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Retraction Notice 撤销通知
Q2 Arts and Humanities Pub Date : 2023-10-11 DOI: 10.1386/ffc_00055_7
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引用次数: 0
1960s Bombay stars and fashion cultures: The queens in our hearts 20世纪60年代孟买明星和时尚文化:我们心中的女王
IF 0.2 Q2 Arts and Humanities Pub Date : 2023-04-01 DOI: 10.1386/ffc_00051_1
S. Bhattacharya
This article looks at the influence of Hollywood stardom on Bombay films in the 1960s that gave birth to Indian female star figures: the influence of Audrey Hepburn and the political events in India had major roles to play. Stars, such as Sadhana Shivdasani, Sharmila Tagore and Mumtaz, occupy an important role in the advent of economic and sexual liberalization that became central to feminist (re)presentations. They also played a key role in creating the image of the ‘ideal’ Indian woman. Despite its many patriarchal-centred narrations, Bombay cinema occupied a prominent place in feminist engagement as it created more opportunities for dialogues and awareness for women than were generally available at the time in Indian culture.
本文着眼于好莱坞明星对20世纪60年代孟买电影的影响,这些电影催生了印度女明星人物:奥黛丽·赫本的影响和印度的政治事件发挥了重要作用。像莎达娜·希夫达萨尼、莎米拉·泰戈尔和蒙塔兹这样的明星,在经济和性自由化的出现中发挥了重要作用,成为女权主义(再)展示的核心。她们在塑造“理想”印度女性形象方面也发挥了关键作用。尽管有许多以父权为中心的叙事,但孟买电影在女权主义参与中占据了重要地位,因为它为女性创造了更多的对话和意识的机会,而不是当时印度文化中普遍存在的机会。
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引用次数: 0
‘Fashion, you’re incomprehensible!’ Teenage girls, Jackie magazine and fashion as a negotiated social statement in the early 1970s “时尚,你真是不可理喻!”20世纪70年代初,十几岁的女孩、杰姬杂志和时尚作为一种协商的社会声明
IF 0.2 Q2 Arts and Humanities Pub Date : 2023-04-01 DOI: 10.1386/ffc_00052_1
J. Knowles
The hugely popular girls’ magazine Jackie (1964–93) was a significant source of guidance for its readers on a range of matters, including fashion. This article analyses archive editions of Jackie held in the Femorabilia collection at Liverpool John Moores University to re-examine its fashion content during a period marked by a shift in emphasis from creativity to consumption. It also revisits Angela McRobbie’s highly influential research on Jackie, arguing that Jackie’s fashion coverage fulfils a broader social role than simply supporting the ‘ideology of femininity’ that McRobbie’s contemporaneous work identifies as central to the magazine. Examining issues from 1973 to 1974 illuminates a period which is more nuanced than is often suggested, and which is marked by both continuity and also substantial change. Jackie’s depiction of early 1970s girlhood shows the necessity of negotiating public space for teenage girls. Its fashion content represents the balance of moderation, experimentation and adaptability offered by the Jackie reader’s self-presentation. Findings demonstrate the heterogeneous meanings on offer in the magazine: while Jackie readers are urged to show restraint in engaging with fashion, they are also encouraged to explore the wider world, dressed and ready for it.
非常受欢迎的女子杂志《Jackie》(1964-93)在包括时尚在内的一系列问题上为读者提供了重要的指导。本文分析了利物浦约翰摩尔斯大学(Liverpool John Moores University) Femorabilia收藏的杰基(Jackie)的档案版本,以重新审视其在强调从创意转向消费的时期的时尚内容。它还回顾了安吉拉·麦克罗比(Angela McRobbie)对杰姬(Jackie)极具影响力的研究,认为杰姬的时尚报道履行了更广泛的社会角色,而不仅仅是支持“女性意识形态”,麦克罗比当时的作品认为这是该杂志的核心。研究1973年至1974年的问题,可以发现一个比通常认为的更微妙的时期,它的特点是连续性和实质性的变化。杰基对20世纪70年代早期少女时代的描述表明,为十几岁的女孩争取公共空间是必要的。它的时尚内容代表了适度、实验和适应性之间的平衡,这是Jackie读者自我展示的结果。调查结果显示了杂志提供的不同含义:虽然《杰姬》的读者被敦促在与时尚接触时表现出克制,但他们也被鼓励探索更广阔的世界,穿着得体,做好准备。
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引用次数: 0
‘… sure to delight every ballet fan’: Consuming ballet culture through girls’ periodical Girl, 1952–60 “……肯定会让每一个芭蕾舞迷高兴”:通过女孩期刊《女孩》(Girl)了解芭蕾舞文化,1952-60年
IF 0.2 Q2 Arts and Humanities Pub Date : 2023-04-01 DOI: 10.1386/ffc_00050_1
M. Gibson
This article focuses on the ways that ballet was presented for girl readers to consume in Girl (Hulton Press, 1952–64). Girl was a weekly publication, part of girls’ periodical culture in Britain, which was thriving in the 1950s and 1960s. The ballet content it contained was one aspect of the growing British cultural engagement with ballet in the mid-twentieth century. This broader engagement included watching films and attending performances. In addition, for younger participants, especially girls, this may have been accompanied by participation in ballet classes and reading ballet fiction and non-fiction. Girl encompasses all these forms of engagement with ballet through key fictional comic strip ‘Belle of the Ballet’, photographs of performances, pin-ups featuring dancers and paintings about ballet, articles and non-fiction companion volumes. Arnold Haskell, significant in changing how ballet was understood in Britain, was also involved with content in Girl. This connection resulted in readers having the opportunity to compete for an annual ballet scholarship and participate in ballet lessons. In exploring ballet in Girl, the article draws together considerations of how ballet practice, costume, other media involving ballet and dancers’ street clothes were portrayed and the ways that class, ballet and girls’ culture were intertwined.
这篇文章的重点是芭蕾舞的方式呈现给女孩读者消费的女孩(霍尔顿出版社,1952-64)。《女孩》是一种周刊,是英国女孩期刊文化的一部分,在20世纪50年代和60年代蓬勃发展。它所包含的芭蕾舞内容是20世纪中期英国文化与芭蕾舞日益发展的一个方面。这种更广泛的接触包括看电影和参加演出。此外,对于年轻的参与者,尤其是女孩,这可能伴随着参加芭蕾舞课和阅读芭蕾舞小说和非小说。《女孩》涵盖了所有这些与芭蕾舞有关的形式,包括关键的虚构漫画《芭蕾舞女魔头》、表演照片、舞蹈演员的海报、关于芭蕾舞的绘画、文章和非小说配套卷。阿诺德·哈斯克尔在改变英国人对芭蕾的理解方面发挥了重要作用,他也参与了《女孩》的创作。这种联系使读者有机会竞争年度芭蕾舞奖学金并参加芭蕾舞课程。在探索《女孩》中的芭蕾舞时,文章将芭蕾舞练习、服装、其他涉及芭蕾舞的媒体和舞者的街头服装的描述以及阶级、芭蕾舞和女孩文化相互交织的方式结合在一起。
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引用次数: 0
Bollywood self-fashioning: Indian popular culture and representations of girlhood in 1970s Indian cinema 宝莱坞自我塑造:20世纪70年代印度电影中的印度流行文化和少女时代的表现
IF 0.2 Q2 Arts and Humanities Pub Date : 2023-04-01 DOI: 10.1386/ffc_00053_1
S. J. Raj, Adith K. Suresh
This article investigates how Bollywood cinema represented girlhood experiences in India in the early 1970s. It argues that the films during this time focused on representing girls who displayed a variety of new fashion styles and attitudes, some of which were borrowed from western cultures. This was a sign that there was a new way of representing girls which broke with the submissive, dull and melancholic sari-wearing Indian female stereotype entrapped within domestic settings. The immediate result of this was the emergence of new style leaders and popular icons in Indian popular cinema. This study uses Stephen Greenblatt’s concept of self-fashioning and Guy Mankowski’s idea of self-design to examine how Indian girlhood was renegotiated in the 1970s as an individual-centric idea with more agency and power. Here, self-fashioning refers to the way girls adopt new elements of fashion, styles and attitudes to distinguish their identity from earlier archetypal modes of representation in film and culture. It specifically analyses the emergence of Jaya Bhaduri in Guddi (1971) and Dimple Kapadia in Bobby (1973) as case studies to understand the transformation of girlhood representations in early 1970s Bollywood that opened a new space for girls to redefine their selfhood through the assimilation of consumerism, western culture and fashion styles.
这篇文章调查了宝莱坞电影是如何代表20世纪70年代早期印度的少女经历的。它认为,这一时期的电影集中表现了表现出各种新的时尚风格和态度的女孩,其中一些是从西方文化中借来的。这是一个标志,表明有一种新的方式来表现女孩,打破了被困在家庭环境中的印度女性顺从、沉闷和忧郁的纱丽刻板印象。这样做的直接结果是印度流行电影中出现了新的风格领袖和流行偶像。本研究使用斯蒂芬·格林布拉特的自我塑造概念和盖伊·曼科夫斯基的自我设计概念来研究20世纪70年代印度少女时代是如何被重新谈判为一个以个人为中心的概念,拥有更多的能人和权力。在这里,自我塑造指的是女孩们采用新的时尚元素、风格和态度,将自己的身份与电影和文化中早期的原型表现模式区分开来。它具体分析了《古迪》(1971)中的Jaya Bhaduri和《鲍比》(1973)中的Dimple Kapadia的出现,作为案例研究,以了解20世纪70年代初宝莱坞少女形象的转变,这为女孩通过消费主义、西方文化和时尚风格的同化,重新定义自我开辟了一个新的空间。
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引用次数: 0
Narratives and legacies of 1960s Vogue Italia covers on contemporary Italian young women 20世纪60年代《Vogue》意大利版封面对当代意大利年轻女性的叙述和遗产
IF 0.2 Q2 Arts and Humanities Pub Date : 2023-04-01 DOI: 10.1386/ffc_00054_1
Eleonora Noia, Silvia Mazzucotelli Salice, Antonella Capalbi
The article investigates the legacy, in terms of narratives and representations of femininity, of Vogue Italia covers from the 1960s and 1970s on contemporary Italian young women. To do this, we visually and textually analyse two different corpora: 143 Vogue Italia covers, retrieved from the Vogue Italia Archive and published between 1964 (Vogue’s first publication in Italy) and 1974 and between 2020 and 2022; and 46 mock covers of fashion simulated magazines created by female undergraduate fashion students during the academic years 2020/2021 and 2021/2022. Through the first corpus we examine the hegemonic discourse of Vogue Italia, assuming that it expresses the typical Italian way of creating and expressing female fashion while reflecting the shifting ideologies of the Italian feminist movement over the last century; the second corpus reveals the imaginations and narratives of young girls on fashion, disclosing how women’s – and girls’ – identities have been shaped over time and how the standards for femininity, beauty, happiness and health have been transferred and reworked from one generation to the next. In our study the parallel investigation between the longitudinal analysis of the visual apparatus Vogue Italia and the covers produced by students shows, first, elements of continuity and similarity in the communicative and instrumental use of fashion, according to the practice of remixing. Second, it demonstrates that students assimilated successfully the narrative codes typical of traditional fashion communication media but they reinterpret the imagery and representations disseminated, thus bringing into the public discourse issues such as sustainability, gender, diversity, body positivity and stereotypes. Therefore, the study also reveals that girls have always been more than simple passive consumers of fashion magazines and cultural products.
这篇文章调查了20世纪60年代和70年代《Vogue》意大利版封面对当代意大利年轻女性的叙事和女性气质的表现。为了做到这一点,我们从视觉和文本上分析了两个不同的语料库:从Vogue意大利档案馆检索的143个Vogue意大利封面,出版于1964年(Vogue首次在意大利出版)至1974年以及2020年至2022年;以及2020/2021学年和2021/2022学年时尚类本科女生创作的46本时尚类模拟杂志封面。通过第一个语料库,我们考察了《Vogue》意大利版的霸权话语,假设它表达了典型的意大利创造和表达女性时尚的方式,同时反映了上个世纪意大利女权运动的意识形态变化;第二个语料库揭示了年轻女孩对时尚的想象和叙述,揭示了女性和女孩的身份是如何随着时间的推移而形成的,以及女性气质、美丽、幸福和健康的标准是如何代代相传的。在我们的研究中,对视觉设备《Vogue Italia》和学生制作的封面进行纵向分析的平行调查显示,首先,根据混音的实践,时尚在交际和工具使用方面的连续性和相似性元素。其次,这表明学生成功地吸收了传统时尚传播媒体的典型叙事代码,但他们重新诠释了所传播的图像和表征,从而将可持续性、性别、多样性、身体积极性和刻板印象等问题带入了公共话语。因此,研究也揭示了女孩一直都不是时尚杂志和文化产品的简单被动消费者。
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引用次数: 0
The mad kings of The Royals: Fashioning transgressions in royal popular culture television 皇室的疯狂国王:皇室流行文化电视中的时尚越轨行为
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-11-01 DOI: 10.1386/ffc_00044_1
L. Hackett, J. Coghlan
The costuming of actors plays a significant role in how their characters and their actions are understood by audiences. This article examines how male transgression is encoded in fictional royal television via costuming. Costumes for royal characters sit at the intersection between dramatic convention and popular expectations of royal behaviour. Little work has been done to date to examine how costume works in this space, even less on fictional male royal costuming. This article demonstrates, via a discussion of the four kings of the television drama The Royals (2015–18), how costuming both engages in narrative expectations and reveals transgressions.
演员的服装在观众如何理解他们的角色和动作方面起着重要作用。这篇文章探讨了男性的越轨行为是如何通过服装在虚构的王室电视中被编码的。王室人物的服装介于戏剧惯例和大众对王室行为的期望之间。迄今为止,很少有人研究服装在这个领域的作用,更不用说虚构的男性皇室服装了。本文通过对电视剧《皇室》(2015-18)中四位国王的讨论,展示了服装是如何既参与叙事预期,又揭示越轨行为的。
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引用次数: 0
From nonosh to pasha: The belated debut of queer men in contemporary Turkish popular culture 从nonosh到pasha:酷儿男人在当代土耳其流行文化中的迟来的首次亮相
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-11-01 DOI: 10.1386/ffc_00048_1
Deniz Gurgen Atalay, Nilay Ulusoy
The historical drama series, The Club (2021–22), narrating the story of a nightclub at the centre of Istanbul nightlife during the 1950s, achieved great success by becoming the eighth most-watched non-English-language series on an international digital streaming platform. The significant public affirmation the series gained rose on the representation of the leading character – the nightclub star. He directly refers to respected queer singer Zeki Müren (1931–96). Müren has been credited as the greatest performer in Turkey and a modern male icon with his artistic excellence in singing and his outstanding stage performances for over 40 years. He designed his own costumes as well as those of his musicians, the décor for his performances and the choreography of the dancers. Müren appeared on his stage in black tuxedos, suits with sparkling accessories or even mini-skirts with platform shoes. He was aware of the taboos on homosexuality and how this might have affected him. Although his sexuality was in question, his sex never was. He was, after all, an exemplary male citizen of the Turkish Republic with his kindness to his audience, his charity works, his artistic status. Many fans, including the media, referred to him as a pasha, a heroic military commander, to express that he was the most influential artist in Turkey. The referential association of the fictional character with Zeki Müren will be interpreted in the article to further discuss the portrayal of the queer performance in the series. For this purpose, the article will introduce the conceptualization of nonosh, a polite yet explicit contempt, and present an embraceable form of queer identity in Turkish society to define the common portraiture of queer in Turkish popular films and TV shows.
历史剧《俱乐部》(2021-22)讲述了20世纪50年代伊斯坦布尔夜生活中心一家夜总会的故事,成为国际数字流媒体平台上收视率第八高的非英语剧集,取得了巨大成功。这部剧之所以能获得公众的肯定,主要是因为主角——夜总会明星的形象。他直接提到了受人尊敬的酷儿歌手Zeki m ren(1931-96)。40多年来,m ren凭借卓越的歌唱艺术和出色的舞台表演,被誉为土耳其最伟大的表演者和现代男性偶像。他设计了自己的服装,也设计了音乐家的服装,为自己的表演设计了服装,为舞蹈演员设计了舞蹈。任女士出现在他的舞台上,穿着黑色的无尾礼服,西装配上闪闪发光的配饰,甚至还有迷你裙配厚底鞋。他知道同性恋的禁忌,以及这可能对他造成的影响。尽管他的性取向受到质疑,但他的性别从未受到质疑。毕竟,他是土耳其共和国一个模范的男性公民,他对听众的友善,他的慈善事业,他的艺术地位。包括媒体在内的许多粉丝称他为帕夏(pasha),即英勇的军事指挥官,以表达他是土耳其最有影响力的艺术家。本文将对这个虚构角色与Zeki m ren之间的关联进行解释,以进一步探讨剧中酷儿的表现。为此,本文将介绍nonosh的概念,一种礼貌而明确的蔑视,并呈现土耳其社会中可接受的酷儿身份形式,以定义土耳其流行电影和电视节目中常见的酷儿形象。
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引用次数: 0
‘Be a real man for our motherland’: Masculinity and national security in Chinese Korean War films “为祖国做一个真正的男人”:中国朝鲜战争电影中的男子气概与国家安全
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-11-01 DOI: 10.1386/ffc_00043_1
Xiang Gao
There has been increasing societal discussion and criticism on the ‘lack of masculinity’ among Chinese young men. In response, the Chinese Ministry of Education in 2021 advised schools to ‘foster the students’ masculinity’. The Chinese National Radio and Television Administration also set strict rules for casting and choosing performing styles, custom and makeup in order to eliminate the ‘abnormal aesthetic’ and the ‘male feminization’ in Chinese television, film and advertisement. At the same time, various war films and television shows present characters and circumstances that highlight an ‘ideal’ masculine archetypes as well as the quality of a Chinese male character – patriotism, heroism, selflessness, strength, loyalty and intelligence. This article examines and compares the male images in two Chinese Korean War films, Shangganling and Changjinhu. It analyses the changing portrayal of male war characters based on three levels of analysis, namely nationhood, leadership and individuals. This study argues that the ‘masculinity crisis’ has led to the securitization of Chinese masculinity, a process and outcome driven by the Chinese government’s continued efforts to control and channel the broad social and cultural changes which have impacted popular culture, sexuality, gender and women’s rights and roles across Chinese society over the past several decades.
社会上对中国年轻男性“缺乏男子气概”的讨论和批评越来越多。作为回应,中国教育部在2021年建议学校“培养学生的男子气概”。为了消除中国电视、电影和广告中的“变态审美”和“男性女性化”现象,中国国家广播电视总局还对演员的选角、表演风格、服装和化妆等方面制定了严格的规定。与此同时,各种战争电影和电视节目所呈现的人物和环境,突出了“理想”的男性原型,以及中国男性角色的品质——爱国主义、英雄主义、无私、力量、忠诚和智慧。本文对两部中国朝鲜战争电影《上甘岭》和《长金湖》中的男性形象进行了考察和比较。从国家、领导和个人三个层面分析男性战争人物形象的变化。本研究认为,“男子气概危机”导致了中国男子气概的证券化,这是中国政府持续努力控制和引导广泛的社会和文化变革的过程和结果,这些变革在过去几十年里影响了中国社会的流行文化、性、性别和妇女的权利和角色。
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引用次数: 0
Let the music play: ‘Hipsters’ and heteronormative fashion 让音乐响起:“潮人”和异性恋时尚
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-11-01 DOI: 10.1386/ffc_00046_1
Alla Myzelev
The article examines how fashion assists in emphasizing heteronormativity in the musical film Hipsters (2008). The film is about the first countercultural phenomenon in the Soviet Union – Stiliagi. Predominantly men, these young people adapted different styles of dress, language, behaviour and dance that they felt was closely copying the styles of western cultures such as Teddy Boys. While the movement that started in the late 1940s and continued to the early 1960s included heterosocial behaviour, the film that presumably recreates the affective feeling of the culture distorts the history to spotlight heterosexuality and the search for individual freedom. It argues that given that historically and currently, the association between fashion and masculinity in the Russian culture is understood as effeminate, the film had to create clear heteronormative relationships between the male and female protagonists while emphasizing fashion and consumption. The article demonstrates how the film works within post-Soviet ideology by comparing the use of fashion in the film and the historical data about the actual Stiliagi movement of the 1950s. By negating the heterosocial and heterosexual relationship, the film created an artificial understanding of the Soviet culture. It follows the official ideological doctrine of creating nostalgia for the simpler yet somewhat stifled life in the Soviet Union without attracting the audience’s attention to the repressions of the post-Stalin Soviet Union.
这篇文章探讨了时尚如何在音乐电影《潮人》(2008)中帮助强调异性恋规范。这部电影讲述的是苏联第一个反文化现象——斯蒂利亚吉。这些年轻人以男性为主,他们适应了不同的着装、语言、行为和舞蹈风格,他们认为这些风格与西方文化(如泰迪男孩)的风格非常相似。虽然这场始于20世纪40年代末、持续到60年代初的运动包括了异性恋行为,但这部可能再现这种文化情感的电影扭曲了历史,聚焦于异性恋和对个人自由的追求。它认为,鉴于历史和现在,时尚和男子气概之间的联系在俄罗斯文化中被理解为娘娘腔,电影必须在强调时尚和消费的同时,在男女主角之间创造明确的异性恋关系。本文通过比较电影中对时尚的使用和20世纪50年代实际的斯蒂利亚吉运动的历史数据,展示了这部电影是如何在后苏联意识形态中运作的。通过对异性恋和异性恋关系的否定,这部电影创造了一种对苏联文化的人为理解。它遵循了官方的意识形态原则,即在不吸引观众注意斯大林后苏联的压迫的情况下,创造对苏联简单但有些压抑的生活的怀旧。
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引用次数: 1
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Film Fashion & Consumption
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