Pub Date : 2020-12-01DOI: 10.1177/1470412920966012
M. Baronian
Focusing on a one-minute ‘fashion film’ by the Dutch fashion designer Alexander van Slobbe for the retrospective exhibition on his work in Utrecht’s Centraal Museum in 2010, this article investigates the interconnectedness of film and fashion through their mutual concern with the processes of crafting and dressing. A close reading of Van Slobbe’s film highlights a current return to a minimal design aesthetic in both fashion and film that shows fashion as a process or as a ‘manual’ operation. This film goes beyond the portrait of a fashion designer, becoming a meditation on the material practice of designing, crafting and viewing. That practice involves an intimacy with materiality constituting the fashion garment as a material, crafted and dynamic sartorial object that requires an axial positionality stemming from horizontal closeness. Ultimately, this article presents horizontality as being part of the experience of both moving images and fashion as a material object. The aim is thus to reflect on what is termed ubiquitous ‘screenic fashion’ (as a peculiar affinity between fashion and screen) by considering an alignment of horizontality and materiality as related to a current and vivid concern in the field of fashion and clothes-making.
2010年，荷兰时装设计师亚历山大·范·斯洛布（Alexander van Slobbe）在乌得勒支中央博物馆（Utrecht’s Central Museum）举办的作品回顾展上拍摄了一部一分钟的“时尚电影”，本文通过电影与时尚在工艺和穿着过程中的相互关注，探讨了电影与时尚的相互联系。仔细阅读Van Slobbe的电影，可以发现当前时尚和电影都回归了最低限度的设计美学，将时尚视为一种过程或“手动”操作。这部电影超越了时装设计师的肖像，成为对设计、制作和观看的物质实践的思考。这种做法涉及到与物质性的亲密关系，这种亲密关系构成了时尚服装作为一种材料、精心制作和动态的服装对象，需要源自水平亲密的轴向位置。最终，本文将横向性作为运动图像体验的一部分，并将时尚作为实物。因此，其目的是通过考虑与时尚和服装制造领域当前的生动关注相关的水平性和实质性的一致性，来反思所谓无处不在的“屏幕时尚”（作为时尚和屏幕之间的一种特殊亲和力）。
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Pub Date : 2020-12-01DOI: 10.1177/1470412920964907
Nick Rees-Roberts
Luxury and designer fashion brands today produce as much digital content and branded entertainment as they do design and product. Online video is a key part of that production. In this article, the author questions whether the use of the generic term ‘fashion film’ is still relevant to discussions of the moving image in the digital age. He does this by examining a range of promotional uses of the moving image by the fashion industry – by brands such as Gucci, Burberry and Louis Vuitton – on the social media platforms Instagram, YouTube and Snapchat, which blend design with media. This article seeks to engage critically with the branded dominance of ‘fashion film’ as a commercial phenomenon in contemporary visual culture by positioning it as a shape-shifting form of ‘content’ through the dissemination of moving images on social media, on mobile image-sharing platforms, in which the visual dynamic of the feed (of marketing and data) is now, in part, superseding the aesthetic framework of cinema (of narrative and drama). Rather than situating it primarily as part of film history, here the author situates the contemporary fashion-moving image at the intersection of digital interactivity, fashion branding and celebrity influence.
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Pub Date : 2020-12-01DOI: 10.1177/1470412920936578
Ian Verstegen
Art historians have long reflected on space – how does an image fit into a book or altarpiece from which it’s been detached? But time has also not been neglected. Heinrich Wölfflin (1941), for example, argued it was incorrect to imagine Renaissance sculptures reflecting a single moment in time. Indeed, the reconstruction of space and time would be standard dual aims of historicist art history. Nevertheless, a ‘temporal turn’ has been advocated within art history in order to bring time and its theoretical conflicts (anachronism, heterochronism) to the fore. The edited book under review reflects this trend, which is closely related to the ‘materialist’ turn of affective, networked reality as a model for understanding art historiographic scholarship in the contemporary moment.
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Pub Date : 2020-12-01DOI: 10.1177/1470412920965128
Jae Emerling
This book is an odd collection of Deleuze ephemera: letters, some ink drawings, reviews, interviews, and a few writings from early (1940s–1950s) in his academic career. These materials are epiphenomena: archival remnants that present us with a certain ambivalence. On one hand, these remnants will entertain Deleuze scholars, whose scholia will value Deleuze’s exam and course preparation materials on David Hume as well as the 15 letters to Félix Guattari collected here wherein we discover the first mention of a work of art as an ‘abstract machine’ (p. 43). On the other hand, Deleuze lived and worked so that there would be no need for an archive. Deleuze was no archivist. We know this not only because he destroyed his correspondence with Alain Badiou in late 1994, but also because Deleuze’s work tells us as much time and again. In the letters presented here we read: ‘Don’t think that I am a compulsive letter writer or that I have a sense of dialogue, I hate it’ (p. 72). Even the editor David Lapoujade writes that ‘there are no letters from these correspondents because Deleuze did not keep any mail’: ‘he differed in this way from other authors who considered their letters to be extensions of their work’ (p. 7). The ephemera presented here must be complemented with the more significant posthumous volumes of Deleuze’s work that we have in English, namely Desert Islands and Other Texts 1953–1974 (2004) and Two Regimes of Madness: Texts and Interviews 1975–1995 (2006). But this only helps if these texts intensify our relation to the work published by Deleuze, to the sheer inexhaustibility of the concepts presented there: multiplicity as a substantive repetition as opposed to reproduction, duration and immanence.
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Pub Date : 2020-12-01DOI: 10.1177/1470412920966015
C. Evans, J. Parikka
This article functions as the introduction to the Themed Issue on Archaeologies of Fashion Film. The text introduces fashion film as a genre and as an historically dynamic form of audiovisual expression that we approach through fashion history, media archaeology and new film history. While introducing key concepts and approaches, the authors propose a form of ‘parallax historiography’, a term emerging from Thomas Elsaesser’s work, that links different time periods from early cinema to recent digital platforms, even ‘post-cinema’. The introduction makes references to the contributions in this issue that address historical conditions of emergence, marginal voices in the historical record and unexcavated archival materials; and the issue shows how they all contain feedback loops or recursive traits that resonate in contemporary practice where infrastructures of platforms and data frame the moving image.
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Pub Date : 2020-12-01DOI: 10.1177/1470412920964905
W. Strauven
This article proposes thinking of media archaeology as an operating table upon which historical, material and technological interconnections between fashion and film are made. By exploring how early cinema and digital film can be coupled to textile as technology, more specifically through the mechanisms of the sewing machine and the Jacquard loom, it extends the historical span from the mid-1890s, with the invention of cinema as projection, to the early 1800s, when computational thinking was successfully implemented as weaving technique. Instead of focusing on film and fashion as means of visual representation, the author relies on the concept of inscription for a better understanding of both cinema (as recording of light and movement) and textile (with its various thread techniques of weaving, stitching, knitting, etc.).
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Pub Date : 2020-12-01DOI: 10.1177/1470412920965129
Devapriya Sanyal
Frances Guerin’s book is a finely curated labour of love. For a book on visual culture, this is saying something since there are already so many books about this field. However, what distinguishes her book from the others is the fact that she is dealing with ‘not looking’ rather than ‘looking’. The book consists of 11 essays that are divided into 4 pertinent sections, covering diverse topics such as painting, a piece of film which was part of an investigation into homoeroticism in Ohio in the 1960s, sculpture and photography. Drawing on her own scholarship about images and the Holocaust, Guerin presents the motivation for this collection of essays by stating that ‘in light of the immense power given to images by destroying them, together with the weaving of images into political governance and everyday life, we need to find new ways of approaching images and icons’, new ways of ‘recasting notions of contemporary iconoclasm as well as expanding its conception, with the goal of further understanding its ramifications’ (pp. 2–3).
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Pub Date : 2020-12-01DOI: 10.1177/1470412920965126
Hannah Goodwin
When we look into the night sky, we look into the past. The light that reaches our eyes from stars has traveled for years, rendering everything we see a trace of how things were at some other point in time. This raises the question of how our own planetary past is preserved and cast outward, a question that has stirred excitement among science fiction writers, astronomers, and archaeologists alike. An entanglement of pastness and futurity is intrinsic to outer space; for while the night sky presents us visually with intermingling pasts, the idea of preservation entails a future into which these pasts are cast.
{"title":"Review: Alice Gorman, Dr Space Junk vs. the Universe: Archaeology and the Future","authors":"Hannah Goodwin","doi":"10.1177/1470412920965126","DOIUrl":"https://doi.org/10.1177/1470412920965126","url":null,"abstract":"When we look into the night sky, we look into the past. The light that reaches our eyes from stars has traveled for years, rendering everything we see a trace of how things were at some other point in time. This raises the question of how our own planetary past is preserved and cast outward, a question that has stirred excitement among science fiction writers, astronomers, and archaeologists alike. An entanglement of pastness and futurity is intrinsic to outer space; for while the night sky presents us visually with intermingling pasts, the idea of preservation entails a future into which these pasts are cast.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920965126","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46828118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-24DOI: 10.1177/1470412920941898
Sebastian De Line
{"title":"Decolonizing objecthood through 2SQ Indigenous art: Dayna Danger and Jeneen Frei Njootli’s performance, ‘Chases and Tacks’","authors":"Sebastian De Line","doi":"10.1177/1470412920941898","DOIUrl":"https://doi.org/10.1177/1470412920941898","url":null,"abstract":"","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920941898","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65412857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-01DOI: 10.1177/1470412920936581
Y. Howard
{"title":"Review: Dominic Johnson, Unlimited Action: The Performance of Extremity in the 1970s","authors":"Y. Howard","doi":"10.1177/1470412920936581","DOIUrl":"https://doi.org/10.1177/1470412920936581","url":null,"abstract":"","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920936581","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49103791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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