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Artículos de revistas sobre el tema "Costumes Costumes Costumes"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 9 de febrero de 2022

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1

Andersson, Therése. "Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress." Culture Unbound 3, no. 1 (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

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2

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 (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 f

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3

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 (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 an

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4

Liu, Wen. "Discussion on the Green Design in Costumes." Advanced Materials Research 317-319 (August 2011): 393–96. http://dx.doi.org/10.4028/www.scientific.net/amr.317-319.393.

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In recent years, the consumers’ demand for costumes tends to become environmental protection, security and health from traditional utility, beauty and durability, and the costumes tend to be more comfortable, simple and natural. The idea of green design in costumes shall become dominant in costume designing. The article mainly elaborates the green designing idea and its necessity of application in the costume from surface materials, color, structure, production and marketing.

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5

Meng, Xin, and Ping Xiao. "Analysis on the Development of New Chinese Costume Innovation Based on Popularization." E3S Web of Conferences 275 (2021): 03029. http://dx.doi.org/10.1051/e3sconf/202127503029.

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The rise of new Chinese costumes reflects national cultural confidence. In response to how to quickly develop a questionnaire in the new Chinese costume market, it is designed and innovative through the public’s data analysis of new Chinese costumes, color, fabrics, and patterns, through the innovation, color innovation, fabric innovation of new Chinese costumes. The newness of the texture innovation promotes its development and analyzes the development of good apparel brand marketing strategies. Combined with the advantages of integration innovation and development, broaden the new Chinese co

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6

Dean, Sally E. "Somatic costumes™: Traversing multi-sensorial landscapes." Scene 2, no. 1 (2014): 81–87. http://dx.doi.org/10.1386/scene.2.1-2.81_1.

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This article introduces Sally E. Dean’s ‘Somatic Movement & Costume Project’ by presenting examples of the ‘somatic costumes’ created and the costume design, choreographic and pedagogic methodologies applied. ‘Somatic costumes’ aim to facilitate multi-sensorial experiences that change our relationships to ourselves, others and the environment. Although costume has been incorporated in performance for centuries, this project argues for a critical social–cultural paradigm shift: the aesthetic and movement of the performance work comes from the somatic experiences (kinaesthetic and sensorial)

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7

Eromosele, Owens Patricia. "Costumes as depiction of cultural identity in Pedro Agbonifo-Obaseki’s Idia." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 310–20. http://dx.doi.org/10.4314/ejotmas.v7i1-2.20.

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In Nigeria, costumes present interesting vistas for exploring cultural identity. They have social implications and at times are politically implicated. This may be attributed to Nigeria’s multi-cultural atmosphere that makes costumes a reflection of the cultural identity of the people. Nigerian performances in festivals and play productions provide a platform to study and appreciate this phenomenon. Using the participant observation and literary methods, this article interrogates how costumes can depict the cultural identity of a people. It appropriates the dynamics of costumes as depiction of

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8

Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.

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Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses t

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9

Wilkinson, Clare M. "Wrinkles in Time: Ageing Costume in Hindi Film." BioScope: South Asian Screen Studies 9, no. 1 (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 beca

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10

Fensham, Rachel. "Repetition as a methodology: Costumes, archives and choreography." Scene 2, no. 1 (2014): 43–60. http://dx.doi.org/10.1386/scene.2.1-2.43_1.

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This article considers how costumes contribute to choreographic aesthetics through their capacity to be repeated. I develop different conceptions of repetition – replication (copying); representation (appearance within a frame that represents an image); and reproduction (as construction or manufacture) of costume objects and ideas over time. Being interested in the material process of making and wearing costumes, it also investigates how repetition leads to the possibility of invention. Using Walter Benjamin’s concept of the dialectical image to discuss costumes as objects within a dance archi

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11

Izuta, Ryo, Tsutomu Terada, Yutaka Yanagisawa, Minoru Fujimoto, and Masahiko Tsukamoto. "Design Guidelines on LED Costumes for Dance Performances." Designs 3, no. 4 (2019): 51. http://dx.doi.org/10.3390/designs3040051.

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We present design guidelines on light emitting diode (LED) costumes for dance performances assuming repetitive use during concerts. We used LED costumes more than 120 times for large concerts of well-known artists at venues of approximately 50,000 capacity that were commercially successesful and we updated the LED costume design twice based on our experiences during these concerts. Through analyzing the position of broken LEDs and the types of breakage and the problems that occurred during actual performances, we devised 17 design guidelines on LED costumes for dance performances. Thanks to th

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12

Bian, Xiangyang, and Meng Niu. "The Feasibility and Methodology for Water and Land Paintings in the Study of the Ming Dynasty Costumes." Asian Social Science 14, no. 1 (2017): 136. http://dx.doi.org/10.5539/ass.v14n1p136.

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Chinese Water and Land painting contains lots of figure costume modeling, providing intuitive and vivid image data for the study of ancient costumes. It is a new medium for the study of Chinese ancient costumes. This paper analyzes the feasibility and methodology for Water and Land paintings in the study of the Ming Dynasty. With the Ming costumes in the Water and Land Paintings, this paper discusses the shape, color, texture and fabric patterns of the ancient dresses. The feasibility of using Water and Land Paintings to study ancient costumes is further analyzed in this paper. This paper emph

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13

Qi, Yan, Xue Rong Fan, and Rong Rong Cui. "Lu Embroidery Patterns on Costumes in Shandong Province." Advanced Materials Research 821-822 (September 2013): 717–20. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.717.

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Lu embroidery, one of the famous embroideries in Shandong province of China, is the earliest recorded Chinese embroidered species found in historical documents of China. Lu embroidery patterns on costumes have a wide range of subjects; their folk contents coagulate plenty of folk emotions. The motifs of Lu embroidery patterns on costumes express the totemism and the nature worship. They are the rites of passage and spiritual religious expressions. The cultural connotations in Lu embroidery patterns on costumes can inspire current designs, provide useful references for contemporary fashion desi

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14

Kjellmer, Viveka. "Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)." Studies in Costume & Performance 4, no. 2 (2019): 179–91. http://dx.doi.org/10.1386/scp_00003_1.

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In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915‐18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped c

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15

Henry King, Lorraine. "Black skin as costume in Black Panther." Film, Fashion & Consumption 10, no. 1 (2021): 265–76. http://dx.doi.org/10.1386/ffc_00024_3.

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As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming of a black superhero and nemesis fram

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16

Bågander, Linnea. "Cuttlefish – performing body." Studies in Costume & Performance 5, no. 2 (2020): 255–71. http://dx.doi.org/10.1386/scp_00028_7.

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This research report discusses and reflects on the development of the costume design and choreography of the performance piece Cuttlefish, 2017–19. In the performance, the costumes played an essential role as they completely transformed the movements and forms of the dancers. To enable this, costumes were designed as temporal forms, garments that contain a particular movement language based on the structural possibilities of the body. The costumes are discussed here from two perspectives: in relation to their role in constructing a narrative for the audience, choreographer and dancers and seco

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17

Yan, Jing, Liang Yu Chen, and Xue Rong Fan. "Traditional Costume Culture of She Ethnic Group from Ecological Perspective." Advanced Materials Research 796 (September 2013): 554–57. http://dx.doi.org/10.4028/www.scientific.net/amr.796.554.

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She's traditional costumes are both tangible and intangible cultural heritage, which do not only have a high aesthetic value, but also embody She's enduring beliefs and characters. However, with the economic development, social progress, especially technology updates and promotion of the traffic and media, the protective barrier of She's original cultural environment formed naturally by the geographical environment in the past have gradually disappeared. She's traditional culture, including costume culture, is rapidly weakening and lost. Based on the fieldwork of She ethnic minority areas in Z

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18

Kosinkova-Stoeva, Angelina. "DESIGN AND MODELING OF LADIES' CLOTHING WITH A STUDY OF THE DECORATIVE FEATURES OF THE BULGARIAN FOLK COSTUME FROM THE PIRIN REGION." International Conference on Technics, Technologies and Education, no. 1 (2018): 76–82. http://dx.doi.org/10.15547/10.15547/ictte.2018.02.003.

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For many centuries the Bulgarian costumes have been one of the main objects of Bulgarian artistic creativity. High artistic embroidery, types of fabrics, patterns, shapes are a source for revealing the ethnic unity and diversity of traditional Bulgarian culture. The great wealth of decorative elements of the folk costume in the Pirin region, distinguished by its inimitable variety and color, are the basis for the creation of designs and designs for modern ladies' garments. The aim of the present work is to trace and explore the historical development of the traditional folk costume in the Piri

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19

Helve, Tua. "Political by Design: Costume Design Strategies within the Finnish Contemporary Dance Productions AmazinGRace, Noir? and The Earth Song." Nordic Journal of Dance 9, no. 1 (2018): 14–31. http://dx.doi.org/10.2478/njd-2018-0003.

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Abstract This article examines costume design within three Finnish contemporary dance productions in the 2010s, AmazinGRace, Noir? and The Earth Song, by respective costume designers Soile Savela, Sanna Levo and Karoliina Koiso-Kanttila, to identify the ways in which costume works within performances with political themes through cases that make use of ‘everyday’ garments as costumes. Here, everyday garments as costume refers to identifiable forms, silhouettes and connotations, as opposed to fantasy or ‘abstract’ costumes. Political, as defined by the themes of these performances, means subjec

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20

De Magalhães, Celso. "Aplicação administrativa do Direito." Revista do Serviço Público 67, no. 02 (2020): 195–208. http://dx.doi.org/10.21874/rsp.v67i2.5123.

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Costumes — Há também um Direito que não está escrito. Não só asnormas escritas obrigam: a praxe, o costume — desde que seguidos por muitotempo — obrigam do mesmo m odo. O costume constitui, assim, um Direitosubsidiário auxiliar do Direito Positivo, e ao qual se dá o nome de DireitoConsuetudinário.

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21

Enzinger, Katharina. "Thinking Through Value Transformations of Movie Costumes." Journal of Extreme Anthropology 1, no. 2 (2017): 71–74. http://dx.doi.org/10.5617/jea.4889.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay investigates the value transformations of costumes created by costume designers for movie productions, tracing their valorization, loss of value, and re-valorization. The text is grounded in interviews with the Viennese costume designer Thomas Oláh.

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22

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 cost

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23

Melo, Lucas. "Normas constitucionais não escritas." A&C - Revista de Direito Administrativo & Constitucional 20, no. 80 (2020): 211. http://dx.doi.org/10.21056/aec.v20i80.1263.

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O artigo analisa a força normativa das normas constitucionais não escritas. Ele visa verificar se o costume e as convenções, em regime de civil law, são normas jurídicas. A metodologia utilizada no presente trabalho é a qualitativa, na modalidade de estudo bibliográfico. O objetivo específico é analisar o fundamento jurídico pelo qual o ser se transforma em dever-ser. Ao final conclui-se que apenas os costumes possuem força normativa. Porém, as convenções ganham importância na sua reiteração e, se acompanhadas da convicção de sua obrigatoriedade, podem desencadear novos costumes constitucionai

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24

., Ariusmedi. "Bahasa Rupa pada Pakaian Penghulu Minangkabau." Humanus 10, no. 1 (2012): 9. http://dx.doi.org/10.24036/jh.v10i1.457.

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This article is a summary of research studying Minangkabau traditional costumes, with focus on the costume of penghulu (head of tribe), which has symbols in it. The penghulu costume as a kind of visual language reflects the position of the wearer in the society, in correlation with his title, as a carrier of the Minangkabau traditional norms. Key words: Minangkabau penghulu costume, visual language

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25

Hariana, Hariana, G. R. Lono Lastoro Simatupang, Timbul Haryono, and SP Gustami. "ASPECTS UNDERLYING THE MODIFICATION OF BRIDAL COSTUME IN GORONTALO AT THE WEDDING RECEPTION." Jurnal Kawistara 7, no. 3 (2018): 297. http://dx.doi.org/10.22146/kawistara.33951.

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The visualization of the Gorontalonese bridal costume worn at the wedding reception is increasingly diverse in terms of the modification forms. The modification can be seen in the design elements including shape, texture, color, material, and accessory. Furthermore, the modification of the current costume makes the functional value of the bridal costume different from the already patterned one, which can be seen from its social, symbolic, and economic values of the Gorontalo community. The data in this study was collected through the review of books and previous studies related to the wedding

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26

Molchanova, Lyudmila Anatolyevna. "UDMURT CLOTHES IN TRADITIONAL CEREMONIES." Yearbook of Finno-Ugric Studies 14, no. 1 (2020): 131–37. http://dx.doi.org/10.35634/2224-9443-2020-14-1-131-137.

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This article discusses the role of traditional clothing in Udmurt ritual practices. The way garments are worn, the use of items and rites and, most of all, the semantics of costume patterns tell us about the inseparable connection between costumes and ritual ceremonies, and about the deep symbolic significance attributed to the costumes by the participants of the ritual. The main familial cult of the Udmurts is vorshood. The vorshood complex is multifaceted and polysemantic. It is embodied in the area, in poetry, in prayers, in legends and in rituals. The vorshood family tree has the highest s

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27

Sazykina, Irina A., and Irina L. Sirotina. "Updating traditional ethnic symbols in the design of a modern Finno‑Ugric costume." Finno-Ugric World 13, no. 2 (2021): 180–92. http://dx.doi.org/10.15507/2076-2577.013.2021.02.180-192.

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Introduction. In modern design, there is a relevant topic of creating original stage costumes using ancient sacred Finno-Ugric symbols. Materials and Methods. The choice of goals and objectives, which is based on the principle of consistency, determined the methodology of the work that is based on the synthesis of cultural and art history analysis. Results and Discussion. In line with the interdisciplinary research, the article considers the use of artistic techniques that allow us to preserve the code of recognition of the passing epochs in the current design: in the forms of symbols and sign

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28

Kucherskaya, M. A. "Wearing Folk Costumes as a Mimetic Practice in Russian Ethnographic Field Studies." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 1 (2019): 127–36. http://dx.doi.org/10.17746/1563-0110.2019.47.1.127-136.

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Wearing folk costumes was a mimicry practiced by certain mid-19th-century Russian ethnographers and folklorists. The most consistent of these was Pavel Yakushkin, who posed as a peddler when doing fi eld work in villages. In this he followed the instructions written by the famous writer, historian, and antiquary Mikhail Pogodin. The sources of Pogodin’s ideas on how a folklorist and ethnographer should look were the Slavophiles’ perception of the Russian costume, Alexander Pushkin’s habit of wearing a red shirt, as well as court jokes and folk legends about top-ranking persons wearing folk cos

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29

Kim, Suk-Young. "Recycled Theatre: Virtuous Lives of the Reclaimed and the Reused." Theatre Survey 57, no. 3 (2016): 386–88. http://dx.doi.org/10.1017/s004055741600034x.

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The moment when the actors’ sweltering bodies shed their crumbled costumes in the dressing room, the breakdown of the inseparable begins—the actors’ bodies and the costumes that presented a seamless portrayal of a character onstage now enter two separate realms. Although the living bodies will most likely appear onstage again, what about the costumes? Pickled with sweat and smeared makeup, they might be sprayed with alcohol before the next performance, or go through some chemical treatment and enter the shop to collect dust, or they might be sold off to those who want to make a big impression

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30

Doueihi, Milad. "Flaubert's Costumes." MLN 101, no. 5 (1986): 1086. http://dx.doi.org/10.2307/2905712.

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31

Rogers, Penelope Walton. "Ulla Mannering, Iconic Costumes. Scandinavian Late Iron Age Costume Iconography." Costume 52, no. 1 (2018): 135–36. http://dx.doi.org/10.3366/cost.2018.0052.

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32

Taylor, Madeline, Anna Germaine Hickey, and Remi Roehrs. "Celebrating Bowery: Radical costume parties as queer heterotopia in Brisbane." Studies in Costume & Performance 5, no. 1 (2020): 85–100. http://dx.doi.org/10.1386/scp_00015_1.

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This visual essay explores the creative practice of The Stitchery Collective, which uses costume as a strategy in their participatory works. Inspired by performance artist, queer icon and costume lover Leigh Bowery, The Stitchery Collective has created The Bowery Party, a series of events encouraging radical dress up. These immersive occasions emphasize the significance of costume as enabling joy, community and extravagant social performance. The essay discusses the importance of Bowery as a figure in designing the party in terms of the nature of participant responses, as his legacy provides a

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33

Ma, Chenqu, Xiangyang Bian, and Shiman Li. "Research on Daily Costume of Women from China’s Shui Nationality of Sandu in Guizhou Province." Asian Social Science 14, no. 12 (2018): 266. http://dx.doi.org/10.5539/ass.v14n12p266.

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Through a great number of fieldwork, this article did a detailed investigation and analysis on the current situation of women&rsquo;s daily ethnic costumes from the China&rsquo;s Shui nationality in Shui autonomous county of Sandu in Guizhou Province. Differed from the former researches on the classification of women&rsquo;s dress from Shui nationality, this article divided the existing women daily dress into three types according to the current situation. Influenced by the geography and surrounding culture, costume of Shui Minority has formed regional characteristics. According to

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34

Hammond, Abigail. "Evolving methodology ‐ Designing costumes for Jasmin Vardimon’s immersive work Maze." Studies in Costume & Performance 4, no. 2 (2019): 243–63. http://dx.doi.org/10.1386/scp_00007_1.

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This research report seeks to record and reflect on the process of creating costumes for Jasmin Vardimon’s dance theatre work Maze (2015). It examines this experience within the context of an evolving methodology, established at a point of reflection on a twenty-year practice of designing costumes in contemporary dance. Drawing on a background of Laban-centred dance training, the design approach is rooted in a physical understanding; the bodily experience of what it is to dance. This includes an understanding of kinaesthetic empathy, how it was harnessed and subsequently informed the creation

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35

Zhang, Zhen Yue, and Wei Dong Gao. "Analysis and Study on Long Pants of Folk Costume in Zhejiang Province." Advanced Materials Research 332-334 (September 2011): 963–66. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.963.

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Zhejiang province is located in the coastal area of southeast China. Its folk costumes have the particular culture implication due to its unique historical and cultural background, customs and geographical regions. As an integral part of regional costumes which formed in the coastal specific natural and human environment, Long Pants not only displays a certain degree of multi-cultural identity of territoriality, comfort and efficacy but also reflects its customs, religions, aesthetic preferences and so on. Through the analysis and research of historical origins, costume shapes, colors and deco

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36

Geraffo, Monica. "No tights, no flights: Constructing the wardrobe of television superheroes." Film, Fashion & Consumption 10, no. 1 (2021): 233–50. http://dx.doi.org/10.1386/ffc_00022_1.

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Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic

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37

Foulds, Elizabeth. "Iconic Costumes: Scandinavian Late Iron Age Costume Iconography, By Ulla Mannering." Archaeological Journal 175, no. 2 (2018): 399–400. http://dx.doi.org/10.1080/00665983.2018.1457303.

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38

Reinhold, Sabine. "Traditions in Transition: Some Thoughts on Late Bronze Age and Early Iron Age Burial Costumes from the Northern Caucasus." European Journal of Archaeology 6, no. 1 (2003): 25–54. http://dx.doi.org/10.1179/eja.2003.6.1.25.

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Ornaments, jewellery, personal equipment and weapons in graves can be defined as relicts of ancient costumes and weapon assemblages which are connected to the social identities of the buried persons. At several late Bronze Age and early Iron Age sites in the north Caucasus (Koban culture) large numbers of richly furnished graves allow the reconstruction of specific costume and armour groups. These can be related to factors which structured these communities into a ranked society. This article is based on the investigation of two cemeteries in Chechenia (north-eastern Caucasus) which demonstrat

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Brayshaw, Emily. "An ‘armour’ against anguish: Costume design considerations around protecting actors in emotionally distressing roles." Studies in Costume & Performance 5, no. 2 (2020): 239–53. http://dx.doi.org/10.1386/scp_00027_7.

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Actors and singers frequently portray characters who experience distressing events, yet this may cause anguish for the performers themselves and require them to perform personal emotional management to cope with their own feelings during a production. This case study discusses and documents my costume design ethos and processes for the Sydney 2018 production of Clare Barron’s play, You Got Older (2015), which required the two lead actors to play characters who were experiencing profound fear, grief and loss. The design approach drew on Monks’s work on the relationship that actors have with the

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Brayshaw, Emily. "Ethnographic spectacle and trans-Atlantic performance: Unravelling the costumes of vaudeville’s ‘Queen’, Eva Tanguay." Studies in Costume & Performance 4, no. 1 (2019): 25–41. http://dx.doi.org/10.1386/scp.4.1.25_1.

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Eva Tanguay (1878–1947), although little known today, was one of the most famous and wealthy actresses in America in the first three decades of the twentieth century. Tanguay’s vaudeville success was built on her playing a wild, racialized, highly sexed, financially and socially emancipated woman, who was nonetheless affectionate and warm. Scholarship to date has considered how Tanguay used the offensive stereotype of the ‘Coon’ associated with African Americans to achieve her huge commercial success, but less attention has been paid to how she used the symbolism and materiality of her costume

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Bicas, Harley E. A. "Tempos e costumes." Arquivos Brasileiros de Oftalmologia 68, no. 4 (2005): 421. http://dx.doi.org/10.1590/s0004-27492005000400001.

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Langlade, Catherine. "Mémoires de costumes." Repères, cahier de danse 27, no. 1 (2011): 7. http://dx.doi.org/10.3917/reper.027.0007.

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Capdeville-Zeng, Catherine. "Costumes et ethnicité." L'Homme, no. 217 (February 25, 2016): 123–32. http://dx.doi.org/10.4000/lhomme.28885.

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Eicher, Joanne B. "Mongol Costumes:Mongol Costumes." Museum Anthropology 20, no. 2 (1996): 81–82. http://dx.doi.org/10.1525/mua.1996.20.2.81.

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Berlo, Janet Catherine, and Chloe Sayer. "Costumes of Mexico." African Arts 19, no. 2 (1986): 26. http://dx.doi.org/10.2307/3336320.

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Chatterjee, Deepsikha, and Cheri Vasek. "Bedazzled Bollywood Costumes." Dress 45, no. 2 (2019): 127–51. http://dx.doi.org/10.1080/03612112.2019.1579511.

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Ying, Zheng. "Big heroine dramas in contemporary China: Costume, authenticity and an alternative history of women of power." Studies in Costume & Performance 5, no. 2 (2020): 211–38. http://dx.doi.org/10.1386/scp_00026_1.

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Big heroine dramas (da nü zhu jü) – a specific category of Chinese costume dramas – have been popular recently, due to the big market of female audiences/consumers in China, and brought up fierce debates on feminism. The shows, written by female authors, are about the stories of powerful women in imperial China. A critical hypothesis here is that the shows combine the figuration of ancient, powerful women and a persona of neo-liberalist feminism. Why do audiences accept the anachronism of big heroine dramas, and how does historical authenticity become coherent with a modern narrative? With cos

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Kumpikaitė, Eglė, and Rimvydas Milašius. "Lithuanian National Costume in the 19th Century and in the 2nd Half of the 20th Century: Cultural Pollution and Remains of Authenticity." Societies 11, no. 1 (2021): 17. http://dx.doi.org/10.3390/soc11010017.

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Lithuanian authors, authors abroad, and artists have presented Lithuanian folk clothes in their works. However, the oldest examples of these representations are not very reliable, because the authors painted them according to the descriptions of other people or copied works among each other. In the 20th century, the national costume of Lithuania changed considerably. Attention was not given to ethnographic regional peculiarities; instead, similar materials were chosen without any analysis. This article performs a comparative analysis of folk (the 19th century to the first half of the 20th cent

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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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Nelson, Adie. "Halloween Costumes and Gender Markers." Psychology of Women Quarterly 24, no. 2 (2000): 137–44. http://dx.doi.org/10.1111/j.1471-6402.2000.tb00194.x.

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A content analysis of 469 children's Halloween costumes explored the extent to which children's fantasy dress reproduces and reiterates more conventional messages about gender. Based on the presence of gender markers, masculine, feminine, and gender-neutral costumes were identified and reanalyzed using a modified version of Klapp's (1962) categorization of heroes, villains, and fools. Both male and female costumes contained a high proportion of hero costumes. However, feminine costumes were clustered in a narrow range depicting beauty queens, princesses, and other exemplars of traditional femi

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