'Undeveloped property': Mad Men, crisis, and real estate.
Mad Men is perhaps the preeminent example of nostalgia television of the last 20 years. And yet its version of the Sixties is relatively uninterested in what Fredric Jameson has characterised as that decade's 'shared feeling that everything is possible'. Instead, its primary concern is the feeling o...
| Publicado en: | Rethinking History Vol. 29; no. 4; pp. 639 - 657 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
Dec2025
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=189588736&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 189588736 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13642529 5C5 jtl: Rethinking History issn: 13642529 maglogo: N pubinfo: dt: Dec2025 vid: 29 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 189588736 10.1080/13642529.2025.2490361 ppf: 639 ppct: 18 formats: fmt: – @attributes: type: T – @attributes: type: P size: 388KB tig: atl: 'Undeveloped property': Mad Men, crisis, and real estate. aug: au: Shearer, Martha affil: School of English, Drama and Film, University College Dublin, Dublin, Ireland su: Mad Men (TV program) Jameson, Fredric, 1934- Real property Financial crises Television characters sug: subj: Mad Men (TV program) Jameson, Fredric, 1934- Real property Financial crises Television characters keyword: financial crisis Mad Men real estate space Television temporality ab: Mad Men is perhaps the preeminent example of nostalgia television of the last 20 years. And yet its version of the Sixties is relatively uninterested in what Fredric Jameson has characterised as that decade's 'shared feeling that everything is possible'. Instead, its primary concern is the feeling of being unmoored in history, encapsulated in the falling man of its title sequence, but also in its formal shifts between delay, deferral and slowness and the shock of historical and narrative events. As a number of scholars have observed, that slowness calls attention instead to the image and to space, and especially to production design. In this essay, I argue that the show increasingly calls attention to that space as real estate, with seasons punctuated with domestic and commercial real estate sales and acquisitions, real estate transactions as major plot points, and the introduction of real estate agent and property developer characters in its final season. I suggest that real estate, in both aesthetic and narrative terms, is critical to the show's ambivalence about the future, caught between optimism regarding the expansion of global capitalism and knowledge of crises that follow, both in the 1970s and in 2008. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Rethinking History is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Rethinking History holder: Taylor & Francis Ltd dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
|---|