Black media nostalgia in Britain

Abstract

ABSTRACT Drawing on Black media, cultural, and digital studies, this work considers the relationship between nostalgia and the media, cultural productions, and experiences of Black people in Britain. Engaging with Hesse's (2000) work on ‘Diasporicity: Black Britain's Post-Colonial Formations', I explore how media representations of Black Britain and connected production processes have changed since the 90s, in ways entwined with Black nostalgia and generational (be)longing. Since Hesse (2000, p. 97) observed that ‘Black Britishness is a discourse whose increasing currency has yet to be conceptualized seriously', research and writing on Black Britishness and Black life in Britain has significantly expanded. Informed by such work, I delve into some of the details of Black media experiences in Britain to consider how Black nostalgia manifests in and through these contexts. Inspired by Ahad-Legardy's (2021) work on ‘Afro-nostalgia' and how visual culture aids archives of Black ‘historical joy', I consider the digitally mediated, comforting, conflicting, and historical nature of Black media nostalgia in Britain, and Black nostalgia more generally. Such discussion distinguishes between Black people's nostalgic media experiences and Black media nostalgia which centers Black creative expression and the kaleidoscopic gazes of Black audiences. Nostalgia's enigmatic quality cannot be comprehended via empirical analysis, alone. Thus, sculpted by understandings of ‘sociopolitical strategies of presence' (Osei 2019, p. 733), this work conceptualizes Black nostalgia in ways based on key media examples, research interviews, researcher reflections and the possibilities and playfulness presented by influx ponderings. Overall, shaped by Hall's (1993; 1997) work on representation and popular culture, this manuscript yields insights regarding dynamics between nostalgia, media, and Black life in Britain. Such work highlights the need for specificity (e.g., whose gaze(s), geographies, generations) when articulating Black people’s experiences in Britain, and the power of nostalgia in Black media and culture, which spans decades and different devices.