Nostalgia has been viewed as the conceptual opposite of progress, against which it is negatively viewed as reactionary, sentimental or melancholic. It has been seen as a defeatist retreat from the present, and evidence of loss of faith in the future. Nostalgia is certainly a response to the experience of loss endemic in modernity and late modernity, but the authors argue that it has numerous manifestations and cannot be reduced to a singular or absolute definition. Its meaning and significance are multiple, and so should be seen as accommodating progressive, even utopian impulses as well as regressive stances and melancholic attitudes. Its contrarieties are evident in both vernacular and media forms of remembering and historical reconstruction. The authors argue that these contrarieties should be viewed as mutually constitutive, for it is in their interrelations that there arises the potential for sociological critique.

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This article argues that claims of time in late-modernity collapsing or becoming irretrievably accelerated do not sufficiently account for the range of experiences of time that are supported in a media-saturated culture. Achieving this requires an empirical and conceptual shift. Research on the domestication of media technologies provides an initial empirical framework for this kind of exploration, but as well as rhythmic practices and processes of media use, experiences of time involves the imaginative and symbolic provisions of the media. Using Bergson's concept of the zone of indeterminacy, the mediation of time will be considered as occurring in zones of intermediacy. This conceptual tool allows an exploration of the relational nature of temporal experience and the active negotiation of various mediated temporalities that this involves.

This article demonstrates the need always to consider change against continuity and continuity against change in the analysis of mnemonic technologies. It does so by exploring what has happened in the move from analogue to digital photography, looking in particular at how this has affected the meanings of personal photographs and the practices of remembering associated with them. In contrast with technologically determinist perspectives which have been, however latently, manifest in writing on new media, the value of exploring vernacular photography as a specifically mnemonic practice is that it turns our attention to the ways in which photographic practices are bound up with longerterm social uses and cultural values. Our analysis focuses on changes in four key categories of photographic practice that relate to the analogue/digital shift: photo-taking; photostoring; photo-viewing; photo-sharing -all of which have consequences for the uses of photography as a mnemonic resource. They have all been altered in varying degrees by the advent of digital technologies, but with people continually making comparative evaluations of old and new, drawing on the former as a key aspect of learning how to use the latter.

In this article we introduce the themed issue ‘Mediated Mobilities’. We begin by articulating some of the potential relationships between media and mobility critically addressing the key conceptual distinctions that underpin them and the methodological demands placed on media studies when exploring the complex ways in which mobility is embedded in contemporary media ecologies. In the first instance we consider precisely what is meant by mobility, and, more specifically, interrogate the dynamic relationship between mediated mobility and immobility. We then move on to develop a methodological framework or agenda for research on mediated mobilities. This framework traces how existing analytical trajectories in media studies research need to be developed and synthesized in order to be able to account for the multiple modes of mobility facilitated by media technologies, texts, institutions and audiences. In the last part of the article we examine the development of innovative methodologies and forms of analysis that give emphasis to movement and trajectory, but also human and algorithmic agency.