In this visual essay, I discuss how clothing made for an expanded cinema performance entitled Film as Fabric took on significance. The live work shows analogue film as fabric and stitching as editing to highlight historical relationships between textile practice and experimental filmmaking. The work developed through iterations from 2013 to 2017 as a part of doctorate research carried out from 2012 to 2020. My position as an experimental filmmaker with a background in embroidery grounded the study. Annabel Nicolson’s seminal live expanded cinema performance Reel Time (1973), in which she punctured 16mm film with her unthreaded sewing machine, was also a point of departure. Feminist critique from both disciplines ‐ film and textile studies ‐ supported the possibility of repressed relationships between the fields. Feminist scholars have repeatedly problematized contextualization of experimental filmmaking as narrow and misplaced (Blaetz 2007; Hatfield 2006; Reynolds 2009, 2012; Rhodes 1979). Until now, connections with textile practice in experimental filmmaking have been largely overlooked, most likely because domestic crafts have a long association with women’s work (Barber 1994), are central to deep rooted Western stereotypes of femininity, and remain denigrated art forms (Parker 2010). The development of Film as Fabric led to the creation of hybrid tools, forms and gestures, such as optical sounds and moving images made from fabric and stitch patterns. These were measured on the body, cut with dressmaking scissors, stitched, spliced into loops and projected in former cotton mills. This process allowed sounds associated with textile production and my personal textile ancestry to re-surface in new ways. The live context demands attention is given to material practices, which typically take place out of sight in the home and the film cutting room and have also recently undergone significant shifts in cultural status.
{"title":"Film as Fabric: A visual essay signalling the importance of clothing in expanded cinema performance","authors":"M. Stark","doi":"10.1386/scp_00064_3","DOIUrl":"https://doi.org/10.1386/scp_00064_3","url":null,"abstract":"In this visual essay, I discuss how clothing made for an expanded cinema performance entitled Film as Fabric took on significance. The live work shows analogue film as fabric and stitching as editing to highlight historical relationships between textile practice and experimental\u0000 filmmaking. The work developed through iterations from 2013 to 2017 as a part of doctorate research carried out from 2012 to 2020. My position as an experimental filmmaker with a background in embroidery grounded the study. Annabel Nicolson’s seminal live expanded cinema performance\u0000 Reel Time (1973), in which she punctured 16mm film with her unthreaded sewing machine, was also a point of departure. Feminist critique from both disciplines ‐ film and textile studies ‐ supported the possibility of repressed relationships between the fields. Feminist\u0000 scholars have repeatedly problematized contextualization of experimental filmmaking as narrow and misplaced (Blaetz 2007; Hatfield 2006; Reynolds 2009, 2012; Rhodes 1979). Until now, connections with textile practice in experimental filmmaking have been largely overlooked, most likely because\u0000 domestic crafts have a long association with women’s work (Barber 1994), are central to deep rooted Western stereotypes of femininity, and remain denigrated art forms (Parker 2010). The development of Film as Fabric led to the creation of hybrid tools, forms and gestures, such\u0000 as optical sounds and moving images made from fabric and stitch patterns. These were measured on the body, cut with dressmaking scissors, stitched, spliced into loops and projected in former cotton mills. This process allowed sounds associated with textile production and my personal textile\u0000 ancestry to re-surface in new ways. The live context demands attention is given to material practices, which typically take place out of sight in the home and the film cutting room and have also recently undergone significant shifts in cultural status.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128585132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research revisits individual and collaborative artistic processes to articulate the combination of creative skills to produce and document research outcomes. Various creative processes, such as costume-making, performance-making, artistic video, photo documentation and editing, came about under particular circumstances and with different objectives. These processes, all with their unique and embedded stories, were brought together in a collaborative research outcome to create an original visual story with layered meanings ‐ the video titled ‘Merelle (To the see)’ (Miettinen 2021). This video illustrates the connections between the different creative processes, and the memories, bodies, places and environments attached to them. However, some of the places and environments in which the costumes, performance and video came about were also implicit, only to be revealed in the research dissemination. The selected methodology entailed narrative accounts, reflexive research and collaborative visual analysis. The data were collected through storytelling and note taking of the events that enabled was re-narration of the three artistic processes described in this article. The reflexive research methodology and analysis drew on visual data from photography and the video to explore the outcomes of the collaborative work.
这项研究重新审视了个人和协作的艺术过程，以阐明创造性技能的组合，以产生和记录研究成果。各种创作过程，如服装制作、表演制作、艺术录像、照片记录和编辑，都是在特定的情况下和不同的目标下产生的。这些过程，都有其独特和嵌入的故事，被汇集在一个合作研究成果中，创造了一个具有分层含义的原创视觉故事-名为“Merelle (to the see)”的视频(Miettinen 2021)。这段视频展示了不同创作过程之间的联系，以及与之相关的记忆、身体、地点和环境。然而，服装、表演和录像产生的一些场所和环境也是隐含的，只有在研究传播中才会显露出来。所选择的方法包括叙述、反思性研究和协作性视觉分析。数据是通过讲故事和记录事件收集的，这些事件使我们能够重新叙述本文中描述的三个艺术过程。反思性的研究方法和分析利用来自摄影和视频的视觉数据来探索合作工作的结果。
{"title":"Reflections in water: Displaying political agency through costume, performance and video","authors":"Melanie Sarantou, Satu Miettinen","doi":"10.1386/scp_00063_1","DOIUrl":"https://doi.org/10.1386/scp_00063_1","url":null,"abstract":"This research revisits individual and collaborative artistic processes to articulate the combination of creative skills to produce and document research outcomes. Various creative processes, such as costume-making, performance-making, artistic video, photo documentation and editing,\u0000 came about under particular circumstances and with different objectives. These processes, all with their unique and embedded stories, were brought together in a collaborative research outcome to create an original visual story with layered meanings ‐ the video titled ‘Merelle\u0000 (To the see)’ (Miettinen 2021). This video illustrates the connections between the different creative processes, and the memories, bodies, places and environments attached to them. However, some of the places and environments in which the costumes, performance and video came about were\u0000 also implicit, only to be revealed in the research dissemination. The selected methodology entailed narrative accounts, reflexive research and collaborative visual analysis. The data were collected through storytelling and note taking of the events that enabled was re-narration of the three\u0000 artistic processes described in this article. The reflexive research methodology and analysis drew on visual data from photography and the video to explore the outcomes of the collaborative work.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130654217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Game of Thrones: The Costumes, Michele Clapton and Gina McIntyre (2019)San Rafael, CA and London: Insight Editions, 440 pp.,ISBN 978-1-68383-530-1, h/bk, US$75.00
{"title":"Game of Thrones: The Costumes, Michele Clapton and Gina McIntyre (2019)","authors":"H. Davidson","doi":"10.1386/scp_00067_5","DOIUrl":"https://doi.org/10.1386/scp_00067_5","url":null,"abstract":"Review of: Game of Thrones: The Costumes, Michele Clapton and Gina McIntyre (2019)San Rafael, CA and London: Insight Editions, 440 pp.,ISBN 978-1-68383-530-1, h/bk, US$75.00","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117053509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Showstoppers! Spectacular Costumes from Stage and Screen, curated by the Costume Industry Coalition : New York City, 5 August‐5 December 2021","authors":"Mateja Fajt","doi":"10.1386/scp_00071_5","DOIUrl":"https://doi.org/10.1386/scp_00071_5","url":null,"abstract":"","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122617927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article attempts to unpick colonialist and racist stereotypes in costume, in an effort to think through decolonization in relation to costume design and research. Examining Sidney Nolan’s costumes for the Royal Ballet’s 1962 production of The Rite of Spring, which misappropriated Australian First Nations cultures for visual (and choreographic) inspiration, the primary aims are to articulate the complexities of the production’s oppressive colonial roots, and to situate it within the wider context of recent challenges from scholarship and discourse around traditional ballet that have reframed it as a potentially racist art form. The discussion positions the costumed dancers from this production in relation to problematic binaries articulated more recently in scholarship around modern dance. A consideration of the damaging perpetuation of stereotypes the costumes propagate offers a way of understanding the ongoing impact of ballet’s colonialist history, and the role costume (and those who create it) plays in this.
本文试图拆解殖民主义和种族主义对服装的刻板印象，试图通过非殖民化与服装设计和研究的关系进行思考。研究悉尼·诺兰(Sidney Nolan) 1962年为皇家芭蕾舞团(Royal Ballet)制作的《春之祭》(the Rite of Spring)的服装，该作品滥用了澳大利亚第一民族文化的视觉(和编舞)灵感，主要目的是阐明该作品的压迫性殖民根源的复杂性，并将其置于更广泛的背景下，即最近学术界和围绕传统芭蕾舞的讨论所面临的挑战，这些挑战将其重新定义为一种潜在的种族主义艺术形式。讨论将这部作品中穿着服装的舞者与最近围绕现代舞的学术研究中提出的有问题的二元关系联系起来。考虑到服装所传播的刻板印象的破坏性延续，提供了一种理解芭蕾舞殖民主义历史持续影响的方式，以及服装(和那些创造它的人)在其中扮演的角色。
{"title":"Decolonizing costume: Unpicking ballet’s racist and colonialist stereotypes through Sidney Nolan’s costumes for The Rite of Spring (1962)","authors":"E. Collett","doi":"10.1386/scp_00058_1","DOIUrl":"https://doi.org/10.1386/scp_00058_1","url":null,"abstract":"This article attempts to unpick colonialist and racist stereotypes in costume, in an effort to think through decolonization in relation to costume design and research. Examining Sidney Nolan’s costumes for the Royal Ballet’s 1962 production of The Rite of Spring,\u0000 which misappropriated Australian First Nations cultures for visual (and choreographic) inspiration, the primary aims are to articulate the complexities of the production’s oppressive colonial roots, and to situate it within the wider context of recent challenges from scholarship and\u0000 discourse around traditional ballet that have reframed it as a potentially racist art form. The discussion positions the costumed dancers from this production in relation to problematic binaries articulated more recently in scholarship around modern dance. A consideration of the damaging perpetuation\u0000 of stereotypes the costumes propagate offers a way of understanding the ongoing impact of ballet’s colonialist history, and the role costume (and those who create it) plays in this.","PeriodicalId":177562,"journal":{"name":"Studies in Costume & Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131151359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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