Retrofuturism (adjective retrofuturistic, retrofuturist, or retrofuture) is a movement in the creative arts emphasizing depictions of the future as produced in earlier eras. As opposed to futurism, which is an artistic movement anticipating upcoming technological advancements, retrofuturism is the remembering of that anticipation. Characterized by a blend of old-fashioned "retro styles" with futuristic technology, retrofuturism explores the themes of tension between past and future, and between the alienating and empowering effects of technology. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, retrofuturism can be seen as "an animating perspective on the world".
Retrofuturism became especially prevalent in the early 2020s in terms of culture, transport, architecture, and entertainment. Etymology The word retrofuturism is formed by the addition of the prefix "retro" from the Latin language, which gives the meaning of "backwards" to the word "future", a word also originating from Latin.
According to the Historical Dictionary of Science Fiction, the earliest use of any related term is 1981, when Trouser Press reviewed a concert where the band's lead singer "resembles an interplanetary go-go dancer.... The rest of the band looks similarly retro-futurist, drawing camp inspirations from both Flash Gordon movies and a mod, 'swinging London' look." The Oxford English Dictionary quotes an early use of the term in a Bloomingdales advertisement in a 1983 issue of The New York Times. The ad talks of jewellery that is "silverized steel and sleek grey linked for a retro-futuristic look". An example more related to retrofuturism as an exploration of past visions of the future appears in a 1986 review of the film Brazil in The New Yorker; critic Pauline Kael writes, "Terry Gilliam presents a retro-futurist fantasy."
History Retrofuturism builds on ideas of futurism, but the latter term functions differently in several different contexts. In avant-garde artistic, literary and design circles, futurism is a long-standing and well-established term. But in its more popular form, futurism (sometimes referred to as futurology) is "an early optimism that focused on the past and was rooted in the nineteenth century, an early-twentieth-century 'golden age' that continued long into the 1960s' Space Age".
Retrofuturism is first and foremost based on modern but changing notions of "the future". As Elizabeth Guffey notes, retrofuturism is "a recent neologism", but it "builds on futurists' fevered visions of space colonies with flying cars, robotic servants, and interstellar travel on display there; where futurists took their promise for granted, retro-futurism emerged as a more skeptical reaction to these dreams." It took its current shape in the 1970s, a time when technology was rapidly changing. From the advent of the personal computer to the birth of the first test tube baby, this period was characterized by intense and rapid technological change. But many in the general public began to question whether applied science would achieve its earlier promise that life would inevitably improve through technological progress. In the wake of the Vietnam War, environmental degradations, and the energy crisis, many commentators began to question the benefits of applied science. But they also wondered, sometimes in awe, sometimes in confusion, at the scientific positivism evinced by earlier generations. Retrofuturism "seeped into academic and popular culture in the 1960s and 1970s", inflecting George Lucas's Star Wars and the paintings of pop artist Kenny Scharf alike". Surveying the optimistic futurism of the early twentieth century, historians Joe Corn and Brian Horrigan remind us that retrofuturism is "a history of an idea, or a system of ideas—an ideology. The future, of course, does not exist except as an act of belief or imagination."
Characteristics Retrofuturism incorporates two overlapping trends which may be summarized as the future as seen from the past and the past as seen from the future.
The first trend, retrofuturism proper, is directly inspired by the imagined future which existed in the minds of writers, artists, and filmmakers in the pre-1960 period who attempted to predict the future, either in serious projections of existing technology (e.g. in magazines like Science and Invention) or in science fiction novels and stories. Such futuristic visions are refurbished and updated for the present, and offer a nostalgic, counterfactual image of what the future might have been, but is not.
The second trend is the inverse of the first: futuristic retro. It starts with the retro appeal of old styles of art, clothing, mores, and then grafts modern or futuristic technologies onto it, creating a mélange of past, present, and future elements. Steampunk, a term applying both to the retrojection of futuristic technology into an alternative Victorian age, and the application of neo-Victorian styles to modern technology, is a highly successful version of this second trend. In the movie Space Station 76 (2014), mankind has reached the stars, but clothes, technology, furnitures and above all social taboos are purposely highly reminiscent of the mid-1970s.
In practice, the two trends cannot be sharply distinguished, as they mutually contribute to similar visions. Retrofuturism of the first type is inevitably influenced by the scientific, technological, and social awareness of the present, and modern retrofuturistic creations are never simply copies of their pre-1960 inspirations; rather, they are given a new (often wry or ironic) twist by being seen from a modern perspective.
In the same way, futuristic retro owes much of its flavor to early science fiction (e.g. the works of Jules Verne and H. G. Wells), and in a quest for stylistic authenticity may continue to draw on writers and artists of the desired period.
Both retrofuturistic trends in themselves refer to no specific time. When a time period is supplied for a story, it might be a counterfactual present with unique technology; a fantastic version of the future; or an alternate past in which the imagined (fictitious or projected) inventions of the past were indeed real.
The import of retrofuturism has, in recent years, come under considerable discussion. Some, like the German architecture critic Niklas Maak, see retrofuturism as "nothing more than an aesthetic feedback loop recalling a lost belief in progress, the old images of the once radically new".Niklas Maak, "Goodbye Retro-Futurism · A farewell to our perpetual nostalgia for the future". 032c9 (Summer 2005): p. 117 Bruce McCall calls retrofuturism a "faux nostalgia"—the nostalgia for a future that never happened.
Themes Although retrofuturism, due to the varying time-periods and futuristic visions to which it alludes, does not provide a unified thematic purpose or experience, a common thread is dissatisfaction or discomfort with the present, to which retrofuturism provides a nostalgic contrast.
A similar theme is dissatisfaction with the modern world itself. A world of high-speed air transport, computers, and space stations is (by any past standard) "futuristic"; yet the search for alternative and perhaps more promising futures suggests a feeling that the desired or expected future has failed to materialize. Retrofuturism suggests an alternative path, and in addition to pure nostalgia, may act as a reminder of older but now forgotten ideals. This dissatisfaction also manifests as political commentary in Retrofuturistic literature, in which visionary nostalgia is paradoxically linked to a utopian future modelled after conservative values as seen in the example of Fox News' use of BioShock's aesthetic in a 2014 broadcast.
Retrofuturism also implies a reevaluation of technology. Unlike the total rejection of post-medieval technology found in most fantasy genres, or the embrace of any and all possible technologies found in some science-fiction, retrofuturism calls for a human-scale, largely comprehensible technology, amenable to tinkering and less opaque than modern black-box technology.
Retrofuturism has two main viewpoints that it stems from either an optimistic viewpoint or a pessimistic view. Retrofuturism which stems from an optimistic viewpoint tends to be an imagined futuristic society that comes from an advancement in technology in order to explore for the sake of science. Retrofuturism is not universally optimistic, and when its points of reference touch on gloomy periods like World War II, or the paranoia of the Cold War, it may itself become bleak and dystopian. This pessimistic retrofuturism is often imagined with technological advancement either being the downfall of humanity or being the last hope for humanity. In such cases, the alternative reality inspires fear, not hope, though it may still be coupled with nostalgia for a world of greater moral as well as mechanical transparency. It has been argued that retrofuturism, through finding hope in the disappointment and dystopia, and using that hope to push towards a brighter future, can be optimistic. Similarly, the visions of utopias depicted in retrofuturistic pieces can re-instill that hopefulness in audiences that have lost it.
Genres
Genres of retrofuturism include cyberpunk, steampunk, dieselpunk, atompunk, and Raygun Gothic, each referring to a technology from a specific time period.
The first of these to be named and recognized as its own genre was cyberpunk, originating in the early to mid-1980s in literature with the works of Bruce Bethke, William Gibson, Bruce Sterling, and Pat Cadigan. Its setting is almost always a dystopian future, with a strong emphasis either upon outlaws hacking the futuristic world's machinery (often computers and computer networks), or even upon post-apocalyptic settings. The post-apocalyptic variant is the one usually associated with retrofuturism, where characters will rely upon a mixture of old and new technologies. Furthermore, synthwave and vaporwave are nostalgic, humorous and often retrofuturistic revivals of early cyberpunk aesthetic.
The term "steampunk" was among the early subgenres recognized, emerging in the late 1980s. It presents a generally more optimistic and brighter outlook compared to cyberpunk. Steampunk is typically set in an alternate history closely resembling our own from the late 18th century, particularly the Regency era onwards, up to approximately 1914. However, it diverges from history in that it envisions 20th-century or even futuristic technologies powered by steam.
One of the recurring themes in this genre is the fascination with electricity as a mysterious force, often considered a utopian power source of the future. It's occasionally portrayed as having mystical healing properties, akin to how nuclear energy was perceived in the mid-20th century. Steampunk shares similarities with the original scientific romances and utopian novels of authors like H. G. Wells and Jules Verne.
The modern form of steampunk literature can be traced back to works such as Mervyn Peake's "Titus Alone" (1959), Ronald W. Clark's "Queen Victoria's Bomb" (1967), Michael Moorcock's "A Nomad of the Time Streams" series (1971–1981), K. W. Jeter's "Morlock Night" (1979), and William Gibson & Bruce Sterling's "The Difference Engine" (1990). In the realm of cinema, early examples include The Time Machine (1960) and Castle in the Sky (1986).
An early instance of steampunk in comics can be found in the Franco-Belgian graphic novel series "Les Cités obscures," initiated by creators François Schuiten and Benoît Peeters in the early 1980s. On occasion, steampunk blurs the lines with the Weird West genre.