Relevant bibliographies by topics / Film costume

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Film costume'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Film costume"

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Colpaert, Lisa. "Costume on film: How the femme fatale’s wardrobe scripted the pictorial style of 1940s film noir." Studies in Costume & Performance 4, no. 1 (June 1, 2019): 65–84. http://dx.doi.org/10.1386/scp.4.1.65_1.

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The character of the femme fatale and the visual style of film noir are vital elements in our understanding of that genre. Film costumes worn by the femme fatale are crucial, and are defining elements in genre recognition precisely because of their explicit cinematic visualization, rather than functioning as unequivocal signs. This article proposes a methodology for film costume researchers to conduct a pictorial analysis, without necessarily analysing film costume in terms of a meaning-making repertoire adhering to our understanding of film as a ‘language’. In the proposition of a framework for the close textual analysis of film costumes, the methodology is based on the triangulation of a shot-by-shot description, a wardrobe breakdown and an examination of production stills. This triangulation is crucial to understand the complexity of film costumes, which are defined by a wide-ranging set of factors such as: the film industry’s mode of production, the film costume’s relation to the fashion of its time, the body and star image of the actor, the work of the costume designer and his/her department, and the film-specificity. The ways in which a film costume functions in a specific shot will prove to be an important tool to analyse the pictorial characteristics of film noir and the femme fatale. To exemplify to methodology, this article proposes a close reading of an iconic film costume designed for one of the best-known performances of such a character, i.e. the white jumpsuit designed by Edith Head for Barbara Stanwyck in the closing scene of Billy Wilder’s Double Indemnity (1944).
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Andersson, Therése. "Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress." Culture Unbound 3, no. 1 (April 19, 2011): 101–12. http://dx.doi.org/10.3384/cu.2000.1525.113101.

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In ’Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress’ a materiality-based approach for analysing film narratives through costumes is examined. Sofia Coppola’s film Marie Antoinette (2006) serves as the empirical starting point and the theme of dressing and redressing is pursued throughout the film, crystallizing costume as a significant feature for reading the movie. The article argues that costumes, on a symbolic level, work as agents. It thus focuses on the interdependence between costume and interpretations of the screenplay’s main character. A theoretical notion of costumes and materiality is explored, and the idea is further developed in relation to stylistics constituted as emotions materialised in costume. As costumes are the main object for analysis, the discussion immediately centres on costumes produced by professional costume designers for the two-dimensional format of the film frame. In other words, costumes made for the moment: for a specific narrative and aesthetic expression.
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Bakina, T. V. "The Birth of a Hollywood Spectacle: Visual Expression and Narrative Functions of Costumes in Cecil B. DeMille’s Silent Films." Art & Culture Studies, no. 2 (June 2021): 252–85. http://dx.doi.org/10.51678/2226-0072-2021-2-252-285.

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The article explores the functions of film costumes in the works of Cecil B. DeMille, the American film director, whose pictures of the late 1910s and early 1920s are notable for their artistic achievements in the field of set and costume design. On the material of certain films from his “matrimonial cycle”, the author analyses the narrative and spectacular functions of costumes, while making an emphasis on the director’s role in the development of the artistic uniqueness and visual extravagance of Hollywood films of this period. The films of this cycle display some key strategies in film costume function- ing and design methods that would be adopted by the Hollywood film industry to become the new production standard in this field.
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Dierker, Urs A. Georg. "Every stain a story: The many dirty undershirts of John McClane in Die Hard." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 193–205. http://dx.doi.org/10.1386/scp_00004_1.

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Men’s upper body underwear and the depiction of grime, dirt and blood on costumes have a long tradition in Hollywood films. This article explores the 34 undershirts worn by Bruce Willis and his stuntman in the 1988 action film Die Hard from the points of view of the maker, designer, actor, curator and spectator. The image of McClane and the undershirt became iconic in their depiction of a white, working-class, heroic masculinity. One of the many undershirts used in the film was donated to the Smithsonian’s National Museum of American Culture costume collection. This one artefact and the 33 ‘lost’ doubles hold more clues to the undershirt’s past than the obvious connection to a major star; the exhibited object also brings the viewer into physical proximity with the art of Hollywood filmmaking. This article queries the different ‘authenticities’ of the garment, from its material believability as evidence of the character’s progression through the film, to its cultural signification legitimized by the perspectives of the makers and audiences, to its role as artefact authenticated by the museum and/or viewer. Analysis is correspondingly divided into costume in context, costume in production, costume as film image and costume as artefact.
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Wilkinson, Clare M. "Wrinkles in Time: Ageing Costume in Hindi Film." BioScope: South Asian Screen Studies 9, no. 1 (June 2018): 46–72. http://dx.doi.org/10.1177/0974927618767280.

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Today’s philosophy and practice of costume ageing, even in mainstream commercial Bollywood output, skews strongly towards an avowed ‘realism’. Consequently, accurate ageing and the subtle impressions of wear are valued in contrast to the ‘theatrical’ and ‘inauthentic’ ageing of most pre-1990s films (and some films still today). Designers argue that costume ageing has simply improved but this answer oversimplifies the complex narrative and organisational imperatives at stake. Older, more theatrical costume ageing, embedded within the melodramatic mode of expression, worked for its audience because of the explicit contrast it drew with costumes that were pristine. The distinction between new and aged costumes served many functions, among them the marking of vulnerable versus invulnerable bodies. Stars, dressed in new, unworn clothes, achieved their near mythic identifications in part because their costumes resisted the rigors of time and experience. In this past era, it was sufficient to pile on dirt and tear fabric to achieve effective ‘ageing’ as opposed to carefully mimicking how clothes actually age. This type of quick, crude ageing was both a consequence of—and a rationalisation for—scant time spent in costume ageing (and fabrication) in pre-production. New practices that strive for ‘realistic’ ageing thrive in expanded pre-production schedules. Alongside a resilient poetics of aged costume, ‘relaxed’ costumes lend texture to the film’s ‘lived world’. Now, the goal of ageing is to index the unseen time that characters have experienced outside the film’s temporal boundaries.
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Stutesman, Drake. "Film Costume." Feminist Media Histories 4, no. 2 (2018): 84–89. http://dx.doi.org/10.1525/fmh.2018.4.2.84.

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Wright, Sarah, and Lidia Merás. "The transitivity of costume in That Lady (Terence Young, 1955)." Film, Fashion & Consumption 8, no. 2 (October 1, 2019): 129–45. http://dx.doi.org/10.1386/ffc_00003_1.

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Released during the heyday of the costume drama, La princesa de Éboli (That Lady) (Young, 1955) is an Anglo-Spanish co-production about Ana de Mendoza, Princess of Éboli (1540–92), a prominent figure at Philip II’s court who was accused of treason. Based on Kate O’Brien’s novel, the film adaptation was eventually made into two different films for Spanish- and English-speaking audiences owing to the restrictions of Spanish censorship. Modifications to the script, film-edit and ending of the film offered a reversed interpretation of the fate of the protagonist in the Spanish version. Focusing on the costumes of the Princess of Éboli (played by Olivia de Havilland), we explore the shifting meanings that are brought to bear between the Spanish and the English versions. In contrast to costume films of nationalistic glorification in which the heroine sacrifices her personal desires for the more noble cause of patriotic ambitions, the English version disturbed official views of the past by celebrating female pleasure.
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Gatley, Sam, and Roisin Morris. "Striking a Pose: The Display of Hollywood Costume." Costume 49, no. 1 (January 1, 2015): 75–90. http://dx.doi.org/10.1179/0590887614z.00000000064.

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Hollywood Costume was a major temporary exhibition held at the Victoria and Albert Museum from 20 October 2012 to 27 January 2013 which explored the creation of character in film through costume design, and was curated by the Oscar-nominated costume designer Professor Deborah Noodalman Landis. This article focuses on the challenges negotiated to prepare the 130 costumes, which were diverse in style, material and condition, for display. As well as the condition and physical limitations of the objects, ethical conservation concerns and the differing working practices of the film industry both had to be taken into account. Through a variety of examples and case studies this article demonstrates the range of mounting approaches and solutions which were adopted to support and interpret this group of dramatic and iconic costume ensembles.
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Adzovie, Daniel Edem, Abdul Bashiru Jibril, Rita Holm Adzovie, and Divine Narkotey Aboagye. "Sex Sells! Could Sex Scenes in Ghanaian Video Films be used to Market Culture through Costume?" Technium Social Sciences Journal 10 (July 23, 2020): 133–41. http://dx.doi.org/10.47577/tssj.v10i1.1266.

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Film, although one of the youngest art forms, influences societies due to its unique way of interacting with the viewer. Film directors employ different tropes in conveying messages to audiences. One of such tropes is costume. “Sex sells” is a popular expression in advertising and marketing communications. The purpose of this study is to offer a new perspective on how sex scenes in films could be used to project aspects of a country’s culture. Riding on this popular expression, we argue that sex scenes in a Ghanaian video film could be a strong fulcrum to expose aspects of the rich Ghanaian culture to the world. We submit that by paying particular attention to the mise-en-scene of costume used during sex scenes, directors could lure film lovers into appreciating the kinds of fabric as well as style used by characters in a film. Through the case study method, we reviewed literature on mise-en-scene of costume in film, and its ability to convey underlying messages to the viewer. The literature review serves as the basis of our argument, where we propose how to ride on costume in sex scenes to project and market the richness of Ghanaian culture regarding clothing/costume in sex scenes in films. In this regard, we have been able to problematize a new way of thinking about sex scenes in films, especially regarding sex scene costume as a unique selling proposition and its contribution to marketing a country’s culture to the viewing public. This study contributes to policy in the entertainment industry in terms of portrayal of sex scenes in Ghanaian video films while ensuring cultural adaptability and growth.
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Edward, Mark. "Council House Movie Star: Que(e)rying the Costume." Scene 2, no. 1 (October 1, 2014): 147–53. http://dx.doi.org/10.1386/scene.2.1-2.147_1.

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Council House Movie Star (2012) originally started as a film enquiry exploring what happens when drag queens age, both off stage and onstage. The research expanded to include two further practice projects: an immersive gallery installation of a life-size council house and a fine art exhibition of the naked and costumed drag body. This article examines the quotidian experiences of a white working-class drag hero/ine and the costumed genderqueered skin. It discusses the queer costume of drag queens, including make-up and wigs. The article also explores the position of memory within the formation of costume for performance as a major theme within the creative processes and design of this project. This visual essay narrates the positioning of drag queens within the social realities of working-class life, thus producing an interesting contrast between the costume of chavs, B-boys and contemporary youth, against the queer and camp drag costume.
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Dissertations / Theses on the topic "Film costume"

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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 crinoline, and accessories, is explored in order to determine an ideological pattern (based in each costumier’s individual design methodology) from which the fabric of this thesis may then be cut. In so doing, the way in which film costume speaks as an independent producer of cinematic meaning may then be uncovered. By viewing costume design as an autonomous ideological system, rather than a part of mise-en-scène subordinate to narrative, this fabric-centric enquiry consolidates Stella Bruzzi’s insightful exploration of film costume in Undressing Cinema, Clothing and Identity in the Movies (1997). Where this study diverges from previous work, however, is in its focus on specific costume designers to illustrate the way in which the costume of costume drama may operate as a complex component of cinematic signification in terms of gender, authenticity, status and power.
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Kaza, Djina. "Decoding the Dress : Reading features of costume design in films of Emir Kusturica." Thesis, Stockholms universitet, Modevetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-134307.

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This thesis considers fashion and cinema as crucial embodiments of Yugoslavian culture. As such, it gives a shine to the potential inherent in film costume for the historical analysis of Yugoslavian national identity and its politics. The focus is on the semiotic analysis of costume design in two native films by Emir Kusturica: When Father Was Away on Business and Underground. Social relations are investigated through the lens of a critical theory, with particular interest in questions of gender, violence, and sexuality. Taking the idea from a critical theory - that power constitutes all human relations - this thesis considers dress as a core symbol for performing power in Yugoslavian society.
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Hao, Priscilla Ruth. "An Interpretation of Modern: Costume Designs for An Adaptation of Shakespeare's The Two Gentlemen of Verona." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1486.pdf.

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van, Dam Bianca. "Disney's Fashionable Girls : Signs and symbols in the costume dress of Disney's female characters." Thesis, Stockholms universitet, Centrum för modevetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105532.

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Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.
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Cagle, Natalie Kenra. "Costume Design and Production for City of AngelsBook by Larry Gelbart, Music by Cy Coleman, and Lyrics by David Zippel." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437645350.

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Ferrara, Flora. "Translating History of Fashion on Screen : A study of Piero Tosi’s costumes in Senso and their power of divulgation as historiophoty." Thesis, Stockholms universitet, Modevetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183256.

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The aim of this thesis is to demonstrate that historical costumes can be a valid tool to crystallize and disseminate visual knowledge about fashion and dress history. In the specific, this thesis argues that the screen representation of dress and fashion of the 1860s in the adaptation Senso (1954) provides an evocative contextualization of their past use and meaning for modern viewers. It also discusses the historical accuracy attained by one of the film’s costume designers, Piero Tosi, and his mediation between on-page story and reality. To do this, it visually and textually compares the film costumes, diverse historical documentation and the original novel the film is based on. This analysis is supported by an interdisciplinary theoretical framework: by postmodern history with the concept of historiophoty; by literature and adaptation studies with Genette’s palimpsests and Eco’s reflections on intersemiotic translation; and by costume studies and practitioners with the idea of historical accuracy as a progressive scale and costume as supporting the narrative and balancing the frame.
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Sutphin, Elizabeth Anne Hopkins. "The Last Two Years of David Brachman: Designing a Feature Film on a Micro Budget." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5523.

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This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. With a nod to the 1950s family home and the nostalgia of decades past; David's world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The world outside of David's home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes; however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Remaining true to the design aesthetic and the director's vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. The careful planning and organization of each design element and their execution ensured the successful creation of David's world and a visual story to compliment the screenplay. Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. Included here are specific details of my design process including script analysis, script breakdowns, location plots, budget tracking, stills from the film, a copy of the finished film, and all the paperwork generated in creating the film. A detailed journal of the filming process including obstacles I encountered as well as the solutions created throughout this process and a self evaluation and reflection on the final product of work are included.
ID: 031001283; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes shooting script: The Last Two Years of David Brachman.; Title from PDF title page (viewed February 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 275-277).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Design
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Aldoukhi, Abdulmajeed. "The Misrepresentation of Arab Gulf Men Through Costumes on Stage and Screen." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1625843129706682.

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Yes, Melissa R. "Space Program." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494286481799127.

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Butt, Elizabeth Doreen. "The fabric of femininity : costume and stardom in contemporary British films of the 1940s." Thesis, University of Reading, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486337.

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This study highlights the vital work of the costume designer in selected contemporary British films of the 1940s. Despite the important function that their designs played within the narratives, it has still not been fully recognised that the costume designer held a key position in the teams responsible for the creation ofthe visual aspects in the production of these historically important films. This study is, ! therefore, an attempt to redress the balance, and it investigates the work ofthe British costume designer through primary source material that reveals their codes of practice that they carried out in the course oftheir design work. Some of the costumes in the films were created by haute couture designers, and a comparison with the costume designer is carried out. Liaison between the costume designers and the female stars was crucial, so the performance style ofthe actors is integrated with the discussion ofthe design work. The twelve films selected for analysis comprise six from the oeuvre ofEaling Studios and six from Gainsborough Pictures. The films illustrate the different ways in which costume constructs the identity ofthe female characters in each film in a synthesis with the stars to support the narrative. For instance, in Frieda (Basil Dearden, 1947) and Cage ofGold (Basil Dearden, 1950) the two main female protagonists in each film undergo a transformation ofidentity. Class identity is clearly defined through the costumes in Went the Day Well? (Alberto Cavalcanti, 1942), Millions Like Us (Frank Launder and Sidney Gilliat, 1943) Waterloo Road (Sidney Gilliat, 1944), Love Story (Leslie Arliss, 1944) and Miranda (Ken Annakin, 1948). In these films the costume designers selected mass produced garments for the working class female characters and haute couture designer wear to secure the status ofthe upper class characters. Overt sexuality is highlighted in The Next ofKin (Thorold Dickinson, 1942), Two Thousand Women (Frank Launder, 1944) and Against the Wind (Charles Crichton, 1948) through the style ofcostume and the excessive accessories worn by some ofthe female characters. In The Halfway House (Basil Dearden, 1944) and The Root of All Evil (Brock Williams, 1947) the costume designers do not adhere to the correct codes of costume practice and ambiguities exist in the identity of some ofthe female characters. In the analysis of the films, the study addresses many significant historical issues in relation to filmmaking and femininity at the time. With regard to fil1nmaking, the analysis covers the attempts to create a British national cinema with 'reference to the output of contemporary critics and later film studies historians. In relation to femininity, the study addresses contemporary writing and later critical discourses around women at work and their inclusion in a consensual national identity, class issues, and problems in relation to the projection offemininity both during the war and the post-war period when the New Look hit the streets. Many of the female characters in the narratives of the films embodied these concerns, and it is the creations ofthe costume designers that specifically worked to reinforce narrative ideas. Although the haute couture designers were feted and their names placed in press releases, the names ofthe costume designers were not. The prime intention ofthis study, therefore, is to bring the names of the costume designers to the greater attention ofthe academic world and argue for their significance at a vital moment in British film history.
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Books on the topic "Film costume"

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1970-, Burke Kristin, ed. Costuming for film: The art and the craft. Los Angeles, Ca: Silman-James Press, 2005.

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Farani, Piero. Atelier Farani: Pasolini, il costume del film. Milano: Skira, 1996.

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Costume and cinema: Dress codes in popular film. London: Wallflower, 2001.

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Costume design 101: The art and business of costume design for film and television. Studio City, CA: Michael Wiese Productions, 2001.

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Hollywood catwalk: Exploring costume and transformation in American film. London: I.B. Tauris, 2010.

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Make-up, hair and costume for film and television. Oxford, U.K: Focal Press, 2003.

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Fashion in film. Bloomington: Indiana University Press, 2011.

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Society, Costume. Costume for the theatre, ballet, opera, film, television: A booklist. [London]: The Costume Society, 1991.

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International Federation of Film Archives. International directory of cinematographers, set- and costume designers in film. München: K.G. Saur, 1992.

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Cohen, Judith Love. You can be a woman makeup artist or costume designer. Marina del Rey, CA: Cascade Pass, 2005.

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Book chapters on the topic "Film costume"

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Gibson, Pamela Church, and Tamar Jeffers McDonald. "Costume and Adaptation." In A Companion to Literature, Film, and Adaptation, 293–311. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118312032.ch16.

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Finamore, Michelle Tolini. "Costumes and Gowns: The Rise of the Specialist Film Costume Designer." In Hollywood Before Glamour, 107–40. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9780230389496_5.

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Kapse, Anupama. "What Happened to Khadi? Dress and Costume in Bombay Cinema." In Figurations in Indian Film, 44–66. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137349781_3.

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Sisson, Elaine. "Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum’s Mogu of the Desert." In Cultural Convergence, 175–92. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_7.

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Abstract The lure of the exotic ‘other’ was implicit from the early years of the Gate’s repertoire. In 1931 the Gate produced Padraic Colum’s Mogu of the Desert, designed by Micheál mac Liammóir and featuring a young Orson Welles. Exploring Mogu uncovers a broader engagement with ‘exotic’ or oriental narratives at the Gate generally. The history and subject matter of Mogu contextualizes mac Liammóir’s fascination with oriental and Middle-Eastern culture within contemporary film. Archival photos illustrate how production stills copied the iconographic styling of film publicity using ‘film-star’ portraiture to promote the Gate. Orientalist narratives require the display of the body through the eroticization of costume – legitimizing the costumed body as a to-be-looked-at space. The Gate’s fascination with oriental settings enables the visibility of ‘transgressive’ sexualities as well as understanding the tastes and appeal of popular culture.
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Musgrove, Jan. "Costume supervisor or assistant costume designer." In Make-Up, Hair and Costume for Film and Television, 178–79. Elsevier, 2002. http://dx.doi.org/10.1016/b978-0-240-51660-8.50091-7.

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Musgrove, Jan. "Costume Department." In Make-Up, Hair and Costume for Film and Television, 176–77. Elsevier, 2002. http://dx.doi.org/10.1016/b978-0-240-51660-8.50090-5.

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Musgrove, Jan. "Costume designer." In Make-Up, Hair and Costume for Film and Television, 180–81. Elsevier, 2002. http://dx.doi.org/10.1016/b978-0-240-51660-8.50092-9.

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"Section One: Costume and Film." In hollywood catwalk. I.B.Tauris, 2010. http://dx.doi.org/10.5040/9780755697601.ch-001.

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Musgrove, Jan. "Film cameras." In Make-Up, Hair and Costume for Film and Television, 56–57. Elsevier, 2002. http://dx.doi.org/10.1016/b978-0-240-51660-8.50032-2.

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Jones, Tanya. "Film Language." In Studying Pan's Labyrinth, 35–70. Liverpool University Press, 2010. http://dx.doi.org/10.3828/liverpool/9781906733308.003.0005.

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This chapter talks about mise-en-scène as a French phrase that best translates in English as 'put into the scene', which includes setting, décor, costume, props, body language, and make-up. It explains how mise-en-scène conveys meaning and includes information concerning character emotion, psychological state, mood, atmosphere, historical time, genre, and point in the narrative. It also points out ways in which mise-en-scène dominates some films as they are constructed as cinematic tableau, such as a series of pictures or paintings. The chapter describes Guillermo Del Toro's vision of the world of Pan's Labyrinth, in which there are clear parallels between the real-world characters and sets and the imaginary ones. It explores how Pan's Labyrinth gives centre stage to the power of the imagination and the need to retain imagination in order to counter point the horrors of the real-world.
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Conference papers on the topic "Film costume"

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"Research on the Ancient-Costume Film Role Shaping Based on the Perspective of Costume Pattern Design." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.42.

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Schumm, David, Johanna Barzen, Frank Leymann, and Lutz Ellrich. "A pattern language for costumes in films." In the 17th European Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2602928.2603083.

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Ruan, Jian. "Interpretation of Costume Design in Science Fiction Films from the Perspective of Postmodernism." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.96.

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Savina, Anastasiya Anatolyevna. "Professional education in design: creating a partysuit basing on the costumes from the film "Chipollino" as a part of the work experience internship." In X International students' applied research conference, chair Irina Mihaylovna Prisyazhnaya. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-111462.

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S. G. Carvalho, Leandro, Bruno F. Gadelha, Fabíola G. Nakamura, David B. F. Oliveira, and Elaine H. T. Oliveira. "Ensino de Programação para Futuros Não-Programadores: Contextualizando os Exercícios com as Demais Disciplinas de mesmo Período Letivo." In XXIV Workshop sobre Educação em Computação. Sociedade Brasileira de Computação - SBC, 2020. http://dx.doi.org/10.5753/wei.2016.9655.

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Disciplinas de introdução à programação são usualmente ministradas para cursos de graduação em Engenharia e Ciências Exatas com o propósito de desenvolver nos aprendizes algumas habilidades e competências, tais como: raciocínio lógico, capacidade de resolver problemas utilizando associação, generalização, modularização, entre outras. Muitos dos alunos desses cursos costumam não ter motivação para se aplicar à disciplina, já que a programação não será sua atividade profissional fim. Para trabalhar essa dificuldade, uma equipe de professores concebeu uma metodologia de ensino-aprendizagem que considera o conjunto de disciplinas que estão sendo ministradas no mesmo período letivo. A metodologia foi aplicada em quatro turmas, de cursos e professores diferentes, no primeiro período letivo de 2015. Os resultados preliminares indicam um índice de aprovação maior do que em turmas lecionadas no mesmo período onde a metodologia não foi aplicada. A metodologia foi avaliada pelos discentes que, na maioria, aprovaram a dinâmica de aplicação e as atividades propostas.
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Černikovaitė, Miglė. "The impact of Influencer marketing on consumer buying behavior in social networks." In Contemporary Issues in Business, Management and Economics Engineering. Vilnius Gediminas Technical University, 2019. http://dx.doi.org/10.3846/cibmee.2019.082.

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Purpose – the purpose of the article is to analyze the impact effect of Influencers marketing on consumer buying behavior by determining which partnership opportunities are most relevant. Research methodology – the theoretical analysis of scientific literature and quantitative statistical analysis of empirical research results. Findings – the research in Lithuania has shown that before making a decision to purchase a product or a service, most respondents are actively seeking information in social networks by reading other costumers feedback. Moreover, the survey reveals that recommendations, comments, shared information about certain brands by Influencers are the most important factors in changing buying behavior. Research limitations – the main limitations of research may be the geographical research area – Lithuania and social networks (Facebook). Practical implications – understanding of Influencers impact on consumer buying behavior. Originality/Value – this scientific topic is rather new. Scientists, like Matsumura, Yamamoto, & Tomozawa (2008), investigated Influencers and Consumer Insights impact in the Blogosphere; Thakur, Srivastava (2015) presented a Conceptual research model of Influencers impact of Customer Satisfaction and Loyalty and etc. However, there is a lack of research investigating the impact of Influencer marketing on consumer buying behavior. This research aims to fill this gap in the Lithuanian case
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Reports on the topic "Film costume"

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Sanders, Eulanda A. Film, Fashion and Form: A Combined Means to Teach Costume History and Fashion Illustration. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-544.

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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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