Keywords photography, advertising new media, home movies, nostalgia, baby boom, television Mad Men, a television melodrama set in 1960s America, is wildly successful, resonating powerfully with American viewers since its debut in 2007. It links the nostalgia for these old media to contemporary masculinity and the ephemeral nature of new media in order to question what significance the baby boom era holds today. The article examines how old imaging technologies figure in AMC's Mad Men, including the Kodak slide projector and the Super 8 home movie, and more broadly speaking, postwar advertising and ideals of home and family. The book uses Mad Men (AMC, 2007-2015), Ugly Betty (ABC, 2006-2010), Desperate Housewives (ABC, 2004-2012), and film remakes of 1950s and 60s family sitcoms as primary case studies. The book addresses how and why the shows construct the boomer era as a placeholder for gender, racial, technological, and declensionist discourses of the present. She contests theories on nostalgia that see it as stagnating, regressive, or a reversion to outdated gender and racial politics, and the technophobic longing for a bygone era and, instead, argues nostalgia is an important form of historical memory and vehicle for negotiating periods of historical transition. Alex Bevan argues that the aesthetics of nostalgic TV tell stories of their own about historical decline and progress, and the place of the baby boomer television suburb in American national memory. Specifically, it looks at how nostalgic TV production design shapes and is shaped by larger historical discourses on gender and technological change, and America's perceived decline as a global power. The Aesthetics of Nostalgia TV explores the aesthetic politics of nostalgia for 1950s and 60s America on contemporary television.

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