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。
{"title":"‘Fashion, you’re incomprehensible!’ Teenage girls, Jackie magazine and fashion as a negotiated social statement in the early 1970s","authors":"J. Knowles","doi":"10.1386/ffc_00052_1","DOIUrl":"https://doi.org/10.1386/ffc_00052_1","url":null,"abstract":"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.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"127 10 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79586228","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 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.
{"title":"1960s Bombay stars and fashion cultures: The queens in our hearts","authors":"S. Bhattacharya","doi":"10.1386/ffc_00051_1","DOIUrl":"https://doi.org/10.1386/ffc_00051_1","url":null,"abstract":"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.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"29 10 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73912486","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 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.
{"title":"‘… sure to delight every ballet fan’: Consuming ballet culture through girls’ periodical Girl, 1952–60","authors":"M. Gibson","doi":"10.1386/ffc_00050_1","DOIUrl":"https://doi.org/10.1386/ffc_00050_1","url":null,"abstract":"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.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"2 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87584392","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 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.
{"title":"Bollywood self-fashioning: Indian popular culture and representations of girlhood in 1970s Indian cinema","authors":"S. J. Raj, Adith K. Suresh","doi":"10.1386/ffc_00053_1","DOIUrl":"https://doi.org/10.1386/ffc_00053_1","url":null,"abstract":"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.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"206 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80410679","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}
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.
{"title":"Narratives and legacies of 1960s Vogue Italia covers on contemporary Italian young women","authors":"Eleonora Noia, Silvia Mazzucotelli Salice, Antonella Capalbi","doi":"10.1386/ffc_00054_1","DOIUrl":"https://doi.org/10.1386/ffc_00054_1","url":null,"abstract":"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.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"26 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91010755","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}
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.
{"title":"The mad kings of The Royals: Fashioning transgressions in royal popular culture television","authors":"L. Hackett, J. Coghlan","doi":"10.1386/ffc_00044_1","DOIUrl":"https://doi.org/10.1386/ffc_00044_1","url":null,"abstract":"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.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"108 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87639974","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}
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。
{"title":"From nonosh to pasha: The belated debut of queer men in contemporary Turkish popular culture","authors":"Deniz Gurgen Atalay, Nilay Ulusoy","doi":"10.1386/ffc_00048_1","DOIUrl":"https://doi.org/10.1386/ffc_00048_1","url":null,"abstract":"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.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"76 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87291867","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}
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.
{"title":"‘Be a real man for our motherland’: Masculinity and national security in Chinese Korean War films","authors":"Xiang Gao","doi":"10.1386/ffc_00043_1","DOIUrl":"https://doi.org/10.1386/ffc_00043_1","url":null,"abstract":"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.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"19 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81879505","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}
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.
{"title":"Let the music play: ‘Hipsters’ and heteronormative fashion","authors":"Alla Myzelev","doi":"10.1386/ffc_00046_1","DOIUrl":"https://doi.org/10.1386/ffc_00046_1","url":null,"abstract":"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.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"89 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82235950","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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