feelings of nostalgia and a love of vintage goods. Research shows that people who feel nostalgic emotions are more likely to favor items that evoke memories of their past. This trend is particularly evident in vintage treasures, where items with emotional significance resonate strongly with consumers trying to recreate the essence of a bygone era.
3.3 Investigate the emotional resonance of vintage artifacts and their power to recall memories
Vintage treasures naturally tend to elicit strong emotional responses, often related to personal or collective experiences [4]. Researchers have found that exposure to historical artifacts evokes strong memories and takes people back in time [4]. As such, these objects act as vehicles for emotional narratives, helping people relive important moments in their lives or important periods of cultural history
3.4. Nostalgia provides vintage objects with a sense of authenticity and individuality
Authenticity is a highly sought-after quality in the contemporary consumer world and nostalgia plays a key role in conferring authenticity to vintage goods. Because of the memories attached to vintage products, they are perceived to be more authentic than modern mass-produced products [5]. Vintage items are perceived as products from a time when craftsmanship and individuality were valued, thus enhancing their authenticity. Thus, the emotional connection created by nostalgia inspires a preference for items with historical and cultural value. Research has shown that nostalgia not only influences people's emotional responses but also their judgment of authenticity. The intersection of nostalgia and vintage preferences in a world dominated by modernism and innovation reveals a complex interaction between sentimentality, authenticity, and consumer preferences.
The aesthetic appeal of vintage treasures stems from their unique design, precise
craftsmanship, and attention to detail, qualities that are often absent in today's fast-paced
consumer culture [6]. Whether it is the intricate upholstery of a Victorian chair or the smooth
lines of a mid-century modern table lamp, vintage products appeal to the senses in contrast
to the mass production of modern products. Moreover, in addition to their aesthetic appeal,
vintage treasures often have deep cultural and historical value [7]. This suggests that each
item is a tangible artifact of a bygone era, reflecting the social customs, values, and trends of
that era.
In an era of growing environmental awareness, the taste for antiques coincides with the
practice of sustainable consumption. The idea of 'reduce, reuse, and recycle' is reflected in
the act of giving new life to existing objects rather than maintaining a never-ending cycle of
creation [8]. Vintage items have a lower need for new manufacturing processes and
resources, which contributes to a greener, more eco-conscious lifestyle. This environmental
awareness adds another element to the allure of historical treasures, appealing to people
who are aware of their impact on the environment. Nostalgia is a strong human emotion that
greatly enhances the appeal of antique treasures [9]. In this sense, the emotional bond that
develops between a person and an object from the past is amplified when the object itself is
a product of that era. Nostalgia-driven connections turn antiques into memory banks that
allow people to relive beloved moments and experiences [9].
5. Marketing and Capitalizing on Nostalgia
Emotions often sway purchase decisions in everyday consumption, and nostalgia has become a powerful tool for marketers. Marketers can uniquely empathize with consumers by evoking an emotional connection to the past, especially when promoting something old [10]. Marketers have a variety of unique techniques for appealing to consumer nostalgia, effective ways to capitalize on the value of emotions, and ethical considerations for using emotions for commercial gain. Marketers have recognized the evocative power of nostalgia and its ability to create a strong emotional connection with customers [10]. When promoting vintage products, they make customers want to buy vintage products by emphasizing the historical and emotional significance of these items. Thus, marketers generate a sense of longing by portraying old items as a portal to personal or collective memories, thus inspiring customer desire and engagement. Brands also launch limited edition collections to honor iconic designs or eras and instil a sense of uniqueness and authenticity, thus appealing to consumers' nostalgic cravings.
The potential impact of the commodification of nostalgia is also ethically problematic. If things are marketed simply because of the appeal of nostalgia, the risk is that complex cultural histories are oversimplified or key eras are reduced to mere fads. Reliance on nostalgia marketing may inhibit innovation and creative progress, creating a cycle of old patterns rather than fostering new ones [11]. Thus, nostalgia marketing is a double-edged sword. While it has the potential to foster meaningful connections between people and products, it also raises serious ethical issues. Successful marketing strategies will utilize nostalgia to bridge the gap between the past and the present, allowing customers to embark on an emotional journey [11]. However, when companies utilize nostalgia for financial gain, they must maintain a strict line between authentic connections and predatory tactics. Approaching nostalgia marketing responsibly requires recognizing the authenticity of the emotions symbolized by nostalgia as well as the cultural and historical context [12].
6. Limitations and Future Directions
Antique products have a unique place in the hearts and minds of collectors and enthusiasts, as they are often revered for their historical significance, craftsmanship, and aesthetic appeal. However, these products also suffer from a number of drawbacks that may hinder their widespread use and applicability in contemporary society. Antique products' inherent wear and tear is one of their major drawbacks [9]. These products may show wear and tear from use and aging, such as rust, fading, and structural weakening. This affects both their functionality and safety. Advances in materials science and restoration methods can be used to prevent this [13]. Due to their pre-digital design, many antiques are incompatible with modern hardware and interfaces. Future innovations may involve adapting obsolete products with smart technologies to enable them to communicate with modern systems while maintaining their classic appeal to bridge this gap [14]. Over time, the number of well-preserved antiques becomes smaller, increasing their uniqueness and price.
In addition, maintaining and restoring antiques can be difficult in many cases. It can be challenging to find qualified craftsmen who can understand the processes and methods used in past eras. Establishing specialized training programs to train a new generation of antiquere pair craftsmen may be a way forward. In contemporary times, environmental issues are of paramount importance and antique goods are not immune to scrutiny. Some antique artifacts are made with techniques and materials that are now considered harmful to the environment. Utilizing environmentally friendly resources and manufacturing techniques is a sustainable strategy for making vintage items [15].7.
Conclusion
In the labyrinth of modern consumerism, nostalgia has swept in at a rapid pace, and the enduring appeal of antique treasures bears witness to the enormous influence of sentimentality on human decision-making. This study delves into the complexity of this phenomenon, investigating emotional, aesthetic, cultural, and moral preferences for new and old objects. At the end of the investigation, we find that the link between nostalgia and consumer behavior vividly outlines human emotions, values, and aspirations. Needless to say, the influence of nostalgia on consumers' choice of antiques is an underlying the methroughout this report. Nostalgia is like a magnetic force that pulls people back in time. Nostalgia transcends time and space and resonates across generations and countries. The article's investigation of the psychological, social, and artistic components of nostalgia reinforces the notion that the emotional connections made in the past carry over into the decisions people make in the present. In a world that is constantly seeking novelty and innovation, an attachment to vintage treasures provides a haven of stability and authenticity. Antiques are beautiful not only because of their physical characteristics, but also because they have the potential to embody intangibles, emotional connections to an era, pieces of a person's identity, and connections to a larger cultural tapestry. The realization that nostalgia is the key to building important relationships provides an opportunity for marketers to craft true narratives that touch customers on a deeper level. Recognizing the emotional dimension of consumer preferences allows them to make more informed decisions. The nostalgic preference for vintage treasures promotes respect for authenticity and the enduring value of preserving memories. In short, the enduring appeal of nostalgia-driven vintage treasures illustrates the indelible link between emotions, memories, and consumer behavior.
Wanzhou Wu
My name is Wanzhou Wu, but you can call me Bonnie. I am 17 years old and
originally from China. I came to the United States when I was 12, and I am currently a 12th-grade student at The Village School in Houston. This cross-cultural experience has sparked a deep interest in exploring different cultures, particularly how nostalgia manifests in various cultural contexts.
Throughout my studies, I have come to realize that nostalgia is not just an emotion but a crucial link that connects the past with the present. This realization has driven me to delve into the theme of nostalgia, making it the focal point of my writing and academic research. I hope that through studying nostalgia, I can gain a better understanding of human emotions
and behavior while also laying the foundation for my future academic and career development.
In the future, I plan to continue exploring the field of cultural studies at university. This pursuit reflects not only my academic goals but also my passion for understanding human emotions
and culture.
Nostalgia Marketing
Christian Dam
Nostalgia has become a recurrent theme in marketing. The biggest football clubs recognize that consumers desire nostalgia-themed shirts, IKEA is re-launching old furniture, and as communities emerge around the shared interest in vintage bicycles, cycling brands tap into the craze. These examples from consumer culture suggest how brands have found nostalgia marketing to be a technique that attracts consumers. The question that remains is why consumers become attracted to past-themed brands and products?
Research on nostalgia marketing suggests that consumers turn to the past in times of societal unrest (Brown et al., 2003; Dam et al., 2024; Hartmann & Brunk, 2019). With multiple wars and a climate crisis out of control, there are certainly grounds for claiming that the current zeitgeist is one of societal unrest. In line with the saying that “you are what you buy”, one could also argue that people’s consumption can be mirrored in the times that we live in. As a result of various societal developments, many people feel unsure about where they belong. To counter this, the past seems like a safe place to retreat. It becomes a place of moral stability, where people can relive a version of society that seems stable. In other words, the past can be a place for belonging.
However, as we are unable to travel back in time, people need other ways to reexperience the past. Here, consumption can serve as a gateway to create this experience of the past. Brands have various techniques for utilizing the past in their marketing. One way is simply to draw on retro aesthetics to create a feeling of the past, as was seen with Burger King when they began reusing their old logo. Another technique could be when brands relaunch an old product, like when Adidas relaunched their Gazelle shoe featuring model Kate Moss wearing the shoes in the 90s. It is through such techniques that consumers are enabled to experience a commercial version of the past.
So how do marketers create product offerings that induce nostalgia in consumers? As mentioned earlier, past-themed market offerings do not enable the consumers to experience the past but rather a version of the past. Therefore, when brands recreate the past, they do so by strategically filtering what elements of the past should be reproduced in their version of the past. In that way, it becomes a sanitized version of the past that is offered to the consumers. This makes the past more desirable to consumers. This is exemplified by the Swedish jeans brand Nudie. In their branding aesthetics, they make references to the heritage of the Gothenburg shipyard working class. This provides them with an aura of authenticity, but they conveniently omit the social issues that were also part of life among the working class. Similarly, Harley Davidson also draws on the heritage of their brand but omits how Harley riders used to be associated with violence and aggression. Hence, brands need to work strategically to filter the past when they aim for their brand to evoke nostalgia in consumers.
To summarise, consumers turn to the past when they feel insecure about the future. Brands have various techniques to cater to these insecurities. This includes strategically filtering what parts of the past they represent in their marketing efforts. One could ask whether brands are simply exploiting consumers’ existential anxiety concerning the future? The counterargument to that could be that brands provide consumers with the opportunity to express their discontent with the future. Regardless of the answer to that question, it seems that the past will continue to feature in consumer culture. Hence, it will probably be worth reflecting further on why people today gravitate towards the past.
Christian Dam is a postdoc at the University of Southern Denmark. Before that, he completed his PhD at University of Gothenburg. In his thesis, he explored how past-themed consumption can enable resonance. He studied this by ethnographically immersing himself in the Danish vintage cycling community. His research can be found in Journal of Marketing Management. In 2023, his work received the Franco Nicosia Best Paper Award at the Association of Consumer Research Conference in Seattle, USA.
Food and Nostalgia
An Anthropological Exploration
Yuvan Gupta
The primary pull into anthropology started with the topic of Food anthropology: a sub-discipline of anthropology which connects an ethnographic and historical perspective with contemporary social issues in food production and consumption systems. It explores the role of food in our lives: its more than just a means of sustenance . It holds deep cultural and familial memories for everyone ! Nostalgia, therefore, has a huge impact on one's personal cultural and social connection to food and food systems. Culinary and cuisine practices can shape the lives of individuals and groups alike, which makes this topic one quite pertinent to discuss at hand !
Food is often recognized as a powerful symbol that carries cultural and social memories. I, for example, can recall nostalgic memories of my childhood, as a boy in the centre of Bangalore. When I think back to that time, I somehow connect it to the memory of Aalo buns from the local bakeries: a kind of break stuffed with spiced potatoes, chillies and onions. That reminds me of my childhood spent running across the streets in central bangalore. From a social perspective, the slightly sweet sambhar of Bangalore reminds me of a social gathering with family and friends, sitting in the local eatery arguing over which version of sambhar is the best.
Therefore food can evoke memories of specific places, people, and experiences, providing a sensory bridge to the past. This is unrelated to taste but also affects the other olfactory senses: like smell and touch.
Food is often a communal activity, as it was for me, and such a way nostalgia around food can easily become a tool to create and strengthen social bonds. For instance, I recently met someone who had been to the same parts of Bangalore as I had. We got to chatting about the food scene in the city and through a shared collective memory about the food and the memories associated with it we were able to create an initial bond that helped us get to know each other ! However this is not the only way the collective memory can be seen in conjunction with food: Food acts as a repository of cultural knowledge, passed down through generations. Recipes, cooking methods, and ingredients all serve as a form of cultural transmission.
Such ideas are explored by David Sutton who focused his ethnographic research on the Greek island of Kalymnos where he explore the role food plays in the recollection of the narrative around shared and individual pasta. He argues that food memories are not static but are constantly being reconstructed and reimagined in the present. This fluidity reflects the dynamic nature of memory itself, which is shaped by current contexts and emotions as much as by the past.
This Attribute of food also places it as a cornerstone of Identity formation as it can be linked to the expression of identity ; both as the self and as a group.
This is observed by the rise of food content creators on media platforms who have their respective channels focused on showcasing their ethnic foods and thereby their culture, while maintaining a sense of cultural identity, especially for immigrants. For many Immigrants, food is one of the few connections they have to their original homeland.
This is extensively explored by Carole Counihan within the context of Italian-American women who see food as a way to assert their cultural heritage while also adapting to their new American context. The act of cooking and sharing food thus becomes a way of negotiating identity, blending old and new cultural influences.
Food being a sense of identity can also be seen through the proliferation of ethnic restaurants and supermarkets catering to "culinary tourism" or "gastro politics," where foods from different cultures are commodified and marketed to global consumers. In this context, food becomes a symbol of both nostalgia and exoticism, catering to desires for authenticity and connection to a seemingly simpler or more "authentic" past.
Therefore , there seems to be an inextricable link between food and nostalgia as they seem to be powerful tools for remembering the past and connecting one to their cultural identity. Through an anthropological lens we can claim that food is a cultural artefact which carries deep emotional and social significance: whether it be through the sharing of recipes, the social event of eating or the olfactory senses surrounding food like taste or smell. This relationship also focuses on a potential field of study for anthropologists as they can provide rich insights into the cultural memory of a group.
Yuvan Gupta
Yuvan Gupta is currently a student at Leiden University studying cultural anthropology and development sociology. He specialises in Digital ethnography. He has a background in visual art and design. He is also the communication officer for the study association Itiwana. He is currently working towards his minor in cybersecurty and governance.
Eva
Meet the team
Yuvan
Iulia
Eva
Yuvan
Thank you so much for reading this edition of the ICA! We have worked very hard on it and we hope you enjoy reading it. If you have any questions, suggestions, or wish to contribute to the ICA in the future, do not hesitate to contact us at ica@itiwana.org
We hope to see you again soon with the next edition!
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