reading summary: “cinema and haute couture: sabrina to pretty woman, trop belle pour toi!,...
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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"TRANSCRIPT
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text summary:
cinema andhaute couture“ ”
@barb_leungWednesday, July 6, 2011
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context
Wednesday, July 6, 2011
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contextpublished in ’97 by Routledge (NY and London)
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context
!rst chapter of Undressing Cinema
published in ’97 by Routledge (NY and London)
Wednesday, July 6, 2011
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!rst chapter of Undressing Cinema
published in ’97 by Routledge (NY and London)
and for the visual learner...
context
Wednesday, July 6, 2011
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that’s the book cover
Wednesday, July 6, 2011
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that’s the book coveraccording to amazon.com anyway
Wednesday, July 6, 2011
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who?
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this is the author: stella bruzzi
who?
Wednesday, July 6, 2011
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this is the author: stella bruzzi
she’s a professor of !lm and television at University of Warwick
who?
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researchspecialties?
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interested in fashion and costume; gender and identity in !lm, particularly masculinity;
documentary !lm and television
researchspecialties?
Wednesday, July 6, 2011
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keywords
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keywordscostume
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keywordscostume
costume designer
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keywordscostume
costume designercouturier
Wednesday, July 6, 2011
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keywordscostume
costume designercouturier
subservient visual role
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keywordscostume
costume designercouturier
subservient visual role
functional intermediary
Wednesday, July 6, 2011
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keywordscostume
costume designercouturier
subservient visual role
functional intermediary
simulacra
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more!
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more!semiology of fashion
Wednesday, July 6, 2011
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more!semiology of fashion
technological/iconic/verbal
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more!semiology of fashion
technological/iconic/verbal
fetishism
Wednesday, July 6, 2011
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more!semiology of fashion
technological/iconic/verbal
fetishism
designer identity
Wednesday, July 6, 2011
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presumably...
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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 p rob lemat i sed th rough the use o f conventional costumes.” (Bruzzi 3)
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old and new
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old and newold traditional ethos of costume design: means of creating looks c o m p l e m e n t i n g n a r r a t i v e , character, and stars (3)
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old and newold traditional ethos of costume design: means of creating looks c o m p l e m e n t i n g n a r r a t i v e , character, and stars (3)
new clothing prioritizes over narrative (3)
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history lesson
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history lessoncinematic fashion shows
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history lessoncinematic fashion shows
fashion !lms with simply displays of gowns progressing to story-lined movies built around the display (4)
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history lessoncinematic 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 1940s
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the costume designer
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the costume designer
veteran costume designer edith head image (via)
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the costume designeronce the dictator of fashion
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the costume designeronce the dictator of fashion
hot names included Head, Adrian, Orry-Kelly and Branton
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the costume designeronce 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
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the costume designeronce 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 couturier
Wednesday, July 6, 2011
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examining Sabrina
image (via)Wednesday, July 6, 2011
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examining Sabrinacostume designer Edith Head was given the responsibility of pre-transformation clothes
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examining Sabrina
Givenchy designed all the “show-stopping Parisian fantasies” (6)
costume designer Edith Head was given the responsibility of pre-transformation clothes
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examining Sabrina
Givenchy designed all the “show-stopping Parisian fantasies” (6)
showcase of designs via !lm
costume designer Edith Head was given the responsibility of pre-transformation clothes
Wednesday, July 6, 2011
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examining Sabrina
Givenchy designed all the “show-stopping Parisian fantasies” (6)
!lm fashion became more intrusive
showcase of designs via !lm
costume designer Edith Head was given the responsibility of pre-transformation clothes
Wednesday, July 6, 2011
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fashion & the times
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fashion & the timesLate 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)
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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 styles
fashion & the times
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exhibitionism & art
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exhibitionism & art
should clothes “perform a spectacular as opposed to a subservient visual role in !lm?” (8)
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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)
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example of Kika
image (via)Wednesday, July 6, 2011
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costumes by Jean Paul Gaultier
example of Kika
Wednesday, July 6, 2011
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costumes by Jean Paul Gaultier
not only “distancing devices but e x a g g e r a t e d , c o n v e n t i o n a l i z e d mechanisms for making the female form into an objecti!ed spectacle” (11)
example of Kika
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costumes by Jean Paul Gaultier
not only “distancing devices but e x a g g e r a t e d , c o n v e n t i o n a l i z e d mechanisms for making the female form into an objecti!ed spectacle” (11)
aesthetic displays and perversely functional (11)
example of Kika
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from the text:
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“This contravenes di rect ly the t r a d i t i o n a l i n t e r p r e t a t i o n o f adornment, as something which accentuates and complements the f e m i n i n e , b u t i s s o m e h o w symptomatic of how couture as opposed to the generic fashion operates in cinema” (13-4)
from the text:
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identity & costume
Pretty Women image (via)Wednesday, July 6, 2011
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identity & costumePretty Woman presents no clear differences between couture and non-couture clothing
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identity & costumePretty Woman presents no clear differences between couture and non-couture clothing
only importance is the display of c o n s u m e r i s m , a s o p p o s e d t o individual pieces
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Pretty Woman presents no clear differences between couture and non-couture clothing
only importance is the display of c o n s u m e r i s m , a s o p p o s e d t o individual pieces
fashion, here, exists as dependent and casual response to narrative
identity & costume
Wednesday, July 6, 2011
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identity & costume
Funny Face image (via)Wednesday, July 6, 2011
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identity & costumedifferent functions and symbols present in each !lm
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identity & costumedifferent functions and symbols present in each !lm
Sabr i na p l a c e s f o c u s o n t h e signi!cance of each piece
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roland barthes
image (via)Wednesday, July 6, 2011
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roland barthesauthor of The Fashion System
Wednesday, July 6, 2011
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roland barthesauthor of The Fashion System
distinctions between real, written, and imaged garment “useful for oscillating dialogue with couture” (17)
Wednesday, July 6, 2011
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roland barthesauthor 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
Wednesday, July 6, 2011
![Page 68: Reading Summary: “Cinema and Haute Couture: Sabrina to Pretty Woman, Trop Belle pour Toi!, Prêt-à-Porter”](https://reader038.vdocuments.net/reader038/viewer/2022110113/54438dc0b1af9f700a8b4590/html5/thumbnails/68.jpg)
roland barthesauthor 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
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simulacra
Wednesday, July 6, 2011
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simulacrarepresentation of something/someone
Wednesday, July 6, 2011
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simulacrarepresentation of something/someone
i d e n t i ! c a t i o n o f i d e a l f e m a l e conceived through male fantasyi d e n t i ! c a t i o n o f i d e a l f e m a l e conceived through male fantasy
Wednesday, July 6, 2011
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simulacrarepresentation of something/someone
i d e n t i ! c a t i o n o f i d e a l f e m a l e conceived through male fantasyi d e n t i ! c a t i o n o f i d e a l f e m a l e conceived through male fantasynotably higher female spectatorship for these fashion !lms
Wednesday, July 6, 2011
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simulacrarepresentation of something/someone
i d e n t i ! c a t i o n o f i d e a l f e m a l e conceived through male fantasyi d e n t i ! c a t i o n o f i d e a l f e m a l e conceived through male fantasynotably 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
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interesting to note...
Wednesday, July 6, 2011
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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
Wednesday, July 6, 2011
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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
Wednesday, July 6, 2011
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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
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perfect simplicity
Belle du Jour image (via)Wednesday, July 6, 2011
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perfect simplicitywhen iconic and real are separated, “a distant, unreal feminine ideal that could be termed ‘too beautiful’” may be imposed (18)
Wednesday, July 6, 2011
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perfect simplicitywhen 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
Wednesday, July 6, 2011
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perfect simplicitywhen 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
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hurrah, freud!
image (via)Wednesday, July 6, 2011
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hurrah, freud!fetishism manifests itself between “ f a s h i o n a n d s p e c t a t o r a s a contradictory impulse that de-eroticises the body”(24)
Wednesday, July 6, 2011
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hurrah, freud!fetishism manifests itself between “ f a s h i o n a n d s p e c t a t o r a s a contradictory impulse that de-eroticises the body”(24)
response to the female and the often perceived masculine gaze
Wednesday, July 6, 2011
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hurrah, freud!fetishism manifests itself between “ f a s h i o n a n d s p e c t a t o r a s 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-expression
Wednesday, July 6, 2011
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neglected males
American Gigolo image (via)Wednesday, July 6, 2011
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neglected malesfor a while, male actors were expected to supply their own costumes
Wednesday, July 6, 2011
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neglected malesfor 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
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neglected malesfor 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
Wednesday, July 6, 2011
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neglected malesfor 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 necessary
Wednesday, July 6, 2011
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the point of it allto argue that clothes are not to only be considered relevant in relation to the body
Wednesday, July 6, 2011
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the point of it allto 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
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the point of it allto 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