Film CULTure

GREASE is still the word.

When I hear a song from Grease, I’m immediately transported back to high school. I remember parties on those warm summer nights in which the film was playing in the background. I recall school dances, singing along with my peers to songs about cruising around in the ‘ultramatic’ Greased Lightin’ and how we were born to do the hand jive. I get a warm, wistful feeling and conveniently forget the agonizing social awkwardness of those events: Will Sally say yes if I ask her to the dance? What if she dances with Johnny instead of me during [insert cheesy pop love song title]? For the blissful two minutes and 49 seconds of “You’re The One That I Want” I remember a time when I had fewer cares…and enough hair to run a switchblade comb through.

In short, I’m feeling nostalgic. Nostalgia certainly is nothing new - poets, painters, and philosophers have been musing about it for generations. Only within the last two decades have social scientists begun to understand this complex emotional experience. But what exactly is this feeling? The New Oxford Dictionary defines nostalgia as “a sentimental longing or wistful affection for the past.” Being nostalgic is a common experience – one that people experience throughout their lives. Further, nostalgia appears to be a cross-cultural phenomenon. The specific triggers may differ between people and places, but the feelings are similar. Nostalgia is a mixed-bag: we feel warm and fuzzy as we think of our old relationships, but we also feel the pangs of longing and loss for what once was.

Why would we want to be in this emotional state? What does feeling nostalgic do for us? Research demonstrates that nostalgia provides for us a sense of belonging and self-consistency throughout time. It reaffirms our sense of meaning in our experiences – even when the nostalgic memories involve a negative event, we are reminded of how both the good and the bad in our lives have shaped who we are today. Nostalgia inspires us to strive for our goals, to be optimistic about the future, knowing that no matter what comes are way we are rooted in a solid sense of self. We can weather the storms and still be ourselves. We will always have our memories.

Grease is a perfect example of this. Yes, there are many high points for the characters, but there are also plenty of slings and arrows of teenage strife. Many of us likely experienced some of these low points as well during our own trek through adolescence. Perhaps this is part of what makes the characters relatable, whether we were a greaser, a theater/band kid, a student council rep, an athlete, or an avid athletics fan (not to be confused with an athletic supporter).

Like these characters, we all found ourselves on the cusp of adulthood, wondering what we would become. What will our transition to adulthood be like, and will our friendships hold firm or dissolve? When on the cusp of a major life transition, like graduating high school (or college), these intimidating questions are in our minds after we cross the stage, turn our tassels, and toss our mortar board hats in the air. The film’s final song “We Go Together” seems to be an answer to the characters’ (and our) questions about the future. The characters respond to their anxiety by re-affirming their commitment to each other: “We’ll always be like one…we’re for each other…We’ll always be together.” They then embark on adulthood with optimism and a song on their lips. Roll credits.

In many ways, Grease is the cinematic embodiment of nostalgia. Frankie Valli’s lyrics in the opening theme take on a new layer within the context of nostalgia research. For viewers, Grease represents a time and a place; for them it’s got meaning and it’s the way they are feeling. Put another way, nostalgia “is the word.”

Bonus Readings:

Barrett, F. S., Grimm, K. J., Robins, R. W., Wildschut, T., Sedikieds, C., & Janata, P. (2010). Music-evoked nostalgia: Affect, memory, and personality. Emotion, 10(3), 390-403.

Cavanagh, S. R., Glode, R. J., & Opitz, P. C. (2015). Lost or fond? Effects of nostalgia on sad mood recovery vary by attachment insecurity. Frontiers in Psychology, 6, 773.

Hepper, E. G., Wildschut, T., Sedikides, C., Ritchie, T. D., Yung, Y., Hansen, N.,…Zhou, X. (2014). Pancultural nostalgia: Prototypical conceptions across cultures. Emotion, 14(4), 733-747

Sedikides, C., & Wildschut, T. (2018). Finding meaning in nostalgia. Review of General Psychology, 22(1), 48-61.

Sedikides, C., Wildschut, T., Arndt, J., & Routledge, C. (2008). Nostalgia: Past, present, and future. Current Directions in Psychological Science, 17(5), 304-307

Seehusen, J., Cordaro, F., Wildschut, T., Sedikides, C., Routledge, C., Blackhart, G. C., Epstude, K., & Vingerhoets, A. J. J. M. (2013). Individual differences in nostalgia proneness: The integrating role of the need to belong. Personality & Individual Differences, 55, 904-908.

Wildschut, T., Sedikides, C., Arndt, J., & Routledge, C. (2006). Nostalgia: Content, triggers, functions. Journal of Personality & Social Psychology, 91 (5), 975-993.


“Let’s do the Time Warp again!”…and again…and again.

The Rocky Horror Picture Show often is considered the archetypal ‘cult film’ (or ‘midnight movie’). But what does that mean? Merriam-Webster provides several definitions of ‘cult,’ including “faddish devotion; also a group of persons showing such devotion.”

Scholars freely admit that the quest to provide an agreed-upon, simple definition for ‘cult film’ is about as easy as marching on the Black Gate of Mordor. However, a common theme is that one does not simply set out to make a ‘cult film’ – rather, an audience crowns the film with its cult status. The audience of devotees keep resurrecting the film long after it has finished its primary run. But the fans don’t just watch the film on their own; they want to celebrate their devotion with other likeminded people – people who ‘get it.’ Perhaps Stuart Samuels (1983) put it best when describing showings of these films as “a special event. It’s a show. It’s a party.” (p. 1)

In the case of Rocky Horror, it’s not just the pelvic thrusts that drive the fans insane. So what is it? Why do those of us who love it await the next public showing with so much antici--…--pation?

There are many reasons. For some it’s the homages to old, campy horror and sci-fi double-features. For others it’s the opportunity to dress up and celebrate thumbing our noses at rigid, ‘traditional’ sexual and gender norms. Others enjoy the collaborative experience of engaging in callouts with various alternative scripts. That’s just the tip of the iceberg. 

One thing I want to highlight is the sing-a-long aspect. Recent scientific research suggests that singing together not only makes us feel good, it can also make us feel bonded socially. It further solidifies a feeling of ‘us’ – we feel we are with people who understand and value us. In short, we belong. Ultimately, that’s what everyone wants. So, whether you are RHPS Virgin, Veteran, or Regular, join us for the ritual.

Bonus Readings:

Danny Peary’s Cult Movies books (any of them)

Hoberman, J., & Rosenbaum., J. (1983). Midnight movies. New York, NY: Harper.

Jancovich, M., Lázaro Reboll, A., Stringer, J., & Willis, A. (Eds.). (2003). Defining cult movies: The cultural politics of oppositional taste. Manchester, UK: Manchester University Press.

Keeler, J. R., Roth, E. A., Neuser, B. L., Spitsbergen, J. M., Waters, D. J. M., & Vianney, J. M. (2015). The neurochemistry and social flow of singing: Bonding and oxytocin. Frontiers in Human Neuroscience, 9, 518.

Kreutz, G. (2014). Does singing facilitate social bonding. Music & Medicine, 6(2), 51-60.

Mathijs, E., & Sexton, J. (2011). Cult cinema: An introduction. West Sussex, UK: Wiley-Blackwell.

Pearce, E., Launay, J., van Duijn, M., Rotkirch, A., David-Barrett, T., & Dunbar, R. I. (2016). Singing together or apart: The effect of competitive and cooperative singing on social bonding within and between sub-groups of a university Fraternity. Psychology of Music, 44(6), 1255-1273.

Samuels, S. (1983). Midnight movies. New York, NY: Collier Books.

Welch, G. F., Himonides, E., Saunders, J., Papageorgi, I., & Sarazin, M. (2014). Singing and social inclusion. Frontiers in Psychology, 5, 803.


Eric Wesselmann is a psychology professor. He is also a film buff and obtained a minor in Cinema Studies from ISU back in 2003. Since then he has maintained his film passions by regularly attending pop culture conventions (e.g., Horror Hound Weekend, Wizard World), spending way too much money on merch and autographs. He is a member of the WGLT Psych Geeks podcast, which comments on the interface between psychology and popular culture.