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HBO’s Euphoria and the complexities at play in the costumed representations of contemporary masculinities HBO的《欣快感》(Euphoria),以及当代男性化服饰表现中的复杂性
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-11-01 DOI: 10.1386/ffc_00047_1
L. Betts
This article discusses the language of screen costume and representations of masculinity via a close reading of the successful and critically acclaimed 2019 HBO drama series Euphoria. It considers three key characters, Rue, Nate and Fez, and how each of these characters makes visible certain cultural and sociological ideologies which concern and influence current debates around diverse masculinities, social class and creative subjectivity. It is argued that the production team behind Euphoria employs creative acts of appropriation to articulate and explore the diversity of masculine lived experience within the restricted language of television. This is evidenced through the character of ‘Rue’, who sits in opposition to all other characters identified as feminine or transitioning in both narrative context and, significantly, costuming. ‘Rue’ is therefore explored as the masculine articulation and/or manifestation of the creator – Sam Levinson’s subjective position. ‘Nate’ is explored in relation to the currency of damaging stereotypes of dominant masculinity within television drama and how misconceptions around gendered identities work to reinforce, perpetuate and normalize problematic behavioural traits. It is suggested that we need to expand understandings of ordinary clothing or costume as a language, how meaning is articulated within this language and how the materiality of ordinary or unexceptional dress evolves and mutates and becomes a set of unquestioned yet dangerous symbols or significations. ‘Fez’ will be examined in response to Henri Lefebvre’s 1960s ideas around moments of contestation, alongside a discussion of the role that the body and clothing play in marking out or positioning ideas around the intersection of social class and masculinity which can be applied to differing, global manifestations of social hierarchies. Readings of ‘Fez’ highlight middle-class insecurities around subjective value and distance from working-class experience and are played out through the character’s costuming.
本文通过仔细阅读2019年广受好评的HBO电视剧《欣快》,讨论了屏幕服装的语言和男性气概的表现。它考虑了三个关键人物,Rue, Nate和Fez,以及这些人物如何使某些文化和社会学意识形态可见,这些意识形态关注并影响当前围绕不同男性气质,社会阶级和创造性主体性的辩论。有人认为,Euphoria背后的制作团队采用创造性的挪用行为,在电视的有限语言中阐明和探索男性生活经验的多样性。这一点通过“Rue”这个角色得到了证明,她与其他所有被认为是女性或过渡的角色在叙事背景和服装上都是相反的。因此,“Rue”作为创作者Sam Levinson的主观立场的男性表达和/或表现而被探索。《内特》探讨了电视剧中男性主导地位的破坏性刻板印象的流行,以及围绕性别身份的误解如何强化、延续和正常化有问题的行为特征。有人建议我们需要扩大对普通服装或服装作为一种语言的理解,如何在这种语言中表达意义,以及普通或普通服装的物质性如何演变和变异,并成为一套毋庸置疑但危险的符号或意义。“Fez”将被审视,以回应亨利·列斐弗尔(Henri Lefebvre)在20世纪60年代围绕争议时刻的想法,同时讨论身体和服装在标记或定位社会阶级和男子气概的交叉点方面所起的作用,这些思想可以应用于不同的全球社会等级表现。对《非斯》的解读凸显了中产阶级对主观价值和与工人阶级经验的距离的不安全感,并通过角色的服装表现出来。
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引用次数: 0
‘Now you are one of us’: Mafia fashion on-screen “现在你是我们中的一员了”:银幕上的黑手党时尚
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-11-01 DOI: 10.1386/ffc_00045_1
Rebecca Bauman
This article examines the role popular media have played in disseminating images of mafia fashion. Through the representation of criminal apparel on-screen spectators are encouraged to identify with the societal transgressions of the mafioso, engendering an abiding fascination with mafia style. By looking at Italian and Italian American productions from early silent cinema through contemporary television crime series, menswear becomes a primary means of harnessing spectatorial desire and identification that embraces enduring associations that link southern Italian identity with criminality and style. In the analysis of these texts it becomes apparent how costuming communicates a series of semiotic properties that reflect the complex interplay of masculine identities in an environment based on violence, power and appearance.
本文考察了大众媒体在传播黑手党时尚形象方面所起的作用。通过犯罪服装在屏幕上的表现,观众被鼓励认同黑手党的社会违法行为,从而对黑手党风格产生持久的迷恋。通过观察意大利和意大利裔美国人从早期默片到当代电视犯罪系列的作品,男装成为了利用观众欲望和认同的主要手段,这种欲望和认同包含了将意大利南部身份与犯罪和风格联系起来的持久联系。在对这些文本的分析中,服装如何传达一系列符号学属性变得显而易见,这些符号学属性反映了基于暴力,权力和外表的环境中男性身份的复杂相互作用。
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引用次数: 0
‘Who wants the pressure of being super all the time?’: Mid-century modern fashions and their influence on costume development in The Incredibles and Incredibles 2 “谁想一直承受超级巨星的压力?”:《超人总动员》和《超人总动员2》中中世纪的现代时尚及其对服装发展的影响
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1386/ffc_00041_1
Maarit Kalmakurki, Marley Healy
In this article, we examine period fashions in character costumes in the two Pixar/Disney computer-animated films, The Incredibles and Incredibles 2. These films have a strong mid-century modern design influence interwoven into the films’ narratives and aesthetic designs. The films have previously raised interest in fashion studies, due to their superhero concept. However, an analysis of the characters’ everyday dress is also valuable for understanding the influence of fashion and pop culture references on contemporary animated film costuming and how those elements embed within the technological development of digital characters’ clothing. We employ historical and visual analysis to highlight the integration of design elements of period-appropriate fashions into character costumes. Additionally, we examine the relationship between animation software development and the films’ design aesthetics to inspect how technological advancements support the behaviour of cloth, narrative progression and characters’ personal emotional arcs by reviewing industry articles as well as animator and designer interviews from the making of the films. This is a unique case study that explores the influences and inspiration of period-specific fashion in constructing costumes for computer-animated films, which are ostensibly set in an environment also inspired by the period and specific cultural zeitgeist.
在这篇文章中,我们研究了两部皮克斯/迪斯尼电脑动画电影《超人总动员》和《超人总动员2》中角色服装的时代时尚。这些电影在叙事和美学设计中交织着强烈的中世纪现代设计影响。由于超级英雄的概念,这些电影之前引起了人们对时尚研究的兴趣。然而,分析角色的日常着装对于理解时尚和流行文化对当代动画电影服装的影响以及这些元素如何嵌入数字角色服装的技术发展也很有价值。我们运用历史和视觉分析来强调与时代相适应的服装设计元素与人物服装的融合。此外,我们研究了动画软件开发与电影设计美学之间的关系,通过回顾行业文章以及动画师和设计师在电影制作过程中的采访,来检查技术进步如何支持布料的行为、叙事进程和角色的个人情感弧。这是一个独特的案例研究,探讨了特定时期的时尚对电脑动画电影服装的影响和灵感,这些电影表面上设置在一个环境中,也受到那个时期和特定的文化时代精神的启发。
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引用次数: 0
Embodying female dissent in Sanditon: The case of Esther Denham’s two bodies 《桑迪顿》中女性异议的体现:以斯帖·德纳姆的两具尸体
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1386/ffc_00040_1
Boel Ulfsdotter
This article discusses the visual representation of Esther Denham, one of the female characters in Sanditon (2019, ITV, PBS), from the point of view of her displayed sartorial narrative, in relation to postmodern gender politics and female subjectivity. It argues that only a post-heritage adaptation of Jane Austen’s unfinished book manuscript would allow for such a narratological transposition of one of its characters into an outright Goth-inflected screen persona, characterized by outright dissent, interrogation, subversion, self-consciousness and ambiguity. The article foregrounds the crucial importance of Esther Denham’s embodied dress practice to get this message across by pointing out its necessarily diachronic screen costume rationale based on clothing items that are historically correct but which also resonate iconicity in our own time.
本文从《桑迪顿》(2019,ITV, PBS)中女性角色艾斯特·德纳姆(Esther Denham)展示的服装叙事的角度,探讨了她与后现代性别政治和女性主体性的视觉表现。它认为,只有对简·奥斯汀未完成的书稿进行后遗产改编,才能让其中一个角色在叙事上发生这样的转变,成为一个完全哥特风格的银幕人物,其特点是彻底的异议、审讯、颠覆、自我意识和模棱两可。这篇文章强调了艾斯特·德纳姆(Esther Denham)的具身服装实践的重要性,通过指出其基于历史上正确但在我们自己的时代也能引起共鸣的服装项目的必要的穿时性的屏幕服装理论来传达这一信息。
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引用次数: 0
Meeting the expectations of western consumers on the Romanian film Beyond the Hills by Cristian Mungiu 满足西方消费者对由克里斯蒂安·蒙吉执导的罗马尼亚电影《山外》的期望
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1386/ffc_00039_1
Ulrike Ettinger, B. Schrödl
The film Beyond the Hills (Cristian Mungiu, 2012, RO, FR, BEL) is set in a convent struggling with major financial problems in post-transitional Romania, where a deadly exorcism is being performed. The story is based on a true incident. Accordingly, the cinematic language operates through the means of realism. Nevertheless, at the level of the images, art historical traditions, contemporary design tendencies and current fashion trends are drawn upon to give the monastery a simple and timeless beauty. This transforms the monastery into a place of longing for the cinema audience. The film costume plays a special role in this. It contributes in a particular way to identification processes, invokes the sacred and connects with the upmarket consumer culture of contemporary lifestyle-movements.
电影Beyond The Hills (christian Mungiu, 2012, RO, FR, BEL)是在罗马尼亚过渡后的一个修道院与主要的财政问题作斗争,那里正在进行致命的驱魔。这个故事是根据一个真实事件改编的。因此,电影语言是通过现实主义的手段来运作的。然而,在图像的层面上,艺术历史传统、当代设计趋势和当前的时尚趋势被借鉴,赋予修道院一种简单而永恒的美。这使修道院成为电影观众向往的地方。电影服装在这方面起着特殊的作用。它以一种特殊的方式促进了识别过程,唤起了神圣,并与当代生活方式运动的高端消费文化联系在一起。
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引用次数: 0
Emotional rescue: A review essay of E/MOTION. Fashion in Transition, temporary exhibition, MoMu Fashion Museum, Antwerp, 4 September 2021‐23 January 2022 情感救援:E/MOTION综述。转型中的时尚,临时展览,MoMu时尚博物馆,安特卫普,2021年9月4日至2022年1月23日
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1386/ffc_00037_4
G. Roberts
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引用次数: 0
Female fashion in the Franco era and the Imágenes magazine programme 佛朗哥时代的女性时尚和Imágenes杂志节目
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1386/ffc_00038_1
Ana Melendo
An analysis of the documentaries made for the magazine programme Imágenes in the historical archives of the NO-DO newsreels, used by the Franco dictatorship as an instrument of propaganda, can shed light on some important aspects of Spain’s recent history. The aim of this article is to demonstrate how these documentaries, which exhibit certain formal features suited to the spectator of their time, make fashion an effective instrument for conveying ideas of gender differences and female servility, self-denial and submission in a patriarchal regime.
为杂志节目Imágenes制作的纪录片在佛朗哥独裁统治时期被用作宣传工具的“不做”新闻纪录片的历史档案中进行分析,可以揭示西班牙近代史的一些重要方面。这篇文章的目的是展示这些纪录片是如何表现出适合他们时代观众的某些形式特征,使时尚成为传达性别差异和女性在父权制度下的奴性、自我否定和服从的有效工具。
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引用次数: 0
From research to practice: The talking frocks1 从研究到实践:会说话的连衣裙
IF 0.2 Q2 Arts and Humanities Pub Date : 2021-10-01 DOI: 10.1386/ffc_00033_7
Sue Harper
This article reviews my academic research on costume design in film, and introduces a number of my short stories on dress and adornment. The article argues that research and creative work are more closely allied than is often thought, and that they can share approaches, methods and discourses.
本文回顾了我对电影服装设计的学术研究,并介绍了我的一些关于服装和装饰的短篇小说。文章认为,研究和创造性工作比人们通常认为的更紧密地联系在一起,他们可以分享方法、方法和话语。
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引用次数: 0
TikTok teens: Turbulent identities for turbulent times TikTok青少年:动荡时代的动荡身份
IF 0.2 Q2 Arts and Humanities Pub Date : 2021-10-01 DOI: 10.1386/ffc_00031_1
L. Rogers
Through the examination of two subcultural fashion trends spawned on the micro-vlogging platform TikTok, this article will consider how the mythic functions of the archetypal ‘clown’ and ‘rebel’ have been redeployed by Generation Z TikTok users in an attempt to push back against prevailing beauty ideals. These short-form film performances reveal the specular world-view of a demographic that is as used to being watched as it is watching others. The bulk of TikTok’s content revolves around viral trends; dances that spread by mimesis, hashtags that agglomerate universally relatable human experiences and the usual aspirational travel and fashion material. Those that break away from this mould find themselves in algorithmically led micro-communities (self-termed ‘core aesthetics’), which form satellites around more popular content forms and occasionally gain virality themselves for their freakishness or downright surrealism. The ‘clown’ and ‘rebel’ are still seen as liminal characters in the social space – affording them certain freedoms from the visual dominance of celebrity culture but also requiring certain compromises; existing at the fringes is, by definition, to be excluded and ‘othered’.
通过对微视频平台TikTok上产生的两种亚文化时尚趋势的研究,本文将考虑Z世代TikTok用户如何重新部署原型“小丑”和“反叛者”的神话功能,以抵制流行的美丽理想。这些短片表演揭示了一群人的镜面世界观,他们习惯了被观看,就像他们习惯了观看别人一样。TikTok的大部分内容都围绕着病毒式传播趋势;通过模仿传播的舞蹈,聚合了普遍相关的人类经历的标签,以及常见的励志旅行和时尚素材。那些脱离这种模式的人会发现自己处于由算法主导的微社区中(游戏邦注:他们自称为“核心美学”),这些社区围绕着更受欢迎的内容形式形成卫星,偶尔会因其怪异或纯粹的超现实主义而获得病毒式传播。“小丑”和“反叛者”在社会空间中仍然被视为有限的角色——这给了他们一定的自由,使他们不受名人文化的视觉支配,但也需要他们做出一定的妥协;根据定义,存在于边缘的人是被排斥和“他者”。
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引用次数: 1
Worn: Footwear, Attachment and the Affects of Wear, Ellen Sampson (2020) 《磨损:鞋类、依恋和磨损的影响》,艾伦·桑普森(Ellen Sampson, 2020)
IF 0.2 Q2 Arts and Humanities Pub Date : 2021-10-01 DOI: 10.1386/ffc_00035_5
Clare M. Wilkinson
Review of: Worn: Footwear, Attachment and the Affects of Wear, Ellen Sampson (2020)London: Bloomsbury Visual Arts, 250 pp.,ISBN 978-1-35008-718-7, h/bk, £70
回顾:磨损:鞋类,附件和磨损的影响,艾伦·桑普森(2020)伦敦:布卢姆斯伯里视觉艺术,250页,ISBN 978-1-35008-718-7, h/bk, 70英镑
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引用次数: 0
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Film Fashion & Consumption
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