Reading Summary: “Cinema and Haute Couture: Sabrina to Pretty Woman, Trop Belle pour Toi!, Prêt-à-Porter”
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Reading Summary: “Cinema and Haute Couture: Sabrina to Pretty Woman, Trop Belle pour Toi!, Prêt-à-Porter”

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Reading summary of Stella Bruzzi’s chapter on “Cinema and Haute Couture: Sabrina to Pretty Woman, Trop Belle pour Toi!, Prêt-à-Porter” from her 1997 book, "Undressing Cinema"

Reading summary of Stella Bruzzi’s chapter on “Cinema and Haute Couture: Sabrina to Pretty Woman, Trop Belle pour Toi!, Prêt-à-Porter” from her 1997 book, "Undressing Cinema"

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Reading Summary: “Cinema and Haute Couture: Sabrina to Pretty Woman, Trop Belle pour Toi!, Prêt-à-Porter” Reading Summary: “Cinema and Haute Couture: Sabrina to Pretty Woman, Trop Belle pour Toi!, Prêt-à-Porter” Presentation Transcript

  • text summary: “ cinema andWednesday, July 6, 2011 haute couture ” @barb_leung
  • contextWednesday, July 6, 2011
  • context published in ’97 by Routledge (NY and London)Wednesday, July 6, 2011
  • context published in ’97 by Routledge (NY and London) rst chapter of Undressing CinemaWednesday, July 6, 2011
  • context published in ’97 by Routledge (NY and London) rst chapter of Undressing Cinema and for the visual learner...Wednesday, July 6, 2011
  • that’s the book coverWednesday, July 6, 2011
  • that’s the book cover according to amazon.com anywayWednesday, July 6, 2011
  • who?Wednesday, July 6, 2011
  • who? this is the author: stella bruzziWednesday, July 6, 2011
  • who? this is the author: stella bruzzi she’s a professor of lm and television at University of WarwickWednesday, July 6, 2011
  • research specialties?Wednesday, July 6, 2011
  • research specialties? interested in fashion and costume; gender and identity in lm, particularly masculinity; documentary lm and televisionWednesday, July 6, 2011
  • keywordsWednesday, July 6, 2011
  • keywords costumeWednesday, July 6, 2011
  • keywords costume costume designerWednesday, July 6, 2011
  • keywords costume costume designer couturierWednesday, July 6, 2011
  • keywords costume costume designer couturier subservient visual roleWednesday, July 6, 2011
  • keywords costume costume designer couturier subservient visual role functional intermediaryWednesday, July 6, 2011
  • keywords costume costume designer couturier subservient visual role functional intermediary simulacraWednesday, July 6, 2011
  • more!Wednesday, July 6, 2011
  • more! semiology of fashionWednesday, July 6, 2011
  • more! semiology of fashion technological/iconic/verbalWednesday, July 6, 2011
  • more! semiology of fashion technological/iconic/verbal fetishismWednesday, July 6, 2011
  • more! semiology of fashion technological/iconic/verbal fetishism designer identityWednesday, July 6, 2011
  • presumably...Wednesday, July 6, 2011
  • presumably... her thesis “the belief that clothes can function independently of the body, character and narrative, that through them alternative discursive strategies can be evolved that, in turn, question existing assumptions about the relationship between spectator and image, not necessarily problematised through the use of conventional costumes.” (Bruzzi 3)Wednesday, July 6, 2011
  • old and newWednesday, July 6, 2011
  • old and new old traditional ethos of costume design: means of creating looks complementing narrative, character, and stars (3)Wednesday, July 6, 2011
  • old and new old traditional ethos of costume design: means of creating looks complementing narrative, character, and stars (3) new clothing prioritizes over narrative (3)Wednesday, July 6, 2011
  • history lessonWednesday, July 6, 2011
  • history lesson cinematic fashion showsWednesday, July 6, 2011
  • history lesson cinematic fashion shows fashion lms with simply displays of gowns progressing to story-lined movies built around the display (4)Wednesday, July 6, 2011
  • history lesson cinematic fashion shows fashion lms with simply displays of gowns progressing to story-lined movies built around the display (4) distance between costume and couture fashion minimized during the 1930s and 1940sWednesday, July 6, 2011
  • the costume designerWednesday, July 6, 2011
  • the costume designer veteran costume designer edith head image (via)Wednesday, July 6, 2011
  • the costume designer once the dictator of fashionWednesday, July 6, 2011
  • the costume designer once the dictator of fashion hot names included Head, Adrian, Orry-Kelly and BrantonWednesday, July 6, 2011
  • the costume designer once the dictator of fashion hot names included Head, Adrian, Orry-Kelly and Branton new relationship between stars and clothes emerged with Sabrina and Hubert GivenchyWednesday, July 6, 2011
  • the costume designer once the dictator of fashion hot names included Head, Adrian, Orry-Kelly and Branton new relationship between stars and clothes emerged with Sabrina and Hubert Givenchy demise of costume designer and rise of couturierWednesday, July 6, 2011
  • examining Sabrina image (via)Wednesday, July 6, 2011
  • examining Sabrina costume designer Edith Head was given the responsibility of pre- transformation clothesWednesday, July 6, 2011
  • examining Sabrina costume designer Edith Head was given the responsibility of pre- transformation clothes Givenchy designed all the “show- stopping Parisian fantasies” (6)Wednesday, July 6, 2011
  • examining Sabrina costume designer Edith Head was given the responsibility of pre- transformation clothes Givenchy designed all the “show- stopping Parisian fantasies” (6) showcase of designs via lmWednesday, July 6, 2011
  • examining Sabrina costume designer Edith Head was given the responsibility of pre- transformation clothes Givenchy designed all the “show- stopping Parisian fantasies” (6) showcase of designs via lm lm fashion became more intrusiveWednesday, July 6, 2011
  • fashion & the timesWednesday, July 6, 2011
  • fashion & the times Late 1950s to 1980 uid mutual relationship between fashion and costume design with lm gradually becoming a general re ector of outside fashion and trends (7)Wednesday, July 6, 2011
  • fashion & the times Late 1950s to 1980 uid mutual relationship between fashion and costume design with lm gradually becoming a general re ector of outside fashion and trends (7) 1960s more harmonious relationship between couture and street stylesWednesday, July 6, 2011
  • exhibitionism & artWednesday, July 6, 2011
  • exhibitionism & art should clothes “perform a spectacular as opposed to a subservient visual role in lm?” (8)Wednesday, July 6, 2011
  • exhibitionism & art should clothes “perform a spectacular as opposed to a subservient visual role in lm?” (8) and should “those same costumes ... remain functional intermediaries to narrative and character, or stand out as art objects in themselves?” (8)Wednesday, July 6, 2011
  • example of Kika image (via)Wednesday, July 6, 2011
  • example of Kika costumes by Jean Paul GaultierWednesday, July 6, 2011
  • example of Kika costumes by Jean Paul Gaultier not only “distancing devices but exaggerated, conventionalized mechanisms for making the female form into an objecti ed spectacle” (11)Wednesday, July 6, 2011
  • example of Kika costumes by Jean Paul Gaultier not only “distancing devices but exaggerated, conventionalized mechanisms for making the female form into an objecti ed spectacle” (11) aesthetic displays and perversely functional (11)Wednesday, July 6, 2011
  • from the text:Wednesday, July 6, 2011
  • from the text: “This contravenes directly the traditional interpretation of adornment, as something which accentuates and complements the feminine, but is somehow symptomatic of how couture as opposed to the generic fashion operates in cinema” (13-4)Wednesday, July 6, 2011
  • identity & costume Pretty Women image (via)Wednesday, July 6, 2011
  • identity & costume Pretty Woman presents no clear differences between couture and non- couture clothingWednesday, July 6, 2011
  • identity & costume Pretty Woman presents no clear differences between couture and non- couture clothing only importance is the display of consumerism, as opposed to individual piecesWednesday, July 6, 2011
  • identity & costume Pretty Woman presents no clear differences between couture and non- couture clothing only importance is the display of consumerism, as opposed to individual pieces fashion, here, exists as dependent and casual response to narrativeWednesday, July 6, 2011
  • identity & costume Funny Face image (via)Wednesday, July 6, 2011
  • identity & costume different functions and symbols present in each lmWednesday, July 6, 2011
  • identity & costume different functions and symbols present in each lm Sabrina places focus on the signi cance of each pieceWednesday, July 6, 2011
  • roland barthes image (via)Wednesday, July 6, 2011
  • roland barthes author of The Fashion SystemWednesday, July 6, 2011
  • roland barthes author of The Fashion System distinctions between real, written, and imaged garment “useful for oscillating dialogue with couture” (17)Wednesday, July 6, 2011
  • roland barthes author of The Fashion System distinctions between real, written, and imaged garment “useful for oscillating dialogue with couture” (17) three different structures for each item: technological, iconic, verbalWednesday, July 6, 2011
  • roland barthes author of The Fashion System distinctions between real, written, and imaged garment “useful for oscillating dialogue with couture” (17) three different structures for each item: technological, iconic, verbal fashion requires contextWednesday, July 6, 2011
  • simulacraWednesday, July 6, 2011
  • simulacra representation of something/someoneWednesday, July 6, 2011
  • simulacra representation of something/someone identi cation of ideal female conceived through male fantasyWednesday, July 6, 2011
  • simulacra representation of something/someone identi cation of ideal female conceived through male fantasy notably higher female spectatorship for these fashion lmsWednesday, July 6, 2011
  • simulacra representation of something/someone identi cation of ideal female conceived through male fantasy notably higher female spectatorship for these fashion lms “clothes more than the woman that render her perfect and become the point of identi cation” (19)Wednesday, July 6, 2011
  • interesting to note...Wednesday, July 6, 2011
  • interesting to note... clothes can be used as a distancing device (as is the case in Belle Du Jour) in which assumed bond between beauty and sexuality is displacedWednesday, July 6, 2011
  • interesting to note... clothes can be used as a distancing device (as is the case in Belle Du Jour) in which assumed bond between beauty and sexuality is displaced couture garments need context to be desirable: link to class and exclusivityWednesday, July 6, 2011
  • interesting to note... clothes can be used as a distancing device (as is the case in Belle Du Jour) in which assumed bond between beauty and sexuality is displaced couture garments need context to be desirable: link to class and exclusivity differs from Richard Dyer’s sartorial idea of femininity: sensual fabrics (20)Wednesday, July 6, 2011
  • perfect simplicity Belle du Jour image (via)Wednesday, July 6, 2011
  • perfect simplicity when iconic and real are separated, “a distant, unreal feminine ideal that could be termed ‘too beautiful’” may be imposed (18)Wednesday, July 6, 2011
  • perfect simplicity when iconic and real are separated, “a distant, unreal feminine ideal that could be termed ‘too beautiful’” may be imposed (18) in which case, couture garments can have an independent identity imposed on the character, and be alienatingWednesday, July 6, 2011
  • perfect simplicity when iconic and real are separated, “a distant, unreal feminine ideal that could be termed ‘too beautiful’” may be imposed (18) in which case, couture garments can have an independent identity imposed on the character, and be alienating an example would be Belle du JourWednesday, July 6, 2011
  • hurrah, freud! image (via)Wednesday, July 6, 2011
  • hurrah, freud! fetishism manifests itself between “fashion and spectator as a contradictory impulse that de- eroticises the body”(24)Wednesday, July 6, 2011
  • hurrah, freud! fetishism manifests itself between “fashion and spectator as a contradictory impulse that de- eroticises the body”(24) response to the female and the often perceived masculine gazeWednesday, July 6, 2011
  • hurrah, freud! fetishism manifests itself between “fashion and spectator as a contradictory impulse that de- eroticises the body”(24) response to the female and the often perceived masculine gaze hysteric confronts masculine imposed femininity through surface-expressionWednesday, July 6, 2011
  • neglected males American Gigolo image (via)Wednesday, July 6, 2011
  • neglected males for a while, male actors were expected to supply their own costumesWednesday, July 6, 2011
  • neglected males for a while, male actors were expected to supply their own costumes “what I shall wear” has been a “traditional female preserve” (26)Wednesday, July 6, 2011
  • neglected males for a while, male actors were expected to supply their own costumes “what I shall wear” has been a “traditional female preserve” (26) American Gigolo illustrates fetishism in the clothing of the protagonistWednesday, July 6, 2011
  • neglected males for a while, male actors were expected to supply their own costumes “what I shall wear” has been a “traditional female preserve” (26) American Gigolo illustrates fetishism in the clothing of the protagonist balance between self-promotion and immersive design necessaryWednesday, July 6, 2011
  • the point of it all to argue that clothes are not to only be considered relevant in relation to the bodyWednesday, July 6, 2011
  • the point of it all to argue that clothes are not to only be considered relevant in relation to the body clothing in cinema does not possess an aesthetic discourse or that it cannot function independently of narrative and character (34)Wednesday, July 6, 2011
  • the point of it all to argue that clothes are not to only be considered relevant in relation to the body clothing in cinema does not possess an aesthetic discourse or that it cannot function independently of narrative and character (34) clothes; objects of spectatorial gazeWednesday, July 6, 2011
  • thanks! web: www.barbaraleung.com email: me@barbaraleung.com twitter: @barb_leungWednesday, July 6, 2011