The term ‘girl’ is by no means neutral, but culture-specific. A person called a ‘girl’ in one decade or place might not be classified as ‘girl’ in another. It is widely assumed that in the 1960s the very concept of ‘girlhood’ undertook a profound transformation. However, such claims are usually directed towards western culture. Much less has been written about girls in the countries of state socialism. To make up for this gap, this article considers representations of girls in two Polish films from the beginning of the 1960s, Niewinni czarodzieje (Innocent Sorcerers) (1960), directed by Andrzej Wajda and Do widzenia, do jutra (Good Bye, Till Tomorrow) (1960), directed by Jerzy Morgenstern; and two from the beginning of the 1970s, Seksolatki (Sex-Teenagers) (1971), directed by Zygmunt Hubner and Dziewczyny do wziecia (Girls to Pick Up) (1971), directed by Janusz Kondratiuk – all set in two large Polish cities, Warsaw and Gdansk. It examines their appearance, their interests, their attitude to sex and their place in the city culture. Of special interest is the relationship between girlhood and class.
“女孩”这个词绝不是中性的，而是有文化特殊性的。一个人在一个年代或一个地方被称为“女孩”，在另一个年代或地方可能就不会被归类为“女孩”。人们普遍认为，在20世纪60年代，“少女时代”的概念发生了深刻的变化。然而，这种说法通常是针对西方文化的。关于国家社会主义国家的女孩的描写少之又少。为了弥补这一差距，本文考虑了20世纪60年代初两部波兰电影中女孩的表现:安德烈·瓦伊达(Andrzej Wajda)导演的Niewinni czarodzieje(无辜的巫师)(1960)和杰西·摩根斯坦(Jerzy Morgenstern)导演的Do widzenia, Do jutra(再见，直到明天)(1960);上世纪70年代初的两部电影，齐格蒙特·胡布纳导演的《性少女》(1971)和雅努什·康德拉季克导演的《女孩去接》(1971)，都发生在波兰的两个大城市华沙和格但斯克。它考察了他们的外貌、兴趣、对性的态度以及他们在城市文化中的地位。特别有趣的是少女时代和阶级之间的关系。
{"title":"From a lady to a lost ‘Prole’: Girls in the city in Polish cinema of the 1960s and early 1970s","authors":"E. Mazierska","doi":"10.1386/FFC.7.2.115_1","DOIUrl":"https://doi.org/10.1386/FFC.7.2.115_1","url":null,"abstract":"The term ‘girl’ is by no means neutral, but culture-specific. A person called a ‘girl’ in one decade or place might not be classified as ‘girl’ in another. It is widely assumed that in the 1960s the very concept of ‘girlhood’ undertook a profound transformation. However, such claims are usually directed towards western culture. Much less has been written about girls in the countries of state socialism. To make up for this gap, this article considers representations of girls in two Polish films from the beginning of the 1960s, Niewinni czarodzieje (Innocent Sorcerers) (1960), directed by Andrzej Wajda and Do widzenia, do jutra (Good Bye, Till Tomorrow) (1960), directed by Jerzy Morgenstern; and two from the beginning of the 1970s, Seksolatki (Sex-Teenagers) (1971), directed by Zygmunt Hubner and Dziewczyny do wziecia (Girls to Pick Up) (1971), directed by Janusz Kondratiuk – all set in two large Polish cities, Warsaw and Gdansk. It examines their appearance, their interests, their attitude to sex and their place in the city culture. Of special interest is the relationship between girlhood and class.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46954092","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}
From 1959 to 1966, approximately 66 Hollywood films were produced to exploit the surfing craze. Surfsploitation, the surf craze of the early 1960s, crossed music, comics, television, advertising and films. Films, especially, focused on the importance of the bikini in their promotion.The bikini, a liminal piece of clothing, conceals and yet reveals the naked body. The film’s producers emphasized the appeal of the bikini in the films’ cross-media promotion, which promised sex but delivered inane plots, dependent on comedy, pop music and fantasy for their continuing appeal. In the early 1960s the bikini was perceived as an erotic item of clothing from Europe. To appeal to American perceptions of the garment, in fashion and consumerism it was repackaged as related to sport and fun for the female teenage body. Comparing promotional and advertising materials of consumer culture with that of the films, this article explores how the bikini articulated notions of the active yet passive female body in this era on the cusp between the reactionary 1950s and the emergence of second-wave feminism of the late 1960s. Although the promotion from the films promised sex, they were highly moral. Yet the representations of the active female body in the films and their promotional materials reveal the debates around female agency for the early 1960s, an era when girls had to negotiate the societal demands of the reactionary 1950s with the demands placed upon women by second-wave feminism of the later 1960s.
{"title":"1960s surfsploitation films: Sex, the bikini and the active female body","authors":"J. Ormrod","doi":"10.1386/FFC.7.2.147_1","DOIUrl":"https://doi.org/10.1386/FFC.7.2.147_1","url":null,"abstract":"From 1959 to 1966, approximately 66 Hollywood films were produced to exploit the surfing craze. Surfsploitation, the surf craze of the early 1960s, crossed music, comics, television, advertising and films. Films, especially, focused on the importance of the bikini in their promotion.The bikini, a liminal piece of clothing, conceals and yet reveals the naked body. The film’s producers emphasized the appeal of the bikini in the films’ cross-media promotion, which promised sex but delivered inane plots, dependent on comedy, pop music and fantasy for their continuing appeal. In the early 1960s the bikini was perceived as an erotic item of clothing from Europe. To appeal to American perceptions of the garment, in fashion and consumerism it was repackaged as related to sport and fun for the female teenage body. Comparing promotional and advertising materials of consumer culture with that of the films, this article explores how the bikini articulated notions of the active yet passive female body in this era on the cusp between the reactionary 1950s and the emergence of second-wave feminism of the late 1960s. Although the promotion from the films promised sex, they were highly moral. Yet the representations of the active female body in the films and their promotional materials reveal the debates around female agency for the early 1960s, an era when girls had to negotiate the societal demands of the reactionary 1950s with the demands placed upon women by second-wave feminism of the later 1960s.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45752460","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 considers the enduring appeal of certain iconic images of (sub)urban/e women of the 1960s: Audrey Hepburn in Breakfast at Tiffanys (1961); Black Panther Kathleen Cleaver; and ‘Lolita’ as depicted in the promotional poster for Kubrick’s 1962 film. These are considered in relation to the idea of ‘coolness’, an attribute explored as problematic, yet generally desirable. Frequently perceived as a male attribute, even a male pathology, this article explores cool specifically in relation to iconic images of women, and their potential meanings both at the time of their creation and in the present day. It demonstrates how connections between coolness and modernity are articulated in imagery of women by the wearing of sunglasses, a material and embodied practise that allows acts of gazing to be nuanced in a variety of ways. At first sight, these images may have multiple, ambiguous and apparently contradictory meanings (from ‘nymphet’ to patriarchal refuser) but I will argue that viewing them through the use of sunglasses and the lens of ‘modern cool’ helps to refocus their power and continued, broad appeal as current benchmarks of still desirable, modern femininities, and therefore, their presence in a plethora of pastiches, consumer products and style discourses.
{"title":"Cool, sunglasses and the modern woman: Icons of the 1960s","authors":"Vanessa Brown","doi":"10.1386/FFC.7.2.97_1","DOIUrl":"https://doi.org/10.1386/FFC.7.2.97_1","url":null,"abstract":"This article considers the enduring appeal of certain iconic images of (sub)urban/e women of the 1960s: Audrey Hepburn in Breakfast at Tiffanys (1961); Black Panther Kathleen Cleaver; and ‘Lolita’ as depicted in the promotional poster for Kubrick’s 1962 film. These are considered in relation to the idea of ‘coolness’, an attribute explored as problematic, yet generally desirable. Frequently perceived as a male attribute, even a male pathology, this article explores cool specifically in relation to iconic images of women, and their potential meanings both at the time of their creation and in the present day. It demonstrates how connections between coolness and modernity are articulated in imagery of women by the wearing of sunglasses, a material and embodied practise that allows acts of gazing to be nuanced in a variety of ways. At first sight, these images may have multiple, ambiguous and apparently contradictory meanings (from ‘nymphet’ to patriarchal refuser) but I will argue that viewing them through the use of sunglasses and the lens of ‘modern cool’ helps to refocus their power and continued, broad appeal as current benchmarks of still desirable, modern femininities, and therefore, their presence in a plethora of pastiches, consumer products and style discourses.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/FFC.7.2.97_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47454735","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}
Mainly performed by young women at nightclubs and discotheques, go-go dancing was a high-energy, free-form, dance style of the 1960s. Go-go dancers were employed to entertain crowds and to create a ‘cool’ ambience, wearing very revealing outfits including mini dresses, short-fringed skirts, tank tops, tight shorts and calflength boots. The dance style soon reached mainstream media platforms such as the US television show Hullabaloo and ABC’s Shindig, where girls could be seen suspended in clear plastic cages above the dancefloor. Before the Second World War partner dancing was the norm and social dance typically involved close physical contact, often as part of traditional courtship ritual. Moreover, most of the earlier dances required men to take the lead and to physically guide their female partner. A striking characteristic of go-go was the fact that girls usually danced alone, sometimes placed on podiums and often separate from the crowd. In this respect, go-go dancing can be viewed as an extreme extension of a growing trend towards solo dancing. The article explains how go-go dancing could be seen as reflecting social changes occurring during the 1960s, a time when gradual loss of faith in traditional sources of social guidance – religion, government, marriage – saw the rise of greater individualism. Women’s growing emancipation and a move towards selfdirection were embodied by go-go dancers, whose free style movements and rejection of formal steps metaphorically embody the dilemma of a generation of women facing an uncertain future.
{"title":"Go-go dancing – femininity, individualism and anxiety in the 1960s","authors":"G. Gregory","doi":"10.1386/FFC.7.2.165_1","DOIUrl":"https://doi.org/10.1386/FFC.7.2.165_1","url":null,"abstract":"Mainly performed by young women at nightclubs and discotheques, go-go dancing was a high-energy, free-form, dance style of the 1960s. Go-go dancers were employed to entertain crowds and to create a ‘cool’ ambience, wearing very revealing outfits including mini dresses, short-fringed skirts, tank tops, tight shorts and calflength boots. The dance style soon reached mainstream media platforms such as the US television show Hullabaloo and ABC’s Shindig, where girls could be seen suspended in clear plastic cages above the dancefloor. Before the Second World War partner dancing was the norm and social dance typically involved close physical contact, often as part of traditional courtship ritual. Moreover, most of the earlier dances required men to take the lead and to physically guide their female partner. A striking characteristic of go-go was the fact that girls usually danced alone, sometimes placed on podiums and often separate from the crowd. In this respect, go-go dancing can be viewed as an extreme extension of a growing trend towards solo dancing. The article explains how go-go dancing could be seen as reflecting social changes occurring during the 1960s, a time when gradual loss of faith in traditional sources of social guidance – religion, government, marriage – saw the rise of greater individualism. Women’s growing emancipation and a move towards selfdirection were embodied by go-go dancers, whose free style movements and rejection of formal steps metaphorically embody the dilemma of a generation of women facing an uncertain future.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66706565","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 takes as its starting point Dior’s recent advertising campaign for its timeless classic men’s fragrance Eau sauvage, which used still and moving imagery of film star Alain Delon, particularly shots from his stylish crime drama La Piscine (Deray, 1969). Dior’s choice of Delon as brand ambassador is interesting in the current economic conjuncture in which conglomerates like LVMH (Louis Vuitton MoHennessey) are increasingly looking backwards to write the unique histories of their specific brands in order to differentiate them from the competition in a saturated luxury fashion sector. This article traces Delon’s distinctive role as men’s fashion icon and his impact on global consumer culture.
{"title":"Men of mode: Alain Delon, Christian Dior and brand heritage","authors":"Nick Rees-Roberts","doi":"10.1386/FFC.1.1.81_1","DOIUrl":"https://doi.org/10.1386/FFC.1.1.81_1","url":null,"abstract":"This article takes as its starting point Dior’s recent advertising campaign for its timeless classic men’s fragrance Eau sauvage, which used still and moving imagery of film star Alain Delon, particularly shots from his stylish crime drama La Piscine (Deray, 1969). Dior’s\u0000 choice of Delon as brand ambassador is interesting in the current economic conjuncture in which conglomerates like LVMH (Louis Vuitton MoHennessey) are increasingly looking backwards to write the unique histories of their specific brands in order to differentiate them from the competition\u0000 in a saturated luxury fashion sector. This article traces Delon’s distinctive role as men’s fashion icon and his impact on global consumer culture.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":"43 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88884111","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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