text summary:         “                cinema andWednesday, July 6, 2011                          haute couture           ...
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         CinemaWed...
context         published in ’97 by         Routledge (NY and London)          rst chapter of Undressing         Cinema   ...
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                  ...
research     specialties?Wednesday, July 6, 2011
research     specialties?        interested in fashion and costume; gender        and identity in lm, particularly masculi...
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 ...
keywords    costume    costume designer    couturier    subservient visual role    functional intermediary    simulacraWed...
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, t...
old and newWednesday, July 6, 2011
old and new    old traditional ethos of costume    design: means of creating looks    complementing narrative,    characte...
old and new    old traditional ethos of costume    design: means of creating looks    complementing narrative,    characte...
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...
history lesson   cinematic fashion shows   fashion lms with simply displays of   gowns progressing to story-lined   movies...
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, ...
the costume designer   once the dictator of fashion   hot names included Head, Adrian,   Orry-Kelly and Branton   new rela...
the costume designer   once the dictator of fashion   hot names included Head, Adrian,   Orry-Kelly and Branton   new rela...
examining Sabrina                          image (via)Wednesday, July 6, 2011
examining Sabrina   costume designer Edith Head was   given the responsibility of pre-   transformation clothesWednesday, ...
examining Sabrina   costume designer Edith Head was   given the responsibility of pre-   transformation clothes   Givenchy...
examining Sabrina   costume designer Edith Head was   given the responsibility of pre-   transformation clothes   Givenchy...
examining Sabrina   costume designer Edith Head was   given the responsibility of pre-   transformation clothes   Givenchy...
fashion & the timesWednesday, July 6, 2011
fashion & the times   Late 1950s to 1980 uid mutual   relationship between fashion and   costume design with lm gradually ...
fashion & the times   Late 1950s to 1980 uid mutual   relationship between fashion and   costume design with lm gradually ...
exhibitionism & artWednesday, July 6, 2011
exhibitionism & art   should clothes “perform a spectacular   as opposed to a subservient visual role   in lm?” (8)Wednesd...
exhibitionism & art   should clothes “perform a spectacular   as opposed to a subservient visual role   in lm?” (8)   and ...
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   mech...
example of Kika   costumes by Jean Paul Gaultier   not only “distancing devices but   exaggerated, conventionalized   mech...
from the text:Wednesday, July 6, 2011
from the text:   “This contravenes directly the   traditional interpretation of   adornment, as something which   accentua...
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 ...
identity & costume  Pretty Woman presents no clear  differences between couture and non-  couture clothing  only importanc...
identity & costume  Pretty Woman presents no clear  differences between couture and non-  couture clothing  only importanc...
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 e...
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 oscil...
roland barthes   author of The Fashion System   distinctions between real, written, and   imaged garment “useful for oscil...
roland barthes   author of The Fashion System   distinctions between real, written, and   imaged garment “useful for oscil...
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,...
simulacra   representation of something/someone   identi cation of ideal female   conceived through male fantasy   notably...
simulacra   representation of something/someone   identi cation of ideal female   conceived through male fantasy   notably...
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...
interesting to note...   clothes can be used as a distancing   device (as is the case in Belle Du Jour)   in which assumed...
interesting to note...   clothes can be used as a distancing   device (as is the case in Belle Du Jour)   in which assumed...
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 b...
perfect simplicity   when iconic and real are separated, “a   distant, unreal feminine ideal that   could be termed ‘too b...
perfect simplicity   when iconic and real are separated, “a   distant, unreal feminine ideal that   could be termed ‘too b...
hurrah, freud!                          image (via)Wednesday, July 6, 2011
hurrah, freud!   fetishism manifests itself between   “fashion and spectator as a   contradictory impulse that de-   eroti...
hurrah, freud!   fetishism manifests itself between   “fashion and spectator as a   contradictory impulse that de-   eroti...
hurrah, freud!   fetishism manifests itself between   “fashion and spectator as a   contradictory impulse that de-   eroti...
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  ...
neglected males   for a while, male actors were expected   to supply their own costumes   “what I shall wear” has been a  ...
neglected males   for a while, male actors were expected   to supply their own costumes   “what I shall wear” has been a  ...
the point of it all   to argue that clothes are not to only   be considered relevant in relation to   the bodyWednesday, J...
the point of it all   to argue that clothes are not to only   be considered relevant in relation to   the body   clothing ...
the point of it all   to argue that clothes are not to only   be considered relevant in relation to   the body   clothing ...
thanks!   web: www.barbaraleung.com   email: me@barbaraleung.com   twitter: @barb_leungWednesday, July 6, 2011
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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"

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

  1. 1. text summary: “ cinema andWednesday, July 6, 2011 haute couture ” @barb_leung
  2. 2. contextWednesday, July 6, 2011
  3. 3. context published in ’97 by Routledge (NY and London)Wednesday, July 6, 2011
  4. 4. context published in ’97 by Routledge (NY and London) rst chapter of Undressing CinemaWednesday, July 6, 2011
  5. 5. context published in ’97 by Routledge (NY and London) rst chapter of Undressing Cinema and for the visual learner...Wednesday, July 6, 2011
  6. 6. that’s the book coverWednesday, July 6, 2011
  7. 7. that’s the book cover according to amazon.com anywayWednesday, July 6, 2011
  8. 8. who?Wednesday, July 6, 2011
  9. 9. who? this is the author: stella bruzziWednesday, July 6, 2011
  10. 10. who? this is the author: stella bruzzi she’s a professor of lm and television at University of WarwickWednesday, July 6, 2011
  11. 11. research specialties?Wednesday, July 6, 2011
  12. 12. research specialties? interested in fashion and costume; gender and identity in lm, particularly masculinity; documentary lm and televisionWednesday, July 6, 2011
  13. 13. keywordsWednesday, July 6, 2011
  14. 14. keywords costumeWednesday, July 6, 2011
  15. 15. keywords costume costume designerWednesday, July 6, 2011
  16. 16. keywords costume costume designer couturierWednesday, July 6, 2011
  17. 17. keywords costume costume designer couturier subservient visual roleWednesday, July 6, 2011
  18. 18. keywords costume costume designer couturier subservient visual role functional intermediaryWednesday, July 6, 2011
  19. 19. keywords costume costume designer couturier subservient visual role functional intermediary simulacraWednesday, July 6, 2011
  20. 20. more!Wednesday, July 6, 2011
  21. 21. more! semiology of fashionWednesday, July 6, 2011
  22. 22. more! semiology of fashion technological/iconic/verbalWednesday, July 6, 2011
  23. 23. more! semiology of fashion technological/iconic/verbal fetishismWednesday, July 6, 2011
  24. 24. more! semiology of fashion technological/iconic/verbal fetishism designer identityWednesday, July 6, 2011
  25. 25. presumably...Wednesday, July 6, 2011
  26. 26. 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
  27. 27. old and newWednesday, July 6, 2011
  28. 28. old and new old traditional ethos of costume design: means of creating looks complementing narrative, character, and stars (3)Wednesday, July 6, 2011
  29. 29. 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
  30. 30. history lessonWednesday, July 6, 2011
  31. 31. history lesson cinematic fashion showsWednesday, July 6, 2011
  32. 32. 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
  33. 33. 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
  34. 34. the costume designerWednesday, July 6, 2011
  35. 35. the costume designer veteran costume designer edith head image (via)Wednesday, July 6, 2011
  36. 36. the costume designer once the dictator of fashionWednesday, July 6, 2011
  37. 37. the costume designer once the dictator of fashion hot names included Head, Adrian, Orry-Kelly and BrantonWednesday, July 6, 2011
  38. 38. 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
  39. 39. 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
  40. 40. examining Sabrina image (via)Wednesday, July 6, 2011
  41. 41. examining Sabrina costume designer Edith Head was given the responsibility of pre- transformation clothesWednesday, July 6, 2011
  42. 42. 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
  43. 43. 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
  44. 44. 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
  45. 45. fashion & the timesWednesday, July 6, 2011
  46. 46. 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
  47. 47. 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
  48. 48. exhibitionism & artWednesday, July 6, 2011
  49. 49. exhibitionism & art should clothes “perform a spectacular as opposed to a subservient visual role in lm?” (8)Wednesday, July 6, 2011
  50. 50. 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
  51. 51. example of Kika image (via)Wednesday, July 6, 2011
  52. 52. example of Kika costumes by Jean Paul GaultierWednesday, July 6, 2011
  53. 53. 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
  54. 54. 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
  55. 55. from the text:Wednesday, July 6, 2011
  56. 56. 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
  57. 57. identity & costume Pretty Women image (via)Wednesday, July 6, 2011
  58. 58. identity & costume Pretty Woman presents no clear differences between couture and non- couture clothingWednesday, July 6, 2011
  59. 59. 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
  60. 60. 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
  61. 61. identity & costume Funny Face image (via)Wednesday, July 6, 2011
  62. 62. identity & costume different functions and symbols present in each lmWednesday, July 6, 2011
  63. 63. identity & costume different functions and symbols present in each lm Sabrina places focus on the signi cance of each pieceWednesday, July 6, 2011
  64. 64. roland barthes image (via)Wednesday, July 6, 2011
  65. 65. roland barthes author of The Fashion SystemWednesday, July 6, 2011
  66. 66. 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
  67. 67. 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
  68. 68. 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
  69. 69. simulacraWednesday, July 6, 2011
  70. 70. simulacra representation of something/someoneWednesday, July 6, 2011
  71. 71. simulacra representation of something/someone identi cation of ideal female conceived through male fantasyWednesday, July 6, 2011
  72. 72. 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
  73. 73. 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
  74. 74. interesting to note...Wednesday, July 6, 2011
  75. 75. 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
  76. 76. 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
  77. 77. 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
  78. 78. perfect simplicity Belle du Jour image (via)Wednesday, July 6, 2011
  79. 79. 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
  80. 80. 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
  81. 81. 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
  82. 82. hurrah, freud! image (via)Wednesday, July 6, 2011
  83. 83. hurrah, freud! fetishism manifests itself between “fashion and spectator as a contradictory impulse that de- eroticises the body”(24)Wednesday, July 6, 2011
  84. 84. 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
  85. 85. 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
  86. 86. neglected males American Gigolo image (via)Wednesday, July 6, 2011
  87. 87. neglected males for a while, male actors were expected to supply their own costumesWednesday, July 6, 2011
  88. 88. 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
  89. 89. 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
  90. 90. 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
  91. 91. the point of it all to argue that clothes are not to only be considered relevant in relation to the bodyWednesday, July 6, 2011
  92. 92. 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
  93. 93. 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
  94. 94. thanks! web: www.barbaraleung.com email: me@barbaraleung.com twitter: @barb_leungWednesday, July 6, 2011

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