{"title":"怪奇物语,怀旧和美学","authors":"Zachary Griffith","doi":"10.5406/19346018.74.1.2.01","DOIUrl":null,"url":null,"abstract":"for making costumes using Eggo boxes. Eggo also bought billboards across the country in cities named Hawkins, the fictional town in which the series is set. These billboards featured the Eggo logo with blood dripping from the E—a nod to Eleven’s frequent nosebleeds. This marketing effort culminated in two larger releases. In June, Eggo claimed to have unearthed a series of unreleased advertisements from 1985 featuring hidden teasers related to the show, which they subsequently posted across social media platforms. Following this, the company also created limitededition boxes replicating the look of the ones they sold in the 1980s—identical save for the “Limited Edition 1985 Graphics” label at the top. These retro Eggos initially were available only online through Amazon but saw a larger release in select stores across the United States following the series’ July 4 debut. The latter two examples, the ads and the box, provide an acute illustration of the hyperaestheticized nostalgia for which Stranger Things is the archetype. The ads, for instance, hinge on a nostalgia for consumer products and advertising that is entirely mediated and thus based on the recreation of an aesthetic object; the nostalgic allure of the ads, in other words, derives from their replication of the style of 1980s ads. Grainy visuals and tape distortions blanket one video showing a “typical” middle-class suburban breakfast table featuring milk, orange juice, and of course, Eggos before cutting to a screen that reads “One Eggo Can Change Everything.” These visual imperfections exist even though in the summer of 2019, the Netflix series Stranger Things (2016–present) partnered with Eggo for a marketing campaign in the build-up to the release of its highly anticipated third season. The show, which follows a group of teens and adults in small-town 1980s Indiana as they struggle to keep at bay a succession of supernatural forces unleashed following the opening of a portal to an alternate dimension, was a surprise hit following its 2016 premiere, and it quickly became the streaming service’s most recognizable original production. Eggo waffles—a favorite of Eleven, one of the show’s teen protagonists—had seen a surge in sales following the show’s premiere and gained iconic status within its fandom, so a partnership capitalizing on the hype represented a logical next step. The two franchises had previously collaborated on a trailer for the series’ second season, which premiered during Super Bowl LI, in which a vintage “L’eggo my Eggo” commercial was progressively interrupted and eventually overtaken by scenes from show’s upcoming season. The much more elaborate 2019 campaign featured a variety of tie-ins, including an Eggobranded Stranger Things spoiler blocker for fans’ internet browsers, recipes tied to each of the upcoming nine episodes, and instructions","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"18 - 3"},"PeriodicalIF":0.1000,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Stranger Things, Nostalgia, and Aesthetics\",\"authors\":\"Zachary Griffith\",\"doi\":\"10.5406/19346018.74.1.2.01\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"for making costumes using Eggo boxes. Eggo also bought billboards across the country in cities named Hawkins, the fictional town in which the series is set. These billboards featured the Eggo logo with blood dripping from the E—a nod to Eleven’s frequent nosebleeds. This marketing effort culminated in two larger releases. In June, Eggo claimed to have unearthed a series of unreleased advertisements from 1985 featuring hidden teasers related to the show, which they subsequently posted across social media platforms. Following this, the company also created limitededition boxes replicating the look of the ones they sold in the 1980s—identical save for the “Limited Edition 1985 Graphics” label at the top. These retro Eggos initially were available only online through Amazon but saw a larger release in select stores across the United States following the series’ July 4 debut. The latter two examples, the ads and the box, provide an acute illustration of the hyperaestheticized nostalgia for which Stranger Things is the archetype. The ads, for instance, hinge on a nostalgia for consumer products and advertising that is entirely mediated and thus based on the recreation of an aesthetic object; the nostalgic allure of the ads, in other words, derives from their replication of the style of 1980s ads. Grainy visuals and tape distortions blanket one video showing a “typical” middle-class suburban breakfast table featuring milk, orange juice, and of course, Eggos before cutting to a screen that reads “One Eggo Can Change Everything.” These visual imperfections exist even though in the summer of 2019, the Netflix series Stranger Things (2016–present) partnered with Eggo for a marketing campaign in the build-up to the release of its highly anticipated third season. The show, which follows a group of teens and adults in small-town 1980s Indiana as they struggle to keep at bay a succession of supernatural forces unleashed following the opening of a portal to an alternate dimension, was a surprise hit following its 2016 premiere, and it quickly became the streaming service’s most recognizable original production. Eggo waffles—a favorite of Eleven, one of the show’s teen protagonists—had seen a surge in sales following the show’s premiere and gained iconic status within its fandom, so a partnership capitalizing on the hype represented a logical next step. The two franchises had previously collaborated on a trailer for the series’ second season, which premiered during Super Bowl LI, in which a vintage “L’eggo my Eggo” commercial was progressively interrupted and eventually overtaken by scenes from show’s upcoming season. 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引用次数: 0
摘要
用鸡蛋盒制作服装。Eggo还在全国各地名为霍金斯(Hawkins)的城市购买了广告牌,霍金斯是这部电视剧的虚构小镇。这些广告牌的特点是Eggo的标志,血从E-a滴下来,这是对Eleven经常流鼻血的致敬。这种营销努力最终促成了两个更大的发行。今年6月,Eggo声称发现了一系列1985年未发布的广告,其中隐藏了与该剧有关的预告片,随后他们在社交媒体平台上发布了这些广告。在此之后,该公司还制作了限量版包装盒,复制了他们在20世纪80年代销售的包装盒的外观——除了顶部的“限量版1985图形”标签外,完全相同。这些复古的Eggos最初只能通过亚马逊在线购买,但在7月4日系列首次亮相后,美国各地的部分商店都有更多的销售。后两个例子,广告和盒子,提供了超审美怀旧的一个敏锐的例证,而《怪奇物语》是原型。例如,广告依赖于对消费品和广告的怀旧,这种怀旧完全是中介的,因此基于对审美对象的再创造;换句话说,这些广告的怀旧魅力源于它们对20世纪80年代广告风格的复制。一段视频显示的是“典型的”中产阶级郊区早餐桌,有牛奶、橙汁,当然还有鸡蛋,然后切换到一个屏幕上,上面写着“一个鸡蛋可以改变一切”。尽管在2019年夏天,Netflix的电视剧《怪奇物语》(2016年至今)与Eggo合作开展了一场营销活动,为其备受期待的第三季的播出做准备,但这些视觉缺陷仍然存在。这部剧讲述的是20世纪80年代印第安纳州小镇上一群青少年和成年人的故事,他们在通往另一个维度的门户打开后,努力阻止一系列超自然力量的释放。这部剧在2016年首播后意外走红,很快成为流媒体服务最知名的原创作品。Eggo华夫饼是该剧的主角之一小十一的最爱,在该剧首播后销量激增,在粉丝圈中获得了标志性的地位,因此利用这一炒作的合作是顺理成章的下一步。此前,这两家公司曾合作制作了该系列第二季的预告片,该预告片在第二次超级碗(Super Bowl LI)期间首映。在预告片中,一个复古的“我的鸡蛋”(L’Eggo my Eggo)广告逐渐被打断,最终被即将到来的一季的场景所取代。2019年的活动更加精心,包括各种各样的搭配,包括为粉丝们的网络浏览器提供的蛋牌《怪奇物语》剧透屏蔽,与即将到来的九集相关的食谱,以及说明
for making costumes using Eggo boxes. Eggo also bought billboards across the country in cities named Hawkins, the fictional town in which the series is set. These billboards featured the Eggo logo with blood dripping from the E—a nod to Eleven’s frequent nosebleeds. This marketing effort culminated in two larger releases. In June, Eggo claimed to have unearthed a series of unreleased advertisements from 1985 featuring hidden teasers related to the show, which they subsequently posted across social media platforms. Following this, the company also created limitededition boxes replicating the look of the ones they sold in the 1980s—identical save for the “Limited Edition 1985 Graphics” label at the top. These retro Eggos initially were available only online through Amazon but saw a larger release in select stores across the United States following the series’ July 4 debut. The latter two examples, the ads and the box, provide an acute illustration of the hyperaestheticized nostalgia for which Stranger Things is the archetype. The ads, for instance, hinge on a nostalgia for consumer products and advertising that is entirely mediated and thus based on the recreation of an aesthetic object; the nostalgic allure of the ads, in other words, derives from their replication of the style of 1980s ads. Grainy visuals and tape distortions blanket one video showing a “typical” middle-class suburban breakfast table featuring milk, orange juice, and of course, Eggos before cutting to a screen that reads “One Eggo Can Change Everything.” These visual imperfections exist even though in the summer of 2019, the Netflix series Stranger Things (2016–present) partnered with Eggo for a marketing campaign in the build-up to the release of its highly anticipated third season. The show, which follows a group of teens and adults in small-town 1980s Indiana as they struggle to keep at bay a succession of supernatural forces unleashed following the opening of a portal to an alternate dimension, was a surprise hit following its 2016 premiere, and it quickly became the streaming service’s most recognizable original production. Eggo waffles—a favorite of Eleven, one of the show’s teen protagonists—had seen a surge in sales following the show’s premiere and gained iconic status within its fandom, so a partnership capitalizing on the hype represented a logical next step. The two franchises had previously collaborated on a trailer for the series’ second season, which premiered during Super Bowl LI, in which a vintage “L’eggo my Eggo” commercial was progressively interrupted and eventually overtaken by scenes from show’s upcoming season. The much more elaborate 2019 campaign featured a variety of tie-ins, including an Eggobranded Stranger Things spoiler blocker for fans’ internet browsers, recipes tied to each of the upcoming nine episodes, and instructions
期刊介绍:
The Journal of Film and Video, an internationally respected forum, focuses on scholarship in the fields of film and video production, history, theory, criticism, and aesthetics. Article features include film and related media, problems of education in these fields, and the function of film and video in society. The Journal does not ascribe to any specific method but expects articles to shed light on the views and teaching of the production and study of film and video.