Bringing together prominent transatlantic film and media scholars, Was It Yesterday? explores the impact of nostalgia in twenty-first century American film and television. Cultural nostalgia, in both real and imagined forms, is dominant today, but what does the concentration on bringing back the past mean for an understanding of our cultural moment, and what are the consequences for viewers? This book questions the nature of this nostalgic phenomenon, the politics associated with it, and the significance of the different periods, in addition to offering counterarguments that see nostalgia as prevalent throughout film and television history. Considering such films and television shows as La La Land, Westworld, Stranger Things, and American Hustle, the contributors demonstrate how audiences have spent more time over the last decade living in various pasts.

How the communist revolution failed, presented in a series of catastrophes. The communist project in the twentieth century grew out of utopian desires to oppose oppression and abolish class structures, to give individual lives collective meaning. The attempts to realize these ideals became a series of colossal failures. In Yesterday's Tomorrow, Bini Adamczak examines these catastrophes, proceeding in reverse chronological order from 1939 to 1917: the Hitler-Stalin Pact, the Great Terror of 1937, the failure of the European Left to prevent National Socialism, Stalin's rise to power, and the bloody rebellion at Kronstadt. In the process, she seeks a future that never happened.

The early novel was not the coming-of-age story we know today—eighteenth-century adolescent protagonists remained in a constant state of arrested development, never truly maturing. Between the emergence of the realist novel in the early eighteenth century and the novel's subsequent alignment with self-improvement a century later lies a significant moment when novelistic characters were unlikely to mature in any meaningful way. That adolescent protagonists poised on the cusp of adulthood resisted a headlong tumble into maturity through the workings of plot reveals a curious literary and philosophical counter-tradition in the history of the novel. Stephanie Insley Hershinow's Born Yesterday shows how the archetype of the early realist novice reveals literary character tout court. Through new readings of canonical novels by Samuel Richardson, Henry Fielding, Horace Walpole, Ann Radcliffe, Frances Burney, and Jane Austen, Hershinow severs the too-easy tie between novelistic form and character formation, a conflation, she argues, of Bild with Bildung. A pop-culture-infused epilogue illustrates the influence of the eighteenth-century novice, as embodied by Austen's Emma, in the 1995 film Clueless, as well as in dystopian YA works like The Hunger Games. Drawing on bold close readings, Born Yesterday alters the landscape of literary historical eighteenth-century studies and challenges some of novel theory's most well-worn assumptions.

After reliving the same day for months, eighteen-year-old Barrett reluctantly teams up with her nemesis Miles to escape the time loop, and soon finds herself falling for him, but what she does not know is what they will mean to each other if they finally make it to tomorrow.

One of the most audacious of all modernist novels. Millicent, Lady Cheseborough -- fifty, widowed, rejected by her much younger lover -- lies dying in a nursing home, the victim of a stroke. As she nears death, her thoughts go back through her life in a desperate attempt to find its meaning. Millicent is a woman who has never been fully sure of herself. We see her as a child asking her nanny why she has to live within her body. We see her as a young woman wondering how any eligible bachelor will take an interest in her. We see her as the wife of an older, assured man upon whom she becomes dependent. We suffer with her as a gigolo seduces her, wastes her money, and abandons her. And we feel ourselves with her as she struggles to be understood through her stroke and disorientation. As was her trademark, Gertrude Trevelyan takes us deeper into the mind of her subject than almost any novelist ever attempted, creating an intense and absorbing reading experience. With great stylistic daring, Gertrude Trevelyan recreates the stream of consciousness in its most realistic and moving form. As It Was in the Beginning is perhaps Trevelyan's most important work, a novel that belongs with To the Lighthouse or As I Lay Dying.