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Journal articles on the topic 'Film costume'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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10

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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11

Vojković, Jelena. "Film Costume as a Visual Narrative Element." Textile & leather review 3, no. 2 (June 16, 2020): 92–100. http://dx.doi.org/10.31881/tlr.2019.34.

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This research is an attempt to try to define the semiotic elements of film costumes that result with certain final feelings of the viewer. Looking through the semiotic theory of both Roland Barthes and Walter Benjamin and the specifics of (theatre and) film costume as a means of influencing the viewer and his/her thoughts, feelings and overall catharsis, the identity of a certain film has been set through an analysis of various elements. Furthermore, it has been noticed that psychological results by one observing a film can be various and lean more on known philosophical and psychological tendencies i.e. Freud’s theories or the ones of M. Merleau-Ponty or Lacan. To make it less verbatim, the example for the analysis that has been chosen is the 1982 science fiction film Bladerunner directed by Ridley Scott. With surreal messages and multi-layered meanings of its visual and audio presentation, it seemed like a perfect starting point for the research of the subconscious mind of the viewer. Finding a non-invasive approach to viewer’s impression, the costume itself could be observed both independently and in correlation with other film elements. By combining the results of all film levels via a visual psychological test by Robert Plutchik, known as Plutchik’s wheel of emotions, it is plain to see that a final impression still lies in a personal analysis. We find a prevalence of certain thoughts that lead the viewer to change his/her perception and, ultimately, to catharsis.

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12

Eleftheriotis, Dimitris. "Contemporary Costume Film Julianne Pidduck." Canadian Journal of Film Studies 16, no. 2 (October 2007): 136–39. http://dx.doi.org/10.3138/cjfs.16.2.136.

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13

Tregenza, Liz. "Starke dresses the stars: Jean Simmons' 21st birthday wardrobe." Film, Fashion & Consumption 9, no. 1 (May 1, 2020): 65–79. http://dx.doi.org/10.1386/ffc_00012_1.

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Abstract On 31 January 1950 British actress Jean Simmons turned twenty-one. At the time Simmons was one of the most popular and successful British film stars, voted actress of the year in the Daily Mail National Film awards the same year. Simmons twenty-first birthday was therefore viewed as international news. However, rather than choosing a birthday wardrobe from a haute couturier, as a film star of her status undeniably could have, Simmons chose garments designed by London ready-to-wear firm Frederick Starke.This article questions why Simmons chose a wardrobe from Starke and investigates how these garments helped Simmons to project a certain image. It also considers how the outfits selected were later used as Simmons' costume in the Ealing Studios crime drama Cage of Gold (Dearden, 1950). The film credits Anthony Mendleson, Ealing Studios resident designer and wardrobe supervisor, for the costumes. However Starke designed the majority of the clothes worn by Simmons in the film. This is an intriguing example whereby Simmons' garments are, at once, both her personal clothing and her costume.

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14

Sant’Anna, Mara Rúbia, and Káritha Bernardo Macedo. "Images of Latin America in the body and costumes of Carmen Miranda’s stylized “baiana”: social memory and identity." Comunicação e Sociedade 24 (December 30, 2013): 186–209. http://dx.doi.org/10.17231/comsoc.24(2013).1783.

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This is a study on the costumes worn by Carmen Miranda during the Hollywood film “Week-End in Havana”, released in 1941. It analyzes the elements of costume and discusses how they are appropriate in the current fashion discourse reinforcing or perpetuating, somehow, the discourse about Brazil and Latin America created by the performance of Carmen many decades ago.

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15

Shin, Hye Won, and Hee Ra Kim. "Domestic Research Trend in Film Costume." Journal of the Korean Society of Costume 64, no. 7 (November 30, 2014): 1–10. http://dx.doi.org/10.7233/jksc.2014.64.7.001.

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16

Williams, Melanie. "The Girl You Don't See." Feminist Media Histories 2, no. 2 (2016): 71–106. http://dx.doi.org/10.1525/fmh.2016.2.2.71.

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Drawing on new and established approaches to film costume, this article examines the creative work of the costume designer, contextualizing it as a gendered profession. It takes the career of the British film costume designer Julie Harris as its illustrative case study, tracing her working practice and sense of creative agency through interviews and press coverage as well as the BFI's extensive collection of her annotated costume sketches. Special emphasis is placed on Harris's negotiation of changing modes of postwar British film production, and her management of the professional tensions between costuming in the service of narrative or costuming as spectacle—in Stella Bruzzi's words, the dilemma of whether to look at or through the clothes on-screen. It culminates in a detailed analysis of Harris's Oscar-winning costume work for Darling (1965) and her ambivalence toward the youth-oriented off-the-rack fashions of the 1960s. In conclusion, it emphasizes the significance and complexity of the costume designer's creative labor, and the need for that work to be granted greater visibility.

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17

Fairuz, Adina. "The Relationship of Costume Design in Film With the Interest of Young Adult Women as Fashion Product Consumers in Indonesia." Eduvest - Journal Of Universal Studies 1, no. 9 (September 20, 2021): 850–57. http://dx.doi.org/10.36418/edv.v1i9.200.

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This study discusses the relationship between costume design in films and the interest of the audience, especially young adult women, triggers of their interest in similar fashion products as consumers by using outfit styles from three films, The Devil Wears Prada (2006), Sex and The City: The Movie (2008) and Crazy Rich Asians (2018), which were selected through a questionnaire answered by 20 experts in the fashion field. The analysis was conducted on 258 young adult women (18-24 years old) domiciled in Indonesia through a questionnaire to find out their perceptions and preferences on outfit styles from the costume designs in those three films. Based on this analysis, it can be seen that if the audience is interested and feels that the outfit worn by the character fits them, then they will have the desire to wear fashion products that are similar to the appearance of the costume design in the film.

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18

Auda, Marwa. "THE HISTORICAL/ CULTURAL INFLUENCES ON STAR WARS CHARACTER QUEEN PADME COSTUME DESIGN." Journal of Art & Architecture Research Studies - JAARS 1, no. 1 (June 21, 2020): 142–55. http://dx.doi.org/10.47436/jaarsfa.v1i1.22.

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The research is about the role of the costume designer and the extent of its effectiveness in achieving the balance between character design that reflects the ideals and goals of movie, and finding the appropriate reference, whether historical or civilized influence, through the design idea on which it is based. For example, the research was taken from the costume design of the star wars movie in a condition that applies to the elements of a suitable design and limited the analysis On Queen Padmé character from the series of star wars movies, the research mentioned three costumes that appeared during the film; throne room gown with its elements inspired in the creative process of design, the lake gown, and the travel gown with its details which Inspired by different civilizations like old historical Russian dress.

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Trencheva, Elena. "Costume in early Finnish film (1921–31)." Studies in Costume & Performance 3, no. 1 (June 1, 2018): 43–60. http://dx.doi.org/10.1386/scp.3.1.43_1.

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20

Tarter, Sara, and Fruzsina Bekefi. "Encountering object and character: Visitor engagement with film costume in the exhibition ‘Hollywood Costume’." Fashion, Style & Popular Culture 2, no. 1 (October 1, 2014): 65–85. http://dx.doi.org/10.1386/fspc.2.1.65_1.

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21

Bature-Uzor, Nkechi Asiegbu. "Mise-en-scene and authenticity in Kunle Afolayan’s October 1." AFRREV IJAH: An International Journal of Arts and Humanities 7, no. 3 (September 10, 2018): 41–54. http://dx.doi.org/10.4314/ijah.v7i3.5.

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Illusive realism is the hallmark of film narratives and it is achieved in film production through appropriate composition of narrative elements in film shots and sequences. These elements constitute the mise-en-scene and their purpose is geared towards authenticating the narrative, while offering the basis for the interpretations and meanings given it. This study examines Kunle Afolayan’s October 1, focusing on the significant role played by mise-en-scene in carrying the thematic thrust through the use of realistic sets, props, costumes and make-up. It hinges on the analysis of these elements to understand their role in the signification of the period in the narrative. Using semiotic principles, it analyses these elements as signs denoting and connoting a certain period in Nigerian history. This study also emphasizes the semiotic readings of mise-en-scene in Nollywood films to tinge out relevant meanings encoded in the composition of images in film narratives. It is also expected to guide the Nigerian filmmaker towards accuracy in the use of mise-en-scene. It is hoped that film makers will create believable illusions of reality using the narrative elements that can best support the narration.Keywords: Mise-en-scene, Narrative, Props, Costume, Set, Make-up

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22

Будяк, В. В. "ОСОБЛИВОСТІ ФОРМОУТВОРЕННЯ ГЛАМУРНОГО КОСТЮМА 1930–1950-х РОКІВ." Art and Design, no. 3 (December 11, 2018): 65–74. http://dx.doi.org/10.30857/2617-0272.2018.3.6.

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To analyze the costumes of Hollywood actresses in the period 1930 – 1950's, which became the basis for the formation of typical structures of a glamor costume in the XX century; to establish the peculiarities of their formation and to determine their place in the structure of a fashionable costume of the beginning of the XXI century. The stylistic and associative methods of studying the artistic compositional features of the glamorous outfit of actresses as a creative source in contemporary design practice have been used, the comparative-historical method and the method of system-comparative analysis have been applied, which allowed to carry out the general typology of structures of a glamor suit of a certain period and to establish the peculiarities of its formation. The research shows how in 1930 – 1950's designers of American film studios developed stylistics of a glamorous suit, focusing on the individual characteristics of the body of the structure and appearance of the actresses, their role in the film industry. The results obtained concerning the structures of costumes of actresses and the peculiarities of their formation make it possible to characterize the artistic and compositional features of a glamorous costume and to show that they became the basis for the formation of typical images, and eventually – the typological structures of a glamor style suit, which before that time remain relevant and practically unchanged in the design of promising forms of clothing in stylistics of glamor. The peculiarities of the formation of a glamor suit in a certain period are established; outlined the formative searches of the designers of the cinema industry in the development of stylistics of glamor, which was reflected, first of all, in the formation of typical costume structures, its silhouette forms, constructive-compositional solution, the application of materials and their decorating; the basic means of embodiment of typical figurative-stylistic and formal-compositional signs of style of glamor in modern design practice are established. The practical significance of the work lies in the fact that the main results of the study may be useful for the development and production of clothing collections in the style of glamor; Provide capacious information on figurative-stylistic and formally-constructive characteristics of the typical glamor style of costume structures, silhouette forms and methods of shaping in general. The results can be used in the professional training of designers in order to improve the quality of design and art solutions in the development of collections of fashionable clothing that meet the aesthetic demands of contemporaries.

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23

Boumaroun, Lauren. "Becoming Annie: When Film Costume and Fashion Converge." Fashion Theory 21, no. 6 (August 2, 2017): 647–66. http://dx.doi.org/10.1080/1362704x.2017.1357373.

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24

Yang, Junghee. "A Study on the Costume Color of the Film『Handmaiden』: Focused on the Heroin ‘Hideko’s costumes." Fashion & Textile Research Journal 20, no. 3 (June 30, 2018): 257–65. http://dx.doi.org/10.5805/sfti.2018.20.3.257.

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25

Harper, Sue. "Hollywood Catwalk: exploring costume and transformation in American film." Historical Journal of Film, Radio and Television 31, no. 2 (June 2011): 286–88. http://dx.doi.org/10.1080/01439685.2011.573982.

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Klopotovskaya, Elena Arsen'evna, and Yelena Arsenyevna Klopotovskaya. "Some Aspects of Film Color Semantics and Cultural Tradition." Journal of Flm Arts and Film Studies 2, no. 2 (May 15, 2010): 88–97. http://dx.doi.org/10.17816/vgik2288-97.

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The article is devoted to an important topic: the semantics of color in films and its reflection in the costume. It also touches upon the problem of visual perception and forming different color systems. The problem of color is essential for contemporary Russian cinema. Digital technologies open widest opportunities in the field of film production, but the available rich color palette is used very poorly. It is worth reminding that color is one of the film's main expressive means and should be treated with proper attention.

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Talarczyk, Monika. "The Other Sex of Polish Cinema. The Contribution of Female Filmmakers to Feature Film Production in the People’s Republic of Poland." Panoptikum, no. 23 (August 24, 2020): 24–42. http://dx.doi.org/10.26881/pan.2020.23.02.

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The paper is dedicated to the Polish female filmmakers – contributors to feature film production from the period 1945–1989 in the Polish state film industry. The theoretical framework is based on women’s studies and production studies. Author presents and comments on the numbers from the quantitative research, including credits of feature films production, divided into key positions: director, scriptwriter, cinematographer, music, editor, production manager, set designer and assistant director, costume designer. The results are presented in graphics and commented in 5 years blocs. The analysis leads to the conclusions describing the specificity of emancipation in socialist Poland in the area of creative work.

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Harvey, Kate. "Dressing Disney's children in the twenty-first century." Film, Fashion & Consumption 9, no. 1 (May 1, 2020): 23–42. http://dx.doi.org/10.1386/ffc_00010_1.

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Abstract This article is concerned with the clothing and costuming of children in the Disney Princess transmedial universe. This extends to the fictional children who grow into their 'princesshood' within the film, as well as the nonfictional children who are the implied audience both for the films and for their associated merchandise. Since Disney acquired Pixar in 2006 and John Lasseter was made creative director of both companies, there has been an increased focus on childhood in Disney's output, and this is particularly notable in the 'princess' films produced under Lasseter: The Princess and the Frog (Clements and Musker, 2009), Tangled (Greno and Howard, 2010), Brave (Andrews and Chapman, 2012), Frozen (Buck and Lee, 2013) and Moana (Clements and Musker, 2016). This article first explores the films' use of costume simultaneously to establish the childness of the characters and visually foreshadow the 'princesses' they will become. It then turns to the implied child audience of these films, considering the Disney Princess line of merchandise and the role of clothing and costume within it.

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Kolchevska, Natasha, Alfred Krautz, and Bujor T. Ripeanu. "International Directory of Cinematographers, Set and Costume Designers in Film." Slavic and East European Journal 29, no. 4 (1985): 492. http://dx.doi.org/10.2307/307483.

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30

Harper, Sue. "The Taxonomy of a Genre: Historical, Costume and ‘heritage’ Film." Journal of British Cinema and Television 1, no. 1 (May 2004): 137–42. http://dx.doi.org/10.3366/jbctv.2004.1.1.137.

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31

Pesce, Sara. "The Baroque imagination: Film, costume design and Italian high fashion." Film, Fashion & Consumption 5, no. 1 (August 1, 2016): 7–28. http://dx.doi.org/10.1386/ffc.5.1.7_1.

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32

Wilkinson, Clare M. "The real professional: Designers and discourse in Hindi film costume." Studies in Costume & Performance 1, no. 1 (April 1, 2016): 19–39. http://dx.doi.org/10.1386/scp.1.1.19_1.

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33

Butler, A. "Julianne Pidduck, Contemporary Costume Film: Space, Place and the Past." Screen 46, no. 4 (November 30, 2005): 509–12. http://dx.doi.org/10.1093/screen/46.4.509.

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34

Fitch, John C. "Making a College Professor Film: A Case Study." Journal of Creative Communications 15, no. 1 (September 16, 2019): 90–105. http://dx.doi.org/10.1177/0973258619866353.

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Investigations on cinematic representations of higher education have sought to provide a deeper understanding of popular culture images and how they intersect with real-life academia. Moreover, such projects have examined how such mass communication texts may influence popular opinion surrounding colleges and universities. The existing literature on specific depictions of college professors in American films has explored a number of themes from various perspectives. Many scholars claim that such cinematic representations of higher education and faculty are negative and reinforce cultural stereotypes. Yet, little has been written about how filmmakers create such images. This article examines cinematic college professors from the viewpoint of the filmmaker by completing a case study of a recently produced college professor film and members of its creative team. Interviews with the screenwriter/director, production designer, and costume designer of a pseudonymously titled film investigates how the work of these film professionals was influenced by a number of factors, including their own experiences in higher education, their personal conceptions of college professors, previously viewed college-themed films, and existing stereotypes about professors.

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Botkin, Marie. "Costume and Representation: Creating the Femme Fatale in American Film Noir." International Journal of Social, Political and Community Agendas in the Arts 7, no. 2 (2013): 75–83. http://dx.doi.org/10.18848/2326-9960/cgp/v07i02/36355.

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Monk, Claire. "EMI and the ‘Pre-heritage’ Period Film." Journal of British Cinema and Television 18, no. 1 (January 2021): 50–76. http://dx.doi.org/10.3366/jbctv.2021.0555.

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First coined in the UK in the early 1990s as a new label for an ostensibly new, post-1979 kind and cycle of period cinema, the ‘heritage film’ is now firmly established as a widely used term and category in academic film studies. Although the heritage film’s defining features, ideological character and ontological coherence would remain debated, its status as a ‘new’ category hinges, self-evidently, on the presumption that the films of post-1979 culturally English heritage cinema marked a new departure and were clearly distinct from their pre-Thatcher-era precursors. Yet, paradoxically, the British period/costume films of the preceding decade, the 1970s, have attracted almost no scholarly attention, and none which connects them with the post-1979 British heritage film, nor the 1980s cultural and industry conditions said to have fostered these productions with those of the 1970s. This article pursues these questions through the prism of Britain’s largest film production and distribution entity throughout 1970–86, EMI, and EMI’s place as a significant and sustained, but little-acknowledged, force in British period film production throughout that time. In so doing, the article establishes the case for studying ‘pre-heritage’ period cinema. EMI’s period film output included early proto-heritage films but also ventured notably wider. This field of production is examined within the broader terrain of 1970s British and American period cinema and within wider 1970s UK cinema box-office patterns and cultural trends, attending to commercial logics as well as to genre and the films' positioning in relation to the later heritage film debates.

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Rusinova, Elena A., and Elizaveta M. Khabchuk. "The Influence of Traditions of Culture on the Techniques of Sound Directing in Japanese Cinema. Speech and Pause." Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 74–84. http://dx.doi.org/10.17816/vgik10274-84.

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The article (the end of the publication, beginning: No 1 (35), 2018) analyzes the sound features of Japanese motion pictures created in the second half of the 20th - beginning of the 21st centuries, on the example of the speech expressiveness of screen actors. The peculiarity of the acting game for a long time was one of the obstacles to understanding and accepting Japanese films by the Western audience. The approach of Japanese film actors to taking roles was based on traditions of the theatrical performance. However, theatrical techniques organically entered the artistic structure and became distinctive features of the genre of dzidaigaki (costume-historical film), especially loved by the audience. The main vehicle in the sound design of such films was the actor's speech using an ancient language, differing from modern Japanese by the presence of additional endings and pronouns. The mode of stylization of speech, associated with a special attention to detail, brings the audience closer to the time displayed on screen, adding realism in the perception of the screen event. The article presents stylistic, phonetic, semantic features of actor's speech in Japanese films not only in costume and historical genre, but also in fantasy and animation films. In the latter two genres, the onomatopoeia (sound imaging) plays an important role in creating the sound design of the film, which is so common in Japanese colloquial and written speech that can also be attributed to a peculiar Japanese cultural tradition. Analysis of sound designs of the Japanese films, including the use of onomatopoeia, is the novelty of the work presented. The articles topicality is that analyzing another view of the world can broaden the horizon of seeing a specific creative task that is not even related to the Japanese theme, while opening up new creative opportunities. In addition, the material of the article in some extent fills a gap in Russian cinema studies, related to the theme of sound in Japanese cinema.

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Morrison, James. "The House of Mirth." Film Quarterly 55, no. 1 (2001): 49–51. http://dx.doi.org/10.1525/fq.2001.55.1.49.

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The great British filmmaker Terence Davies adapts Edith Wharton's American classic, The House of Mirth, and the sensibilities of author and filmmaker mesh unexpectedly, producing a film of uncommon delicacy. Simulating the traditional costume drama as it has been codified by such directors as James Ivory, Davies actually works against the most entrenched conventions of the genre by countering naturalism with artifice. This review of Davies's film examines the aesthetic strategies of this extraordinary adaptation, and places the film in the context of Davies's work and contemporary art cinema more generally.

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Ovtchinnikova, Alexandra. "Shadows of Forgotten Ancestors: In search of national representation in the image of folklore." Studies in Costume & Performance 6, no. 1 (June 1, 2021): 49–68. http://dx.doi.org/10.1386/scp_00035_1.

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In this case study analysis of the film Shadows of Forgotten Ancestors (1965) directed by Sergei Parajanov (1924‐90) I will explore the ways in which traditional dress in this film, as part of a wider imagery of folklore, has been defamiliarized from the ideological canon of social realism. More specifically, I will look at the ways Parajanov’s film, filled with music, dance, colour and ethnographic texture, significantly departed from the traditional representation of non-Russians on the Soviet screen under the Friendship of Peoples policy. Based on a folkloric legend, adapted and published in 1911 by Mykhailo Kotsiubynskyi (1864‐1913), Shadows celebrates the ethnographic texture of the Hutsul region by departing significantly from causality and narrative logic and bringing together primitive and modern elements instead. Praised for its authenticity, the film became a turning point in the search for a new site of national expression for Ukrainian filmmakers and more specifically, the role of folklore in its visual presentation. The work of the costume designer Lidiya Bajkova (1905‐80) is emblematic in the way it renders authenticity beyond historical, ethnic and material accuracy by seamlessly integrating the costumes into the visual texture of the cinematic image. Her approach demonstrates how motifs and patterns that have previously been delegated to domesticated and melodramatic narratives could conversely become a fundamental substance of the cinematic experience.

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Garland, Liz, and Kevin Almond. "Second Skin: Investigating the Production of Contoured Patterns for the Theatrical Costume Industry." Costume 50, no. 1 (January 1, 2016): 90–113. http://dx.doi.org/10.1080/05908876.2015.1129860.

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This paper discusses research into pattern cutting via mould-making techniques for body-conscious, contoured clothing used in the theatrical costume industry (film, television and theatre). With their considerable experience as costume makers, the authors recognized a gap in knowledge and documentation for this approach to pattern cutting. The intentions were to expand the range of techniques available for theatrical costume professionals, allowing practitioners to draw complex style lines directly onto the body shape and onto inanimate objects. The research explored different approaches through a series of three-dimensional experiments, which included contouring the body with moulds to achieve sculptural or abstract forms and discovering the capabilities, advantages and restrictions of the technique. The enquiry includes a variety of methodologies, which investigated the practical, technical and historical background to contoured pattern cutting. Object-based research considered the design and manufacture of body conscious garments. Action-based research and semi-structured interviews with practitioners considered the skills costume makers use to produce contoured clothing and the ethics connected with drawing styles directly onto the human body. In order to contextualize the practical investigations, a review of the literature revealed the limited extent of contemporary and historical research dedicated to contoured pattern cutting.

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Fife Donaldson, Lucy. "Surface Contact: Film Design as an Exchange of Meaning." Film-Philosophy 22, no. 2 (June 2018): 203–21. http://dx.doi.org/10.3366/film.2018.0073.

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Surface has become an important consideration of sensory film theory, conceived of in various forms: the screen itself as less a barrier than a permeable skin, the site of a meaningful interaction between film and audience; the image as a surface to be experienced haptically, the eye functioning as a hand that brushes across and engages with the field of vision; surfaces within the film, be they organic or fabricated, presenting a tactile appeal. Surface evokes contact and touch, the look or sound it produces (or produced on it) inviting consideration of its materiality, and perhaps even a tactile interchange. If the surface of film, across its varied associations, presents the possibility of an intersubjective contact between film and audience, this article seeks to include another body: that of the filmmaker. There are many people who contribute to the material constitution of a film and I would suggest that we might seek to appreciate its textures just as we might that of a painting. Focus on the fine detail of textures within the film becomes a way to foreground the contributions of filmmakers who have been less central to discussions of meaning, but whose work in the making of décor, costume and sound effects, has a significant impact on filmic affect. Through detailed discussion of film moments, archival design materials and interviews with film designers, this article will attend to the exchanges of meaning situated on the audio-visual surfaces of film.

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Holderness, Graham. "Introduction." Critical Survey 33, no. 1 (March 1, 2021): 1–7. http://dx.doi.org/10.3167/cs.2021.330101.

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In Britain, from the nineteenth century onwards, the default ‘setting’ for Shakespeare’s plays (by which I mean costume, mise-en-scène, and assumed historical and cultural context) has been medieval and early modern: the time of the plays’ composition (late sixteenth and early seventeenth centuries) or the time of their historical location (medieval Britain or Europe, ancient Greece or Rome, etc.). In this visual and physical context, Twelfth Night would normally be performed or imagined in Elizabethan or Jacobean, Macbeth and Hamlet in medieval, Julius Caesar in ancient Roman dress and settings. In the historical context of their original production, the plays were performed in contemporary dress with minimal mise-en-scène; through the Restoration and eighteenth century in fashionable modern dress and increasingly naturalistic settings. Today in Britain, Shakespeare can be performed in any style of costume, setting and cultural context, from the time of the plays’ reference to the immediate contemporary present, and often in an eclectic blend of some or all. But strong forces of tradition and cultural memory tie the plays, in their visual and physical realisation as well as their language, to the medieval and early modern past. We see this attachment in film versions of the plays and of Shakespeare’s life. We dress Shakespeare in the costumes of all the ages, but we know that he truly belongs, as in the various portraits, in doublet and ruff.

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Lagny, Michèle. "Susan Hayward, French Costume Drama of the 1950s, Fashioning Politics in Film." 1895, no. 67 (June 1, 2012): 166–68. http://dx.doi.org/10.4000/1895.4555.

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Parry, Harriet. "Moon: A sensuous scholarship of the art of costume breakdown in film." Film, Fashion & Consumption 6, no. 2 (December 1, 2017): 89–103. http://dx.doi.org/10.1386/ffc.6.2.89_1.

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Lim, Si Eun, and Young In Kim. "The Formative Characteristics of the Costume in the Film ‘The Other Boleyn Girl’." Journal of the Korean Society of Costume 69, no. 8 (December 31, 2019): 16–24. http://dx.doi.org/10.7233/jksc.2019.69.8.016.

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Humbert, Brigitte E. "French Costume Drama of the 1950s: Fashioning Politics in Film by Susan Hayward." French Review 85, no. 4 (2012): 738–39. http://dx.doi.org/10.1353/tfr.2012.0307.

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Kambuta, Rebecca. "Hollywood Catwalk: Exploring Costume and Transformation in American Film, by Tamar Jeffers McDonald." Alphaville: Journal of Film and Screen Media, no. 2 (February 14, 2012): 98–101. http://dx.doi.org/10.33178/alpha.2.09.

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Kalmakurki, Maarit. "Snow White and the Seven Dwarfs, Cinderella and Sleeping Beauty: The Components of Costume Design in Disney’s Early Hand-Drawn Animated Feature Films." Animation 13, no. 1 (March 2018): 7–19. http://dx.doi.org/10.1177/1746847718754758.

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Costumes in feature films can be deliberately used for narrative purposes to reveal or conceal something related to the plot, functioning as a key element for cinematic storytelling. Costume design in animation is an integral part of character creation; however, relatively little is known about the design process. Previous research concentrates on either the history of hand-drawn animation, the principles of making animated films or character construction. This article presents several key components of the animators’ costume design process in Walt Disney’s animated feature films Snow White and the Seven Dwarfs (1937), Cinderella (1950) and Sleeping Beauty (1959). The author demonstrates that the costume design in these films was a multi-layered process. For example, for Snow White, the costume silhouette of the final animation is visible in the early conceptual designs whereas, for Cinderella or Princess Aurora, the principal character animators designed the final costume. Additionally, the slow production time influenced the style of the costumes: small details on costumes and complex constructions were not used as it would have taken too long for them to be drawn. The article also reveals that animators used live-action filming and rotoscoping as tools for designing costumes. Furthermore, costumes that were used in pre-production filming for rotoscope were different in their construction from everyday garments. The work of a costume designer existed in the character design process, although not as a separate profession. This article aims to highlight the importance of characters’ costumes in Disney’s early hand-drawn animated films and the different ways costumes have been designed for animated characters.

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Chen, Lei, Ying Ruan, Si Si Luo, Fu Ju Ye, and Hao Yang Cui. "Optically Transparent Metasurface Absorber Based on Reconfigurable and Flexible Indium Tin Oxide Film." Micromachines 11, no. 12 (November 24, 2020): 1032. http://dx.doi.org/10.3390/mi11121032.

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In this paper, we present a flexible, breathable and optically transparent metasurface with ultra-wideband absorption. The designed double layer of indium tin oxide (ITO) films with specific carved structure realizes absorption and electromagnetic (EM) isolation in dual-polarization, as well as good air permeability. Under the illumination of x- and y-polarization incidence, the metasurface has low reflectivity and transmission from about 2 to 18 GHz. By employing ITO film based on polyethylene terephthalate (PET), the presented metasurface also processes the excellent flexibility and optically transparency, which can be utilized for wearable device application. In addition, the dual-layer design enables mechanically-reconfigurable property of the metasurface. The transmission and reflection coefficients in two polarizations show distinct difference when arranging the different relevant positions of two layers of the metasurface. A sample with 14*14 elements is designed, fabricated and measured, showing good agreement with the simulation results. We envision this work has various potentials in the wearable costume which demands both EM absorption and isolation.

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Beene, La. "Digital Costume Design and Collaboration: Applications in Academia, Theatre, and Film by Rafael Jaen." Theatre Topics 28, no. 1 (2018): 84–85. http://dx.doi.org/10.1353/tt.2018.0012.

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