The unique history of Dr Henry ‘Hank’ Pym, better known as the Marvel Comics superhero Ant-Man, and his many varied costumes and alter egos, set him apart from other characters in comic books. Pym’s costumes reflect an uncertain and unstable mental state in ways other costumes do not. Through textual analysis, Pym’s costumes can be understood to represent his personality and a slipping identity that goes beyond the usual coding of superhero costuming. Pym’s consistent remaking of his appearance and identity point to a personality struggling to understand who he is in the context of his own life, a deeper message than was originally intended upon the character’s creation but one that has been explored in his later appearances.
{"title":"The many masks of Dr Henry Pym: Alter ego, identity, disability and personality of a founding Avenger","authors":"Jason Kahler","doi":"10.1386/ffc_00026_1","DOIUrl":"https://doi.org/10.1386/ffc_00026_1","url":null,"abstract":"The unique history of Dr Henry ‘Hank’ Pym, better known as the Marvel Comics superhero Ant-Man, and his many varied costumes and alter egos, set him apart from other characters in comic books. Pym’s costumes reflect an uncertain and unstable mental state in ways other\u0000 costumes do not. Through textual analysis, Pym’s costumes can be understood to represent his personality and a slipping identity that goes beyond the usual coding of superhero costuming. Pym’s consistent remaking of his appearance and identity point to a personality struggling\u0000 to understand who he is in the context of his own life, a deeper message than was originally intended upon the character’s creation but one that has been explored in his later appearances.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"10 1","pages":"299-311"},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49108174","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 heroine of Kahaani, in taking on a powerful persona in the quintessentially female garment of the sari, represents a sharp contrast with conventional ways of dressing powerful women in western cinematic tradition. There is ample cultural and mythological precedent in India for coding action and violence as female, but Kahaani’s affinity with the contemporary superhero film emerges in an unexpected way in its treatment of costume, specifically the use of the sari as a distinct article of clothing that the heroine assumes only for the first time as she embarks upon the dispensation of justice. Demarcating an ordinary set of clothing from the ‘special’ sari mirrors the superhero division of the everyday person from the heroic one, only here the sari, which is a quotidian form of dress, performs as an exceptional one. The copious symbolic potential of the sari permits this move, while at the same time pointing to many of the tensions and contradictions of life that engage contemporary metropolitan audiences in India. The sari thus functions to help solidify the film’s complex positioning in twenty-first-century Hindi filmmaking.
{"title":"Power dressing: The sari in Sujoy Ghosh’s Kahaani","authors":"Clare M. Wilkinson","doi":"10.1386/ffc_00023_1","DOIUrl":"https://doi.org/10.1386/ffc_00023_1","url":null,"abstract":"The heroine of Kahaani, in taking on a powerful persona in the quintessentially female garment of the sari, represents a sharp contrast with conventional ways of dressing powerful women in western cinematic tradition. There is ample cultural and mythological precedent\u0000 in India for coding action and violence as female, but Kahaani’s affinity with the contemporary superhero film emerges in an unexpected way in its treatment of costume, specifically the use of the sari as a distinct article of clothing that the heroine assumes only for\u0000 the first time as she embarks upon the dispensation of justice. Demarcating an ordinary set of clothing from the ‘special’ sari mirrors the superhero division of the everyday person from the heroic one, only here the sari, which is a quotidian form of dress, performs\u0000 as an exceptional one. The copious symbolic potential of the sari permits this move, while at the same time pointing to many of the tensions and contradictions of life that engage contemporary metropolitan audiences in India. The sari thus functions to help solidify the film’s\u0000 complex positioning in twenty-first-century Hindi filmmaking.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"10 1","pages":"251-263"},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42762683","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}
Fashion and Feminism, Ulster Museum, Belfast, 22 June 2018–2 June 2019Christian Dior: Designer of Dreams, Victoria and Albert Museum, London, February–September 2019; Christian Dior: Couturier Du Rêve, Musée des Arts Décoratifs, Paris, July 2017–January 2018
时尚与女权主义，阿尔斯特博物馆，贝尔法斯特，2018年6月22日至2019年6月2日。克里斯汀·迪奥：梦想设计师，维多利亚和阿尔伯特博物馆，伦敦，2019年2月至9月；Christian Dior:Couturier Du Rêve，装饰艺术博物馆，巴黎，2017年7月至2018年1月
{"title":"Exhibition Reviews","authors":"Cathy O'Hara, M. Augello","doi":"10.1386/ffc_00007_5","DOIUrl":"https://doi.org/10.1386/ffc_00007_5","url":null,"abstract":"Fashion and Feminism, Ulster Museum, Belfast, 22 June 2018–2 June 2019Christian Dior: Designer of Dreams, Victoria and Albert Museum, London, February–September 2019; Christian Dior: Couturier Du Rêve, Musée des Arts Décoratifs, Paris, July 2017–January\u0000 2018","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45409718","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}
Released during the heyday of the costume drama, La princesa de Éboli (That Lady) (Young, 1955) is an Anglo-Spanish co-production about Ana de Mendoza, Princess of Éboli (1540–92), a prominent figure at Philip II’s court who was accused of treason. Based on Kate O’Brien’s novel, the film adaptation was eventually made into two different films for Spanish- and English-speaking audiences owing to the restrictions of Spanish censorship. Modifications to the script, film-edit and ending of the film offered a reversed interpretation of the fate of the protagonist in the Spanish version. Focusing on the costumes of the Princess of Éboli (played by Olivia de Havilland), we explore the shifting meanings that are brought to bear between the Spanish and the English versions. In contrast to costume films of nationalistic glorification in which the heroine sacrifices her personal desires for the more noble cause of patriotic ambitions, the English version disturbed official views of the past by celebrating female pleasure.
{"title":"The transitivity of costume in That Lady (Terence Young, 1955)","authors":"S. Wright, Lidia Merás","doi":"10.1386/ffc_00003_1","DOIUrl":"https://doi.org/10.1386/ffc_00003_1","url":null,"abstract":"Released during the heyday of the costume drama, La princesa de Éboli (That Lady) (Young, 1955) is an Anglo-Spanish co-production about Ana de Mendoza, Princess of Éboli (1540–92), a prominent figure at Philip II’s court who was accused of treason. Based on\u0000 Kate O’Brien’s novel, the film adaptation was eventually made into two different films for Spanish- and English-speaking audiences owing to the restrictions of Spanish censorship. Modifications to the script, film-edit and ending of the film offered a reversed interpretation of\u0000 the fate of the protagonist in the Spanish version. Focusing on the costumes of the Princess of Éboli (played by Olivia de Havilland), we explore the shifting meanings that are brought to bear between the Spanish and the English versions. In contrast to costume films of nationalistic\u0000 glorification in which the heroine sacrifices her personal desires for the more noble cause of patriotic ambitions, the English version disturbed official views of the past by celebrating female pleasure.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42185658","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}
Harley Quinn as she is represented in the film Suicide Squad directed by Ayers (2016) marks a dramatic and provocative departure from the manner in which she was originally cast in the DC Comics Batman: The Animated Series (1992) and Mad Love (1994). Depicted as an anti-hero in a dysfunctional relationship with The Joker, she is now transformed into a deviant and defiant super-villain in the film. Gone is her harlequin costume to be replaced with fishnets, blue and red velvet hot pants with red brassiere and high-top Adidas sneakers with heels. Although Quinn has been represented as heterosexual and stereotypically feminine there has always been a queer subtext operating. This article will examine the pornification and queering of Harley Quinn, through dress codes and appearance. It will argue that visual signifiers of femininity challenge notions of gender and sexuality and fold heterosexuality back upon its historical imperatives and conventions.
{"title":"‘Daddy’s Lil Monster’: Suicide Squad, third-wave feminism and the pornification and queering of Harley Quinn","authors":"Adam Geczy, Vicki Karaminas","doi":"10.1386/ffc_00005_1","DOIUrl":"https://doi.org/10.1386/ffc_00005_1","url":null,"abstract":"Harley Quinn as she is represented in the film Suicide Squad directed by Ayers (2016) marks a dramatic and provocative departure from the manner in which she was originally cast in the DC Comics Batman: The Animated Series (1992) and Mad Love (1994). Depicted as an anti-hero in a dysfunctional\u0000 relationship with The Joker, she is now transformed into a deviant and defiant super-villain in the film. Gone is her harlequin costume to be replaced with fishnets, blue and red velvet hot pants with red brassiere and high-top Adidas sneakers with heels. Although Quinn has been represented\u0000 as heterosexual and stereotypically feminine there has always been a queer subtext operating. This article will examine the pornification and queering of Harley Quinn, through dress codes and appearance. It will argue that visual signifiers of femininity challenge notions of gender and sexuality\u0000 and fold heterosexuality back upon its historical imperatives and conventions.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46118686","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 combines an analysis of the fabrics, surfaces and styles chosen to dress Pedro Almodóvar’s male characters with an exploration of how those codes might be read with respect to the specific and significant shifting historical contexts of 1980s and 1990s Spanish society. Through focusing our interdisciplinary analysis upon Labyrinth of Passions (Almodóvar, 1982) and The Flower of My Secret (Almodóvar, 1995), we will identify the multifarious ways in which the male subject mirrors societal and cultural trends in a rapidly changing Spain during the years following the country’s emergence from isolation after the Franco years, its subsequent return to democracy and the emergence of a high-living, fashionable cosmopolitanism. In examining the tensions that emerge between pairings of key male figures in the Spanish director’s work, we will pay particular attention to their costuming as central to the construction and performance of masculine identities. We will argue that in the films under examination, a series of binary oppositions are offered in which the suited male (whether a doctor or a military general) is self-consciously contrasted with representations that connote shifting bohemian, subcultural (or ‘alternative’) identities that destabilize and reconfigure the construction and performance of masculine identities and their more ‘traditional’ counterparts.
{"title":"Suits and subcultures: Costuming and masculinities in the films of Pedro Almodóvar","authors":"S. Gilligan, J. Collins","doi":"10.1386/FFC_00004_1","DOIUrl":"https://doi.org/10.1386/FFC_00004_1","url":null,"abstract":"This article combines an analysis of the fabrics, surfaces and styles chosen to dress Pedro Almodóvar’s male characters with an exploration of how those codes might be read with respect to the specific and significant shifting historical contexts of 1980s and 1990s Spanish\u0000 society. Through focusing our interdisciplinary analysis upon Labyrinth of Passions (Almodóvar, 1982) and The Flower of My Secret (Almodóvar, 1995), we will identify the multifarious ways in which the male subject mirrors societal and cultural trends in a rapidly changing Spain\u0000 during the years following the country’s emergence from isolation after the Franco years, its subsequent return to democracy and the emergence of a high-living, fashionable cosmopolitanism. In examining the tensions that emerge between pairings of key male figures in the Spanish director’s\u0000 work, we will pay particular attention to their costuming as central to the construction and performance of masculine identities. We will argue that in the films under examination, a series of binary oppositions are offered in which the suited male (whether a doctor or a military general)\u0000 is self-consciously contrasted with representations that connote shifting bohemian, subcultural (or ‘alternative’) identities that destabilize and reconfigure the construction and performance of masculine identities and their more ‘traditional’ counterparts.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/FFC_00004_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47372323","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 explores the multidimensional relationship between fashion and cinema by analysing the Spanish film Alta costura (Marquina, 1954). The film centres on a noir plot involving the investigation of a homicide during a couture show of garments designed by Cristóbal Balenciaga. The catwalk show becomes a structural pillar providing a framework for characterization and plot development, instead of a mere narrative digression. In addition, the show serves to display some of Balenciaga’s groundbreaking innovations in the female silhouette, while also making a surprisingly strong anti-fashion statement by encapsulating the film’s ethical message that is coded negatively. Fashion becomes associated with the negative effects of modernity, with death and destruction, to make a case for the conservative notions of gender roles that prevailed in the 1950s in Spain.
{"title":"The noir side of couture: Balenciaga and Luis Marquina’s Alta costura (1954)","authors":"Jorge Pérez","doi":"10.1386/ffc_00002_1","DOIUrl":"https://doi.org/10.1386/ffc_00002_1","url":null,"abstract":"This article explores the multidimensional relationship between fashion and cinema by analysing the Spanish film Alta costura (Marquina, 1954). The film centres on a noir plot involving the investigation of a homicide during a couture show of garments designed by Cristóbal Balenciaga.\u0000 The catwalk show becomes a structural pillar providing a framework for characterization and plot development, instead of a mere narrative digression. In addition, the show serves to display some of Balenciaga’s groundbreaking innovations in the female silhouette, while also making a\u0000 surprisingly strong anti-fashion statement by encapsulating the film’s ethical message that is coded negatively. Fashion becomes associated with the negative effects of modernity, with death and destruction, to make a case for the conservative notions of gender roles that prevailed in\u0000 the 1950s in Spain.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43080714","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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