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On fashion and film
From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis. Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses: * haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier * the eroticism of period costume in films such as The Piano and The Age of Innocence * clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction * generic male chic in Goodfellas, Reservoir Dogs, and Leon * pride, costume and masculinity in `Blaxploitation' films, Boyz `N The Hood and New Jack City * drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.
Created in 2006 as a spinoff of Doctor Who, the internationally popular BBC television series Torchwood is a unique blend of science fiction and fantasy, with much more of an adult flavor than its progenitor. The series' "omnisexual" protagonist, maverick 51st-century time agent Captain Jack Harkness, leads a team of operatives from the present-day Torchwood Institute, a secret organization dedicated to battling supernatural and extraterrestrial criminals. With its archetypal characters, adult language, subversive humor and openly homosexual and bisexual storylines, Torchwood provides a wealth of material for scholarly analysis and debate. Using Torchwood as its focal point, this timely collection of essays by a range of experts and enthusiasts provides an interpretive framework for understanding the continually developing forms and genres of contemporary television drama.
Women’s archives appear to have been largely disregarded until the last couple of decades. Most countries lack well-documented archives, and the question of methodology has become a common concern and ever more significant for researchers. Aiming to contribute to the growing efforts of developing women’s archives, the present book brings together the works of numerous researchers from various disciplines. The researchers contributed to this volume in order to share information and experiences about the problems of sources and archives in women’s studies. The articles in the book not only analyse the problems encountered by researchers in the field of women’s studies, but also examine perceptions of women in collective memories. The book comprises five parts: Women’s Archives and Women’s Libraries; Art, Literature and Journal; Letters and Petitions; Oral History; and Cinema. All the articles present fresh ideas on the collective memory, perceptions, experiences, and the collection of documents on women. The aim is to present discussions about the works of oral, written, and visual culture that constitute the collective memory and to form accessible archives on an international level, thereby opening up new areas of research on this subject.
Over the past ten years the study of dress history has finally broken free of the shackles that have held it back, and is now benefiting from new, multidisciplinary approaches and practices, which draw on material culture, art history, ethnography, and cultural studies. This book focuses on the development of these new methods to be found within the field of dress history and dress studies, and assesses the current condition and future directions of the subject.
This book examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film. Rather than simply examining the representation of the house as national symbol, auteur trait, or in terms of genre, contributors study various rooms in the domestic sphere from an assortment of time periods and from a diversity of national cinemas—from interior spaces in ancient Rome to the Chinese kitchen, from the animated house to the metaphor of the armchair in film noir.
Cinemas, Identities and Beyond examines different modes of representing and constructing identities in and through the medium of film, transcending the narrow confines of the local / national / regional, and challenging spatial and temporal boundaries. It gathers fifteen essays that explore different dimensions of identities in contexts ranging from domestic spheres, urban milieus, socio-political environments, diasporic film-making issues, anthropology, film festivals, and psychoanalysis, to the examination of stardom in society. Engaging with cinematic representations, narrative conventions, film form, industry concerns, and other socio-cultural-economic-political factors relating to the production, distribution, exhibition and consumption of film, Cinemas, Identities and Beyond contributes to one of the most thought-provoking contemporary debates on cinemas and identities in film studies. Revisiting films such as Farewell My Concubine, The Matrix trilogy, The Straight Story, El Topo, and Days of Being Wild, this anthology establishes a framework that actively queries stabilised, ideological paradigms. The book discovers new frontiers and discourses to help us better understand ourselves and our surroundings when another decade of the new millennium is about to begin. Cinemas, Identities and Beyond will prove to be of value to a broad range of scholars, critics and students who are interested in issues pertaining to identities, and their construction in and beyond film.
Examines the extraordinary cinematic tradition of Italy, from the silent era to the present.
Introduction to Film Studies is a comprehensive textbook for students of cinema. This completely revised and updated fifth edition guides students through the key issues and concepts in film studies, traces the historical development of film and introduces some of the worlds key national cinemas. A range of theories and theorists are presented from Formalism to Feminism, from Eisenstein to Deleuze. Each chapter is written by a subject specialist, including two new authors for the fifth edition. A wide range of films are analysed and discussed. It is lavishly illustrated with 150 film stills and production shots, in full colour throughout. Reviewed widely by teachers in the field and with a foreword by Bill Nichols, it will be essential reading for any introductory student of film and media studies or the visual arts worldwide. Key features of the fifth edition are: updated coverage of a wide range of concepts, theories and issues in film studies in-depth discussion of the contemporary film industry and technological changes new chapters on Film and Technology and Latin American Cinema new case studies on films such as District 9, Grizzly Man, Amores Perros, Avatar, Made in Dagenham and many others marginal key terms, notes, cross-referencing suggestions for further reading, further viewing and a comprehensive glossary and bibliography a new, improved companion website including popular case studies and chapters from previous editions (including chapters on German Cinema and The French New Wave), links to supporting sites, clips, questions and useful resources. Individual chapters include: The Industrial Contexts of Film Production · Film and Technology · Getting to the Bigger · Picture Film Form and Narrative · Spectator, Audience and Response · Cinematic authorship and the film auteur · Stardom and Hollywood Cinema · Genre, Theory and Hollywood Cinema The Documentary Form · The Language of Animation · Gender and Film · Lesbian and Gay Cinema · Spectacle, Stereotypes and Films of the African Diaspora · British Cinema · Indian Cinema · Latin American Cinema · Soviet Montage Cinema of the 1920s Contributors: Linda Craig, Lalitha Gopalan, Terri Francis, Chris Jones, Mark Joyce, Searle Kochberg, Lawrence Napper, Jill Nelmes, Patrick Phillips, Suzanne Speidel, Paul Ward, Paul Watson, Paul Wells and William Wittington
Film is made of moments. In its earliest form, the cinema was a moment: mere seconds recorded and projected into the darkness. Even as film has developed into today's complex and intricate medium, it is the brief, temporary and transitory that combines to create the whole. Our memories of films are composed of the moments we deem to be crucial: touchstones for our understanding and appreciation. Moments matter. The 38 specially commissioned essays in Film Moments examine a wide selection of key scenes across a broad spectrum of national cinemas, historical periods and genres, featuring films by renowned auteurs including Alfred Hitchcock, Jean Renoir and Vincente Minnelli and important contemporary directors such as Pedro Costa, Zhang Ke Jia and Quentin Tarantino, addressing films including City Lights, Gone with the Wind, The Wizard of Oz, The Night of the Hunter, Wild Strawberries, 8 1?2, Bonnie and Clyde, Star Wars, Conte d'été, United 93 and Lord of the Rings: Return of the King. Film Moments provides both an enlightening introduction for students to the diversity of approaches and concerns in the study of film, and a dynamic and vibrant account of key film sequences for anyone interested in enhancing their understanding of cinema.