Dissertations / Theses on the topic 'Film costume'

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.

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.

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.

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.

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

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.

Orientador: Ernesto Giovanni Boccara
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa pretende discutir a metodologia de ensino de história da roupa e da moda através do cinema. É pacífico que se aprende por observação e que o cinema exerce fascínio desde seu surgimento. Também é sabido que filmes apresentam figurinos, que nem sempre são roupas fiéis a uma época, mas, mesmo assim, estas podem ser a melhor forma de aproximar o aluno do contexto de uma determinada época, para que ele seja capaz de entender o porquê da adoção de determinados costumes e roupas em seu cotidiano
Abstract: This study discusses the methodology of teaching the history of clothing and fashion through cinema. It is undisputed that is learned by observation and fascination that cinema has since its inception. We also know that movies have costumes, clothes that are not always faithful to the era, but even so, they may be the best way to approach the student in the context of a particular time, that he may be able to understand why the adoption of certain customs and clothes in their daily lives
Mestrado
Multimeios
Mestra em Multimeios

Orientador: Francisco Elinaldo Teixeira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação, apropria-se da experiência audiovisual do dispositivo-jantar como objeto de reflexão, perpassa as seis cerimônias realizadas entre as cidades de Salvador e São Paulo, e encontra, nos rituais instalados em situação de rua, a possibilidade tanto de situar-se no devir criativo do projeto aqui esboçado: Entre ruas e calçadas, como de penetrar diferentes territórios audiovisuais com montagens e apropriações de sua malha imagética. O que o presente texto oferece é o sopro de uma criação que tem a incompletude como condição, a incerteza como única certeza. Em seu começo, uma disposição primeira: a cerimônia do jantar. Em seu percurso, a escultura de uma força criativa que se fez e refez no encontro com seus intercessores. Da inoperância temática, a abertura de possibilidades de seu dispositivo de escritura em diferentes montagens, por entre diferentes domínios do audiovisual
Abstract: This present work is resulted by the reflection about the audiovisual experience acquired from using the dinner ritual as a dispositif. It passes through six dinner rituals that took place in São Paulo and Salvador, two of which being done in the street with homeless people. These two particular dinners opened the possibility to go through a more creative path, here drawn by the Entre ruas e calçadas project, or to get into other audiovisual territories with different settings and different uses of its imagetic grid. This text offers a glimpse of a creation having the incompleteness as a condition, the uncertainty as the only assurance. When the project began, there was just one thought: the dinner ritual. During its course: the sculpture of a creative strength that elaborates and re-elaborates itself while understands its intermediators; of its thematic ineffectiveness: the possibilities opened to fit the installation dispositif to other different settings and different audiovisual domains
Mestrado
Multimeios
Mestra em Multimeios

Orientador : Cristina Meneguello
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta pesquisa tem mo principal objetivo de analisar os motivos que levaram à extinção das feiras de muares de Sorocaba (SP), na segunda metade do século XIX. A vila de Nossa Senhora da Ponte de Sorocaba teve seu crescimento atrelado ao tropeirismo. As feiras anuais, entre os meses de janeiro e maio, atraíam muitos tropeiros do sul do Brasil, que vendiam suas tropas de bestas a paulistas, mineiros, cariocas e baianos. Jogos com apostas, cavalhadas, espetáculos eqüestres, exibição de panoramas e cosmoramas estavam entre os tipos de lazer que mais chamavam a atenção do público. A cidade transformava-se no período das feiras, com os espetáculos públicos e um ativo comércio realizado nas ruas por mercadores ambulantes. Estes conconiam com os donos de estabelecimentos fixos. partir da década de 1860, Sorocaba teve sua economia diversificada pelo crescimento da produção algodoeira, tendo como uma de suas conseqüências, a instalação da ferrovia, em 1875. Nas três últimas décadas do século XIX, Sorocaba ganhou melhoramentos urbanos. O discurso de intelectuais e políticos defendia a superação da economia baseada nas feiras de muares, apostando no progresso industrial e no saneamento do município. A municipalidade, por sua vez, agia no sentido de exercer maior controle sobre a sociedade. O ponto culminante da proposta progressista veio com a criação de um novo caminho para as tropas, afastando os tropeiros para os bairros da cidade ou municípios vizinhos
Abstract: The mainly purpose of this research is to analyse the causes that have been taken Sorocaba mules'fairs extinguishment, during the second half of nineteenth century. The castle trade had propiciated Sorocaba's development. During the months of january and may the annual castle fairs attracted several "men that taken care of the clattle" - tropeiros - who sold their mules troops to people from "São Paulo", "Rio de Janeiro", "Minas Gerais" and "Bahia" provinces. The mainly amusement of the people during that time were games, bets, "cavalhadas" - men fights as medieval horsemen -, cosmoramas and panoramas shows. The trade witch was developed on the streets together with the public spectacles turn on the face of the town. The Ítnerants traders traders contested with the own local traders. From up the 1860 decade "Sorocaba" had 115 economy modified by the increament of the cotton cultivation. As one of the consequences a railroad was built, in 1875. In the three last decades of century XIX, Sorocaba earned urban improvemen15. Intelectuais and politicians speechs supported the idea that the economy based on mules'fairs had to be overcame, believing that the industrial increase and urbanistic improvement were the best choice. The municipal governement instances, by their tum, wondered to have more control under the privilegiouslyless people.The men that taken care of the catlIe used to cross the town for transporting the catlle and the mainly point of this progressist purpose, supported by the intelectuais and politicians, came on enter the new way that was opened and rended favorable that the catlle could be transported out the town throughout the neighbourgs and cities around
Mestrado
Politica, Memoria e Cidade
Mestre em História

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The present work proposes reconstitute, spatially, the places of night entertainment from Cidade Baixa district, since the beginning of Dictatorship until the year of 2006. Due your intrinsic relation with Bom Fim, the places of this neighboring district also are collected, as well as the nearby areas with which divided the public and shared routes, moves and uses. The dissertation covers four periods of the district, trying to demonstrate the public differences, motivation and desired spatial characteristics of the nightlife interaction places from the area. It tries to localize spatially the most significant nightly entertainment places of each period, from crossing sources, information in periodicals (interviews and reports), area publications and testimonials from people who have experienced these moments. In the first period (from city foundation until 1964) are presented the urban changes and the consolidation of morphologies and typologies at Bom Fim and Cidade Baixa, and their memory elements. In the second (1964-1985), during the Dictatorship, demonstrates the growth phase of Cidade Baixa associated to its nightly use, from a public migration of Bom Fim to its territory, motivated by the opposition to the current regime, manifested in subversive pamphlets, and subsequently enhanced by the closing of the bars of this neighboring until the Esquina Maldita. In the third moment (1985-1995), treats of the development of the other point of bars in Bom Fim district, its height and the violence taking the place, which reaches a high level that precludes the use of space, inducing the migration of its visitors to other parts of the city, especially for the Cidade Baixa district. In the fourth period (1995-2006), treats of the transformation of this district, from the ultimate “closing” of the nocturnal leisure spaces of Bom Fim and the development of Cidade Baixa from the creation of Nova Olaria Cultural Center. The work finalizes showing the propensity of local growth. The research builds physical-territorial maps, registering and locating the development of this space while nightlife place, and its links to the surrounding areas. The research tries to contribute with the knowledge of the city, of its history and memory.
O presente trabalho propõe-se a reconstituir, territorialmente, os espaços de lazer noturno do bairro Cidade Baixa, desde o início da Ditadura até o ano de 2006. Por sua intrínseca relação com o Bom Fim, os lugares deste bairro lindeiro também são levantados, assim como os das áreas próximas com as quais dividiram o público e partilharam rotas, deslocamentos e usos. A dissertação percorre quatro períodos do bairro, buscando demonstrar as diferenças de perfil social, motivação e características espaciais existentes nos lugares de convivência social noturna da área. Busca localizar as mais significativas unidades de espaços de lazer noturno de cada época, a partir do cruzamento de fontes, informações em periódicos (entrevistas e reportagens), publicações da área e depoimentos de pessoas que vivenciaram estes momentos. No segundo (1964-1985), durante a Ditadura, é apresentada a fase de crescimento da Cidade Baixa, associada a seu uso noturno, a partir de uma migração de público do Bom Fim para seu território, motivada pela oposição ao regime vigente, manifestada na panfletagem subversiva e posteriormente potencializada pelo fechamento dos bares deste seu lindeiro: a Esquina Maldita. No terceiro momento (1985-1995), trata-se do desenvolvimento do outro point de bares no Bairro Bom Fim, seu auge e a instalação de violência no local, que atinge um nível tão elevado, impossibilitando o uso do espaço, induzindo à migração de seus frequentadores a outras partes da cidade, principalmente para o bairro Cidade Baixa. No quarto período (1995-2006), trata-se das transformações deste bairro, a partir do “fechamento” definitivo dos espaços de lazer noturno no Bom Fim e do desenvolvimento da Cidade Baixa, em função da criação do Centro Cultural Nova Olaria.O trabalho é concluído mostrando a tendência de crescimento local. A pesquisa produz mapeamentos físico-territoriais, registrando e localizando o desenvolvimento deste território como lugar de vivência noturna e suas ligações com áreas do entorno. A pesquisa busca contribuir com o conhecimento da cidade, de sua história e memória.

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The present work proposes reconstitute, spatially, the places of night entertainment from Cidade Baixa district, since the beginning of Dictatorship until the year of 2006. Due your intrinsic relation with Bom Fim, the places of this neighboring district also are collected, as well as the nearby areas with which divided the public and shared routes, moves and uses. The dissertation covers four periods of the district, trying to demonstrate the public differences, motivation and desired spatial characteristics of the nightlife interaction places from the area. It tries to localize spatially the most significant nightly entertainment places of each period, from crossing sources, information in periodicals (interviews and reports), area publications and testimonials from people who have experienced these moments. In the first period (from city foundation until 1964) are presented the urban changes and the consolidation of morphologies and typologies at Bom Fim and Cidade Baixa, and their memory elements. In the second (1964-1985), during the Dictatorship, demonstrates the growth phase of Cidade Baixa associated to its nightly use, from a public migration of Bom Fim to its territory, motivated by the opposition to the current regime, manifested in subversive pamphlets, and subsequently enhanced by the closing of the bars of this neighboring until the Esquina Maldita. In the third moment (1985-1995), treats of the development of the other point of bars in Bom Fim district, its height and the violence taking the place, which reaches a high level that precludes the use of space, inducing the migration of its visitors to other parts of the city, especially for the Cidade Baixa district. In the fourth period (1995-2006), treats of the transformation of this district, from the ultimate closing of the nocturnal leisure spaces of Bom Fim and the development of Cidade Baixa from the creation of Nova Olaria Cultural Center. The work finalizes showing the propensity of local growth. The research builds physical-territorial maps, registering and locating the development of this space while nightlife place, and its links to the surrounding areas. The research tries to contribute with the knowledge of the city, of its history and memory.
O presente trabalho prop?e-se a reconstituir, territorialmente, os espa?os de lazer noturno do bairro Cidade Baixa, desde o in?cio da Ditadura at? o ano de 2006. Por sua intr?nseca rela??o com o Bom Fim, os lugares deste bairro lindeiro tamb?m s?o levantados, assim como os das ?reas pr?ximas com as quais dividiram o p?blico e partilharam rotas, deslocamentos e usos. A disserta??o percorre quatro per?odos do bairro, buscando demonstrar as diferen?as de perfil social, motiva??o e caracter?sticas espaciais existentes nos lugares de conviv?ncia social noturna da ?rea. Busca localizar as mais significativas unidades de espa?os de lazer noturno de cada ?poca, a partir do cruzamento de fontes, informa??es em peri?dicos (entrevistas e reportagens), publica??es da ?rea e depoimentos de pessoas que vivenciaram estes momentos. No segundo (1964-1985), durante a Ditadura, ? apresentada a fase de crescimento da Cidade Baixa, associada a seu uso noturno, a partir de uma migra??o de p?blico do Bom Fim para seu territ?rio, motivada pela oposi??o ao regime vigente, manifestada na panfletagem subversiva e posteriormente potencializada pelo fechamento dos bares deste seu lindeiro: a Esquina Maldita. No terceiro momento (1985-1995), trata-se do desenvolvimento do outro point de bares no Bairro Bom Fim, seu auge e a instala??o de viol?ncia no local, que atinge um n?vel t?o elevado, impossibilitando o uso do espa?o, induzindo ? migra??o de seus frequentadores a outras partes da cidade, principalmente para o bairro Cidade Baixa. No quarto per?odo (1995-2006), trata-se das transforma??es deste bairro, a partir do fechamento definitivo dos espa?os de lazer noturno no Bom Fim e do desenvolvimento da Cidade Baixa, em fun??o da cria??o do Centro Cultural Nova Olaria. O trabalho ? conclu?do mostrando a tend?ncia de crescimento local. A pesquisa produz mapeamentos f?sico-territoriais, registrando e localizando o desenvolvimento deste territ?rio como lugar de viv?ncia noturna e suas liga??es com ?reas do entorno. A pesquisa busca contribuir com o conhecimento da cidade, de sua hist?ria e mem?ria.

碩士
輔仁大學
織品服裝學系碩士班
104
Different from general media which are as a rule presented only by written and spoken methods, historical films have a much broader space for their creation. In consequence, they can be used as an important means for reinterpreting culture. Basing on a Taiwanese historical story and arranging it in a heroic/epic style, the director Te-sheng Wei of the film “Seediq Bale” has created a new opportunity for the Taiwan film industry. Such a film adopts the aesthetics of visual expression in reproducing Taiwanese clothing of that era. This study applies the film “Seediq Bale” as a textual object, to analyze the traditional Seediq clothing of characters in the film. In additions, this study also interviews the costume designer Row-Long Chiu and costume producer Yuma Taru, to integrate and compare their concepts in representation. This study uses narrative analysis to inquire into how the film“Seediq Bale” utilizes costumes with symbolic meaning to re-enact a facet of the Seediq history and culture. Being the most direct tool of symbols in a historical film, costume not only substantiates and strengthens the characters’ inner feelings, but also represents the very historical time and space in the film. When the film “Seediq Bale” interprets the interaction and contrasts of the four ethnic groups, it take advantages of the in-depth cultural connotations of costume, properly catches the significance of ethnic cultures and their salient features.

Submitted in fulfilment of the requirements of the Degree of the Master of Technology in Fashion, Durban University of Technology, Durban, South Africa, 2015.
The years succeeding 1990 have seen a significant increase in the release of mainstream film featuring transgendered characters. The inclusion of such characters in popular film becomes a point of interest as transgendered identities differ from the hegemonic heterosexism of the audiences at whom these films are targeted. This investigation aims to gain a better understanding of how audience members read gendered identity through the visual appearance of drag queen characters in mainstream film. Due to the emblematic contrast between the male body and a hyper-feminine dress aesthetic, drag queens pose an overt visual challenge to the normative expectation of anatomical sex determining gender and gendered expression. This investigation is conducted from the paradigmatic perspective that recognises the impossibility of a ‘correct’ reading of dress aesthetics and is thus concerned with discovering the various gendered meanings audience members may attach to drag costume in film. This interpretivist standpoint, however, is held in conjunction with the critical understanding that prevalent contemporary socio-political constructs with regard to gender and dress will undoubtedly affect these perceptions. Segments from selected Hollywood films featuring drag queen protagonists were screened for a heterogeneous focus group and the subsequent discussion analysed through critical discourse analysis. Academic discourse concerning the socially constructed gender dichotomy and the debated subversive potential of the drag act is reviewed in order to provide a theoretical framework for analysing the participants’ comprehension of gendered performance. Gendered associations with dress and the body together with film theory are examined to better understand how an audience may perceive gendered identity through drag costume in film and what affect this may have on their conception of sartorial gendered expressions in reality. Finally, to situate and provide further context for this investigation, Queer theory critiques of the representation and reception of transgendered characters in past mainstream films are considered.
M

A comparative examination of the original and reproduction Gone With the Wind costumes at the Harry Ransom Center is at the heart of this study, which proposes to trace the relationship between the analogue original costume, the replica garment, and the digital image reproduction. A discussion of definitions of authenticity and “the original” within such areas as conservation, film studies, and audience perception explores the questions: what is the role of the reproduction, and can it challenge the authority and “aura” of the original? This inquiry illustrates that authenticity is negotiated; it is not always fixed in a clear line ranging from “the real thing” on one side to “the copy” on the other. The study concludes with examining digital image reproductions of costume. The online digital database record can potentially reveal more than a face-to-face encounter with the object in a gallery space, illuminating the biography and history of the garment, changes in curatorial decisions and exhibition practice, and the experience of tactility and embodiment.
text

碩士
淡江大學
大眾傳播學系
99
This study focused on the popular genre cinema, the Hong Kong’s erotic cinema, also called ‘Category III’ in the 90’s. The analysis of texts concerning about sexuality, gender myths in this alternative genre. First of all, the“ancient costume”means the story came from China’s historical past or the Chinese literature and utilize the generic iconography of a period or costume film. Second, the term of‘erotic’means th genre cinema full of nude and classified at Category III by Hong Kong’s TELA. And find out the generic formula and the ideology of these formulas. This study, based on the linkage between movies and contemporary culture and society, presented the different points of view about the ideology of this genre, and the genre evolution in the 2000. The genre has several formulas, first of all is the punishments to The libidinous, make them end tragics. Second, parody martial art genre and kungfu film into spectacular sexual behavior. Third, the masculinity myth and independent women to lust of a pair of sex people, but these freedom women will have ‘bed happened’. Finally, the evolution of these genre in the Millennium, the style become more thriller to emphasize moralistic messages.

The foundation of Tailoring for the Visual Learner is the exploration of new and creative approaches to preserve, promote, and pass on the art of individually handcrafted menswear for theatre and film. This project culminated in the creation of an instructional video guide unlike anything currently available on the market. Using high definition cameras and a team of highly skilled professionals, I produced, wrote, directed and hosted an instructional video that takes the viewer through every step of the creation of a hand tailored vest: from fabric preparation and drafting to the final fitting. Instruction utilizes a modern voice aimed at early career sewing professionals who wish to advance, and seek an alternative to confusing drafting books or incomplete online tutorials that avoid the features of a truly well constructed garment. By combining up close camera work with textual explanations, graphics, and verbal explanations, I have created a new approach to tailoring instruction aimed at visual learners, who make up a large majority of costuming professionals. By taking the viewer through the tailoring process up close and step-by-step, the time-honored tradition of tailoring is now available and affordable to countless artisans who seek to advance and/or teach their craft.
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The diploma thesis named Gender Stereotypes in Contemporary British Period Drama. The Comparative Analysis of Downton Abbey and Mr Selfridge compares the marks of gender stereotypes and conservative principles in British period drama series. The analysis of their clash with progress in society and technology during the first two decades of the 20th century is performed on the method of qualitative content analysis of two examples of popular contemporary British costume drama Downton Abbey and Mr Selfridge. The theoretical framework of the thesis is based on the concept regarding history in film. The main category of research is the work with female characters and their social roles in Edwardian Britain which is characterized by unprecedented social change. The objective of the thesis is to analyze the way a female character reflects stereotypes and conservative principles that are usually believed to be characteristic features of period drama series. Additional objective is to examine how the 21st century society is mirrored in manipulation with stereotypes and social values in the series. The content analysis is based on the three criteria most interconnected wih position and social change of women of that era. These refer to property and proprietorship, sexuality, and emancipation of women in...

abstract: The connection between Hollywood costume design and the films of the 007/James Bond franchise, especially in regards to the changing perspective of the “Bond Girl”, is an intricate relationship that has previously been little researched. In the most recent Bond films, in particular, the female characters have become more powerful than the early characters and their roles within the narratives have changed with their characters taking on stronger and more integral roles. This thesis seeks to examine the films of the 007/James Bond franchise and how the rhetoric of the franchise’s costume design affects the representation of femininity and power in regards to the Bond Girls. After an overview of Bond history and costume theory, two films are analyzed as case studies: Dr. No (1962) which marks the beginning of the film franchise and Casino Royale (2006), which marks the more recent turn the films have taken. This thesis examines how the representations of Bond Girls and the use of costume design for their characters have changed over the course of the franchise from the days of Sean Connery to the recent reboot of the franchise with Daniel Craig as 007 James Bond. In addition to an examination of Bond Girl costume design, this thesis considers the role and influence of the costume designers. A designer’s vision of a character is derived from both the writing and the physical features of the actresses before them. Here this thesis considers how the rhetorical choices made by designers have contributed to an understanding of the relationship between femininity and power. Finally it shows how the costumes effect the power of the female characters and how the Bond Girls of today (Casino Royale) compare and/or contrast to Bond Girls of the past (Dr. No). This thesis combines the areas of feminist film theory and costume theory to provide an original rhetorical analysis of the Bond series in relation to costume design and examines the rhetorical statements made by the costume designers in their designs for the characters and how those statements influence the representations of the characters.
Dissertation/Thesis
M.A. English 2013