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Download This PDF File Journal of Latin American Communication Research 7 (1-2) “This is it!” [Is it?]: The Marketing of Nostalgia on Netflix´s One Day at a Time “This is it!” [¿Lo es?]: El marketing de la nostalgia en la serie One Day at a Time de Netflix “This is it!” [É?]: O marketing da nostalgia no Netflix Um dia de cada vez Manuel G. Avilés-Santiago Arizona State University Estados Unidos [email protected] Abstract: Netflix has been producing a nostalgic sub-genre that takes its cues from the visual culture of the past and triggers a form of sentimental longing for the past in the viewer. In shows like The Get Down, Stranger Things, Glow, and Fuller House, the narrative elements serve a larger nostalgia for the ’70s, ’80s, and ’90s. These and other Netflix original shows engage in anesthetics and politics of viewer reception that projects an image of these earlier times and spaces in which the critical historical viewpoint is marginalized in favor of nostos -return— which can also generate retro-futures, the futures that were once imagined in these pasts (Boym, 2001; Niemeyer, 2014). Through a critical textual and material analysis of Netflix’s original show, One Day At A Time (ODAAT), this article will consider how Netflix capitalizes on a vision of the 1970s as a marketing tactic aimed at attracting a Latina/o audience by reviving an older show, creating an emotional atmosphere out of the reception space of fandom itself, as its viewers’ anxieties about the shows cancellation and the narrative of saving a show are incorporated into the manipulated aura of the show itself. Created originally by Norman Lear in 1975, ODAAT told the story of a divorced working-class white woman from Indianapolis raising strong-willed daughters, and the family’s interactions with the handyman for the building in which they lived. Lear revived the show in 2017 and hired writer, actress, editor, and producer Gloria Calderón-Kellet as the showrunner and cultural translator of the show. The publicity around the revival leans heavily on the concept that this is a Latina/o remake/reboot/reimagination/twist of the older sitcom. The selling point is to reimagine a show linked to 70s popular culture sieved through a 2010s emphasis on diversity. Several deployments of nostalgia produce this effect: the marketing, the narrative (storyline), and the storyline 60 provoked after the announcement of the possibility of an eventual cancellation of the show, creating identity anxiety among its fans. My interest is to explore whether nostalgia can be deployed as a source of creative renewal or as a means of critiquing present conditions of production, circulation, and consumption of Latina/o representations. Keywords: Netflix, nostalgia, One Day At A Time, Latinidad, Norman Lear Resumen: Netflix ha estado produciendo un subgénero nostálgico que se inspira en la cultura visual del pasado y desencadena una forma de anhelo sentimental por el espectador. En programas como The Get Down, Stranger Things, Glow y Fuller House, los elementos narrativos sirven a una mayor nostalgia por los años 70, 80 y 90. Estos y otros programas originales de Netflix se dedican a la anestesia y a la política de recepción del espectador que proyecta una imagen de estos tiempos y espacios anteriores en los que el punto de vista histórico crítico está marginado a favor de los nostos -retorno- que también pueden generar retro-futuros, los futuros que alguna vez fueron imaginados en estos pasados (Boym, 2001; Niemeyer, 2014). A través de un análisis crítico textual y material del programa original de Netflix, One Day At A Time (ODAAT), este artículo considerará cómo Netflix aprovecha una visión de la década de 1970 como una táctica de marketing destinada a atraer a una Latina / audiencia reviviendo un programa del pasado, y creando una atmósfera emocional fuera del espacio de recepción del fandom mismo, ya que las ansiedades de sus espectadores sobre la cancelación de los programas y la narrativa de guardar un programa se incorporan al aura manipulada de la serie en sí. Creado originalmente por Norman Lear en 1975, ODAAT contó la historia de una mujer blanca de clase trabajadora divorciada de Indianápolis que cría hijas de carácter fuerte, y las interacciones de la familia con el personal de mantenimiento del edificio en el que vivían. Lear revivió el programa en 2017 y contrató a la escritora, actriz, editora y productora Gloria Calderón-Kellet como directora y traductora cultural del programa. La publicidad en torno al renacimiento se basa en gran medida en el concepto de que se trata de una Latina/el remake/reinicio/reimaginación/giro de la comedia de situación más antigua. El punto de venta es reimaginar un espectáculo vinculado a la cultura popular de los años 70 tamizado a través del énfasis de 2010 en la diversidad. Varios despliegues de nostalgia producen este efecto: el marketing, la narrativa 61 (argumento) y el argumento provocado después del anuncio de la posibilidad de una eventual cancelación del programa, creando ansiedad de identidad entre sus fanáticos. Mi interés es explorar si la nostalgia puede desplegarse como una fuente de renovación creativa o como un medio para criticar las condiciones actuales de producción, circulación y consumo de representaciones latinas. Palabras claves: Netflix, nostalgia, One Day At A Time, Latinidad, Norman Lear Resumo: A Netflix está produzindo um subgênero nostálgico que leva suas pistas da cultura visual do passado e desencadeia uma forma de desejo sentimental pelo passado no espectador. Em programas como The Get Down, Stranger Things, Glow e Fuller House, os elementos narrativos servem para uma nostalgia maior dos anos 70, 80 e 90. Esses e outros programas originais da Netflix se envolvem em anestésicos e políticas de recepção de espectadores que projetam uma imagem desses tempos e espaços anteriores, nos quais o ponto de vista histórico crítico é marginalizado em favor de nostos -return - que também pode gerar retro-futuros, os futuros que já foram imaginados nesses passados (Boym, 2001; Niemeyer, 2014). Por meio de uma análise textual e material crítica do programa original da Netflix, Um dia de cada vez (ODAAT), este artigo considerará como a Netflix aproveita uma visão da década de 1970 como uma tática de marketing destinada a atrair um público latino-americano revivendo um público mais velho. show, criando uma atmosfera emocional a partir do espaço de recepção do próprio fandom, à medida que as ansiedades de seus espectadores sobre o cancelamento dos shows e a narrativa de salvar um show são incorporadas à aura manipulada do próprio show. Criada originalmente por Norman Lear em 1975, a ODAAT contou a história de uma mulher branca da classe trabalhadora divorciada de Indianápolis que cria filhas de vontade forte e as interações da família com o trabalhador manual do prédio em que moravam. Lear reviveu o programa em 2017 e contratou a escritora, atriz, editora e produtora Gloria Calderón-Kellet como a executora e tradutora cultural do programa. A publicidade em torno do renascimento se apóia fortemente no conceito de que este é um remake / reinicialização / reinicialização / reimaginação / reviravolta na Latina da comédia mais antiga. O ponto de venda é reimaginar um programa vinculado à cultura popular dos anos 70, peneirado por uma ênfase de 2010 na diversidade. Várias 62 implantações de nostalgia produzem esse efeito: o marketing, a narrativa (enredo) e o enredo provocados após o anúncio da possibilidade de um eventual cancelamento do programa, criando ansiedade de identidade entre seus fãs. Meu interesse é explorar se a nostalgia pode ser empregada como fonte de renovação criativa ou como meio de criticar as atuais condições de produção, circulação e consumo das representações latinas. Palavras-chave: Netflix, nostalgia, Um dia de cada vez, Latina, Norman Lear 1. Introduction: From Reruns, Reboots, Revival and Reimaging There is a long history of media using its technologies and platforms to project nostalgia for earlier pop culture texts. During the last decade, the interest in the intersections of media, history, memory, and its relationship to the past has been explored theoretically (van Dijck, 2007), while generating at least two edited collections (Niemeyer 2014; Boyce et al. 2017) that tackle film and television, fiction and non-fiction. Netflix, in particular, has mined a lucrative vein in nostalgia. In fact, nostalgia is built into Netflix's business model if we consider that the streaming service algorithm is based on the "because you watched" premise, thus creating a personalized genre for each client. This model is not, of course, new: TV has long profited by providing audiences with access to classics through VCRs, cable, syndication, and endless reruns. Netflix, however, had altered these dynamics. In contrast to a decade ago, viewers now do not have to wait on networks to fill their late- night slots with the old programming they want to see, as Netflix or Hulu have accelerated this process by buying up the rights to masses of old TV shows and making them available on their platforms (Breger 2015). The catalog of TV classics now available for streaming includes a number of perennially popular shows, such as The Andy Griffith Show, Cheers, and Party of Five, but has expanded from its former English-language base to include Spanish-language TV classics, sitcoms like El Chapulin Colorado, and famous telenovelas like Yo Soy Betty La Fea, El Clon and Thalia’s trilogy of María la del Barrio, Marimar and Rosalinda. Netflix began its business as a provider of films and TV series made by other companies, but it made a significant turn in 2012 with its first self-made production, House of Cards. After this turn, it has become more and more a studio, a large player in the production of TV and 63 movies.
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