Abstract

This article looks at the way Matthew Weiner deploys double vision in his historical re-imagination of the 1960s in Mad Men. At issue is both the way the past haunts the present on the diegetic level in the form of flashback sequences, as well as the way Weiner performs simultaneity by virtue of parallel editing, especially in the closing sequences of individual episodes. At issue also is the way stock footage of key historical events such as the moon landing is deployed so as to offer a further juxtaposition of present and past.