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Relevant bibliographies by topics / Costume drama

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Dissertations / Theses

Academic literature on the topic 'Costume drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Dissertations / Theses on the topic "Costume drama"

1

Crocker-Aulenback, Heather Lee. "Dressing cultures costume designs for Pericles /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/369/.

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2

Lucka, Kristina. "A costume design for John Caird and Paul Gordon's (Jane Eyre : a musical drama)." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3554.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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3

Pidduck, Julianne. "Intimate places and flights of fancy, gender, space, and movement in contemporary costume drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0007/NQ40298.pdf.

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4

Cousins, Jennie. "Unstitching the 1950s film costumes : hidden designers, hidden meanings." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/42353.

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This thesis showcases the work of four costume designers working within the genre of costume drama during the 1950s in France, namely Georges Annenkov, Rosine Delamare, Marcel Escoffier, and Antoine Mayo. In unstitching the cinematic wardrobes of these four designers, the ideological impact of the costumes that underpin this prolific yet undervalued genre are explored. Each designer’s costume is undressed through the identification of and subsequent methodological focus on their signature garment and/or design trademark. Thus the sartorial and cinematic significance of the corset, the crinolin

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5

Viémont, Gaëlle. "Les costumiers, ces orfèvres d'un art dramaturgique sans nom : assises, enjeux et perspectives d'un secteur professionnel méconnu." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC016.

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Cette thèse cherche à comprendre et à analyser les fondements historiques, sociaux, culturels et genrés d’une méconnaissance et d’une sous-valorisation actuelles des costumiers et des costumières, en accordant un primat à leur parole propre. Traitant des origines théoriques de l’art costumier à partir de l’apparition de l’appellation professionnelle consacrée, la première partie retrace le parcours et les luttes multiples de Pierre-Nicolas Sarrazin, en cherchant à identifier les motifs de l’échec de la valorisation professionnelle entreprise par ce dernier au XVIIIe siècle. La deuxième partie

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6

Souza, Érica Fernanda Brasil Carosia Paulino de. "O traje medieval português e sua função alegórica no Auto da Barca do Inferno e no Auto da Alma de Gil Vicente." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/14665.

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Made available in DSpace on 2016-04-28T19:58:39Z (GMT). No. of bitstreams: 1 Erica Fernanda Brasil Carosia Paulino de Souza.pdf: 4921179 bytes, checksum: e84c84d017fcbfe4da9382c710a93b55 (MD5) Previous issue date: 2011-05-12<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation examines the role of the allegorical medieval costume Portuguese, Auto da Barca do Inferno (1517) and Auto da Alma (1518) Gil Vicente. As specific objectives, we demonstrate the relationship between clothing and the characters, explain the symbolism of each piece of clothing, and elucidat

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7

Kessler, Eli Mikael. "One Hundred and Fifty Percent Elasticity." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/649.

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The sculptural environments I create immerse the viewer in a decrepit vaudevillian past. The sculptures allude to narratives within Community Theater as well as the Drag Show. Making becomes an act; manipulating materials such as synthetic hair and paint are associated with the guise of the makeup artist. Frantic rehearsal logic prevails as a dress is repurposed into a male giant's costume and window blinds are used to construct a boat's deck. This collusion asks the viewer to transgress the boundary of the stage, becoming a voyeur privileged to the world of exiled props and role reversal.

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8

Li, Yiman. "STUDY OF SYMBOLIC EXPRESSIONS IN PEKING OPERA'SCOSTUMES AND LYRICS." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3597.

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This thesis represents an analysis of symbolic expressions used to convey traditional Chinese cultural values in marital relations as expressed through costumes and lyrics in Peking Opera plays and performances. Two symbols, dragon and phoenix, were selected from the costume collection. Four symbols--bird, tiger, wild goose, and dragon--were selected from compilations of lyrics. These symbols were selected because they expressed Chinese core cultural values, an imperial ideology based on Confucian thoughts, which were practiced rigidly during Qing Dynasty (1644-1911). Modeling Theory is applie

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9

SILVA, Francisco José Chaves da. "A educação político-estética da periferia de Fortaleza: reflexões sobre a cultura do olhar." www.teses.ufc.br, 2007. http://www.repositorio.ufc.br/handle/riufc/3174.

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SILVA, Francisco José Chaves da. A educação político-estética da periferia de Fortaleza: reflexões sobre a cultura do olhar. 2007. 292f. Dissertação (Mestrado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2007.<br>Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-10T14:53:10Z No. of bitstreams: 1 2007_Dis_FJCSILVA.pdf: 5850089 bytes, checksum: e4d53d8c38dc414ce7b08578845c7255 (MD5)<br>Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-11T16:24:46Z (GMT) No. of

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10

Holt, Anne. "Reading Costume Design: the rise of the costume designer 1850-1920." Thesis, 2014. https://doi.org/10.7916/D8H1305D.

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"Reading Costume Design" identifies and theorizes an important shift in costume practices: in the mid-nineteenth century, it was common for actors to wear their own clothing onstage or to choose a garment from a theatre's generic stock, without coordination with other costumes or attention to the particular demands of a role. By the early twentieth century, however, costume was firmly established as an expressive artistic tool in building a character and shaping the complete theatrical experience, overseen by a professional designer who routinely received credit in the program. By focusing on

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