Top Gun: Twisting the Past to Meet the Present

An Analysis of Remix Theory and Nostalgia in the Top Gun Franchise

This is a final paper written for a class on popular culture. Its purpose is to analyze the connection between nostalgia and remix theory in the Top Gun franchise and how it captives an audience.

Abstract

Almost nothing new is truly original. New art, literature, movies, TV shows, architectural designs and so much more are merely just mosaics of past ideas, collaged together to allow the light to hit differently, creating something new. This style of creation is referred to as remix. This theory dominates our postmodern art and entertainment. When coupled with elements of nostalgia, remix theory provides a familiar feeling and “new” content to consume. The 1986 film Top Gun and the newly released Top Gun: Maverick proves that with the right combination of remix and nostalgia, audiences will remain captivated.

Keywords: postmodern, nostalgia, remix, Top Gun, film

Cultural Nostalgia and Remix in the Top Gun Franchise

Have you ever longed for a decade before this one? A time when things seemed simpler and less polarized? You are not alone. As humans, it isn’t difficult to feel overwhelmed by the present. The past can seemingly provide a sense of escapism from the things that plague us in the present. We long for times when everything seemed easier. We often look for those times in decades past. Occasionally, even in the portrayal of previous decades. The sights and sounds of decades past have seen a recent resurgence in popular culture. Retro aesthetics have taken the forefront of fashion, music, and entertainment media. The vintage feel of the 1970s has made its way into the ears of modern listeners with the revival of artists such as ABBA and Fleetwood Mac. Teenagers have incorporated the vibrant fashion of the decade into modern clothing through thrifting. They work to resemble a time before their own. Similarly, the vibrant pop of the 1980s has also seen a recent uptick in popularity. The 80s were a decade full of color, new music, and bright fashion. Movies in the era are renowned to this day and are often considered cult classics. These films, especially in the modern day, bring about a sense of nostalgia, even for those who weren’t alive during the decade. This phenomenon is referred to as cultural nostalgia. Cultural nostalgia is characterized by memories and feelings of closeness to a time when one feels more connected to their culture. We often see this through an attachment to older music and movies. The representation of these decades in a purely entertainment-based way captures the attention of millions and leaves them longing for a time that they may have never even lived in.

Nostalgia can be brought about in many ways. Often, we see something or hear something that motivates us to remember the past. Nostalgia has a tendency to comfort us when we feel down or distressed because it targets an idea of the past. When we look at the past, more often than not, we see it through rose-colored glasses. Because we have the fortune of knowing how things turned out, we can look back at these times fondly, seeing only the positive. When we feel nostalgic, we remember those good times. As such, many cult classics and nostalgic movies bring us a sense of deep comfort. For many, the movie Ferris Bueller reminds them of adventurous times as a teenager in a decade seemingly swarming with fun and freedom. How, then, can those who never lived in the decade experience a sense of longing for the time? As a desperately simple and surface-level answer, cultural nostalgia is employed. Although the person may have never lived in the decade, they may feel a stronger connection to what they view as their own culture as it is represented in the film. I believe that many modern movie sequels and remixes play on this deeply complicated set of emotions. These movies play on a person’s desire to experience a time that never truly existed. The modern series Stranger Things is a simple example of this. Many teenagers and young adults have latched onto the portrayal of the decade, longing for a time that they see as simple, unique, and homely, even if it was one they never experienced. Thus, they are longing for a time that never truly existed as it has been portrayed in the series.

In an attempt to uncover the ties between movie sequels and cultural nostalgia, I will be analyzing the original Top Gun, released in 1986, and the newly released Top Gun: Maverick. In order to analyze the feelings of cultural nostalgia that are brought about in the sequel, I will be applying the idea of remix theory. Remix theory states that content is often repurposed, reused, sampled, or remixed to serve a new purpose. Essentially, remix theory analyzes the reuse of something pre-existent. In this case, I will analyze how Top Gun: Maverick reuses and repurposes content from the original 1986 film in various ways to continue that sense of nostalgia and propel a new storyline. These films are important to analyze as they are another installation of the retro resurgence that has taken hold of the modern content consumer. As a recently released film of this year, Top Gun: Maverick has proven to pique interest in the original Top Gun film. In this analysis and through the use of remix theory, we can understand just how important the reuse of nostalgic material can be for those being entertained. This analysis will also provide a deeper understanding of the role of both films’ involvement in cultural nostalgia.

Literature Review

Since the early age of film in Hollywood, directors have played with the emotions of their audiences in a variety of ways. They have created scenes that make us sob, make us undeniably happy, and others that leave us scared to walk home at night. Directors and writers have also learned to use our sense of nostalgia. Several movies and their sequels have proven that these directors have reached our fondest memories and brought back good times to the forefront of our minds. Top Gun and Top Gun: Maverick are two movies that bring back nostalgia.

There are several important aspects that contribute to the nostalgia we feel when we watch films. One of the most important is music. Music highly contributes to the overall synergy we feel from a movie each time we watch it. The 1980s was a prime decade for the use of this type of synergy. R.S. Denisoff and G. Plasketes argue that “Although video was largely a 1980s phenomenon, the film-music partnership dates back to the 1930s. As the dominant medium of the period, the motion picture was an effective vehicle for music exposure” (Denisoff, 1990, p. 257). Directors learned from past successes and linked their films to MTV and the music industry. The enhancement of films through the addition of music and music videos became a hit. It became such a hit that “synergism, the buzzword with music consultants, came to signify an increase in each medium's effectiveness” (Denisoff, 1990, p. 258). In movies such as Footloose and Top Gun, we see an increase in ticket sales for the movie itself in addition to a strong enthusiasm for the main soundtrack. “The frequent use of (mainly nondiegetic) popular songs for a film's soundtrack, especially for montage sequences of characters dancing, fighting, falling in love, trying on clothes, and so on” was popularized by many different films in the 1980s (Calavita, 2007, p. 15-16). The carefully chosen audio that plays over important scenes of youth set the stage for our inner teenager to take control. Films like Top Gun and Footloose represent “youth by means of the recorded music used on its soundtrack, and in these films (and our culture generally), youth is the privileged site of nostalgia” (Shumway, 1999, p. 49). This contributes to the nostalgia we feel when watching movies from this time. We have most likely heard the main scores or singles from the movie elsewhere. Hearing them again in the movie setting takes us back to a time and place where we first heard or listened to the songs, creating that important sense of nostalgia.

Another important contributor to the nostalgia we feel in movies comes from an idea similar to what researcher Barbara Klinger stated. Movies can become akin to friends. As we watch and grow with these films, they can feel like a prominent part of our life, something we can fall back on. Movies such as Top Gun have followed this pattern. “The status of Top Gun as a filmic reference point for Hollywood in the 1980s ­– stylistically informed by music video, jet-propelling the career of Tom Cruise and portraying naval aviators as ‘rock n’ roll’ stars of the sky, in the words of” the director has shown that our attachment to films can leave us wanting more (Grainge, 2020, p. 205). Through its music and grandeur, the film has become an important piece of pop culture and people want more.

Movies at the height of popularity in earlier decades seem to beg for resurgence in modern times. As waves of nostalgia and desires for the simpler times of the past resurface, people turn to media from the past. Movies are often the first place of refuge from the modern world. Films from the 1980s seem to satisfy the nostalgic needs of the people to some degree. However, it seems that they also beg for a reboot (Arnett, 2009, p. 1). As a film, Top Gun saw an opportunity to expand its narrative a carry on a legacy through the development of a reboot, Top Gun: Maverick. To do so successfully, the reboot needed to focus on nostalgia through the use of remix.

When analyzing the Top Gun franchise through remix theory, many things become clear. “Remix means to take cultural artifacts and combine and manipulate them into new kinds of creative blends” (Knobel, 2008, p. 22). This was originally most prominent in the music industry although it has since made its way into the movie business. Films have taken previous films, in or outside of their franchises, and successfully manipulated them to create something new. One specific trend of remix in the film industry is the superhero genre. Most films tend to follow a similar style although the details are manipulated to reflect something newer.

These new reboots are often heavily desired by audiences. Top Gun: Maverick was no different. After years of audiences claiming to want a sequel or follow-up and directors wanting to follow suit, all it took was the right timing. “After seemingly endless pandemic miseries, it feels like there are whole audience quadrants hungry for an old-school, PG-13 popcorn movie, a throwback for parents who can revel in nostalgia while their kids enjoy the action” (Masters, 2022, p. 13). As a director, Tony Scott had done it right in the original Top Gun. He managed to create the perfect blend of nostalgia, whether good or bad, that would leave audiences wanting more. “Top Gun would set a new standard for Hollywood film as advertising. Not only did it spawn multiple hit songs from a soundtrack album (with Scott directing Kenny Loggins' "Danger Zone" music video), but the Navy also saw a 500% increase in enlistment” (Arnett, 2015). The film served as a reminder of a successful time. Naturally, after decades of desire, the follow-up film was bound to be highly criticized.

Analysis

In this paper, Top Gun and Top Gun: Maverick will serve as prime examples of how the combination of nostalgia and remix theory captivate audiences and carry on legacies in film.

Top Gun is a film following the story of hotshot pilot Pete “Maverick” Mitchell and his flight partner Goose as he makes his way through Top Gun Naval Fighter Weapons School. At this school, the best naval pilots train to hone their skills. The pair competes against the best of the best and find themselves in a rivalry with Iceman for the top spot in their class. The recently released follow-up film, Top Gun: Maverick, catches up with Maverick after his service of more than 30 years as a top Naval aviator. He works as a pilot, pushing the limits of what’s possible in flight. Knowing that a promotion in rank would keep him from flying, he works to avoid it at all costs. After being asked to teach a group of Top Gun graduates for a special assignment, he realizes that he must reconcile with his past. Ultimately, the story ends in a mission of sacrifice.

In order to fully understand just how revolutionary this franchise is to the entertainment industry, the elements that make up the nostalgic pull must be addressed.

Nostalgia For Each Audience

The use of remix theory in Top Gun: Maverick serves a nostalgic purpose for two specific groups. The first group consists of those who were around for the release of the original Top Gun or had grown up watching it. This group knows the movie and has an attachment to it, whether acknowledged or not. The previous experience sets the stage for the original sense of nostalgia that is often experienced with sequels, continuations, and revivals. The second group is composed of younger audience members who lack previous, or deeper, experiences with the original film.

To engage these two audiences, similar techniques can be used. An umbrella technique that engages both audiences works best in this case. That umbrella technique is the use of remix. As previously mentioned, “remix means to take cultural artifacts and combine and manipulate them into new kinds of creative blends” (Knobel, 2008, p. 22). This can take many forms, but in the Top Gun franchise, this means paying homage to the original film through the choice of music, creative shots, and character plots and development.

Tropes and Continuations Through Remix

The first audience becomes deeply engaged in the newly released film when specific videography and cinematic shots are used. The original Top Gun features several shots that are easily recognizable to those who have seen the movie more than once. One iconic shot features Maverick riding his motorcycle next to the F-18s. This showcases his character and his love for flying. Another familiar shot is one of Maverick and Goose in the cockpit of the F-18. These scenes work to strengthen the notion that Maverick and Goose are close. An iconic line remembered by the older generation in these scenes is “Talk to me Goose.” Both of these types of shots, and in turn sentiments, are remixed in Top Gun: Maverick. To remix the shot of Maverick on his motorcycle, the new film uses the same premise. They mimic the scene almost exactly, changing the F-18s to an updated aircraft. To remix the scenes of Goose and Maverick, the new film shows a similar bond forming between Maverick and Goose in the final moments of the movie. The connection is unique because the relationship grows to be one similar to that of Goose and Maverick. These scenes involve Maverick as the pilot and Rooster as his secondary. They have to work together to succeed, and these scenes echo the dynamic shared by Maverick and Goose. This remix and reflection of the original relationship adds a sense of nostalgia for the older audience. They know just how good of friends Maverick and Goose were, how well they worked together, and how important they were to each other. Seeing Maverick work to do the same with Goose’s son is a tender moment recognized by this older audience. This is topped off when Rooster struggles to know what to do and utters the phrase, “Talk to me dad.” This shows a clear tie to the original film while tugging at the heartstrings. The younger audience is also able to latch on to this nostalgic moment. This is largely due to the fact that Maverick says the phrase in the new film as well. The connection between the two relationships and the two films is clearly noticed and even its remix serves a nostalgic purpose that engrosses the audience.

Another factor that creates a sense of nostalgia through the use of remix in Top Gun: Maverick is the continuation of specific tropes. One of these tropes that is continued between the two movies is the use of popular songs in the soundtrack. As previously mentioned, this phenomenon began in the 80s and has continued on strong in many of today’s blockbusters. The original film introduces “You’ve Lost That Loving Feeling” and Jerry Lee Lewis’s “Great Balls of Fire” as two songs sung by a crowd. “Great Balls of Fire” is performed by Goose surrounded by Maverick and his family in the original film. This is remixed and mirrored in Top Gun: Maverick through a similar use of the iconic song, this time sung by Goose’s son, Rooster, as Maverick watches on from outside the bar. The use of the same song in a different context helps add to the sense of nostalgia that the audience is feeling. Seeing how connected Maverick and Goose are during the rendition of this song really puts into perspective the distance between Maverick and Rooster during Rooster’s performance. This use of remix poles in the older audience as they’re connected to the difference. They feel for Maverick because they feel they know him and the struggles he is going through. A sense of nostalgia is created here and hits home with the older audience. The younger audience feels captivated by the scene as well, noticing Maverick’s drastic shift in emotion and flashbacks. They are able to form a similar connection with the emotions in the scene and with the characters. Again, this sense of nostalgia, a longing for a time when things were better, captivates the younger audience. The remix of this scene and subplot helps nostalgia find its way into the audience’s hearts.

Another good example of this trope is seen in the shirtless scenes of both movies. In the original, Maverick, Goose, Iceman, and the rest of the students take a break by playing beach volleyball. The scene is backed by the song “Playing With The Boys” by Kenny Loggins. This scene is remixed in the new film as a training exercise that Maverick gives the students. This time, however, the sport is football. As they play on the beach, the song is “I Ain’t Worried” by One Republic. The song followed “Playing With The Boys” and became a hit summer song. This similarity between the scenes is uncanny but very clearly curated to pay homage to the scene from the original film. This has proved successful in maintaining the attention of the older audience as well as intriguing the younger one. It introduces that element of nostalgia, even to an audience that doesn’t quite understand its roots.

The Success of the Nostalgia and Remix Combo

The remix-style elements used to embed a sense of nostalgia proved to be very effective in capturing the attention and admiration of both audiences. Top Gun: Maverick raked in $126,707,459 on opening weekend. It also broke a box office record coming in fifth on the list of the highest-grossing movies in North America, surpassing even Black Panther. Globally, it sits in the 12th spot of highest-grossing films, just under Frozen II (Squires, 2022). The numbers shown indicate just how powerful nostalgic films can be. Many of the attendees belonged to the first audience group, hoping to see an adequate continuation of a story they once loved and resonate with. The other part of the audience pulled new viewers who found themselves caught up in the fast-flying pilots and hard-hitting heartbreaks coated in a sense of nostalgia for the original storyline that was so eloquently strung throughout the new film. Ultimately, both groups found what they were looking for. Both films, the old laying the groundwork and the new twisted to mirror the old, used nostalgia to effectively enthrall the audiences at hand.

Conclusion

The continuation of the Top Gun franchise, through Top Gun: Maverick is a great example of the application of remix and nostalgia. This nostalgia is created through a variety of tropes that pay homage to the original film. Through mirroring techniques, the audience is able to sympathize with Maverick and his story. The new film shows that when used appropriately, remix can create a sense of nostalgia that captivates audiences. It proves that people long for the familiar, even when it is presented in a new light. They long for what they have previously experienced attachment to and seek to feel those feelings again. Reuse and remix of those original moments can prove crucial to creating those new moments from old feelings. It shows that nostalgia is something we long for, even if we aren’t aware of the reasons why.

References

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