Let the music play: ‘Hipsters’ and heteronormative fashion

IF 0.3 0 HUMANITIES, MULTIDISCIPLINARY
Alla Myzelev
{"title":"Let the music play: ‘Hipsters’ and heteronormative fashion","authors":"Alla Myzelev","doi":"10.1386/ffc_00046_1","DOIUrl":null,"url":null,"abstract":"The article examines how fashion assists in emphasizing heteronormativity in the musical film Hipsters (2008). The film is about the first countercultural phenomenon in the Soviet Union – Stiliagi. Predominantly men, these young people adapted different styles of dress, language, behaviour and dance that they felt was closely copying the styles of western cultures such as Teddy Boys. While the movement that started in the late 1940s and continued to the early 1960s included heterosocial behaviour, the film that presumably recreates the affective feeling of the culture distorts the history to spotlight heterosexuality and the search for individual freedom. It argues that given that historically and currently, the association between fashion and masculinity in the Russian culture is understood as effeminate, the film had to create clear heteronormative relationships between the male and female protagonists while emphasizing fashion and consumption. The article demonstrates how the film works within post-Soviet ideology by comparing the use of fashion in the film and the historical data about the actual Stiliagi movement of the 1950s. By negating the heterosocial and heterosexual relationship, the film created an artificial understanding of the Soviet culture. It follows the official ideological doctrine of creating nostalgia for the simpler yet somewhat stifled life in the Soviet Union without attracting the audience’s attention to the repressions of the post-Stalin Soviet Union.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Film Fashion & Consumption","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/ffc_00046_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 1

Abstract

The article examines how fashion assists in emphasizing heteronormativity in the musical film Hipsters (2008). The film is about the first countercultural phenomenon in the Soviet Union – Stiliagi. Predominantly men, these young people adapted different styles of dress, language, behaviour and dance that they felt was closely copying the styles of western cultures such as Teddy Boys. While the movement that started in the late 1940s and continued to the early 1960s included heterosocial behaviour, the film that presumably recreates the affective feeling of the culture distorts the history to spotlight heterosexuality and the search for individual freedom. It argues that given that historically and currently, the association between fashion and masculinity in the Russian culture is understood as effeminate, the film had to create clear heteronormative relationships between the male and female protagonists while emphasizing fashion and consumption. The article demonstrates how the film works within post-Soviet ideology by comparing the use of fashion in the film and the historical data about the actual Stiliagi movement of the 1950s. By negating the heterosocial and heterosexual relationship, the film created an artificial understanding of the Soviet culture. It follows the official ideological doctrine of creating nostalgia for the simpler yet somewhat stifled life in the Soviet Union without attracting the audience’s attention to the repressions of the post-Stalin Soviet Union.
让音乐响起:“潮人”和异性恋时尚
这篇文章探讨了时尚如何在音乐电影《潮人》(2008)中帮助强调异性恋规范。这部电影讲述的是苏联第一个反文化现象——斯蒂利亚吉。这些年轻人以男性为主,他们适应了不同的着装、语言、行为和舞蹈风格,他们认为这些风格与西方文化(如泰迪男孩)的风格非常相似。虽然这场始于20世纪40年代末、持续到60年代初的运动包括了异性恋行为,但这部可能再现这种文化情感的电影扭曲了历史,聚焦于异性恋和对个人自由的追求。它认为,鉴于历史和现在,时尚和男子气概之间的联系在俄罗斯文化中被理解为娘娘腔,电影必须在强调时尚和消费的同时,在男女主角之间创造明确的异性恋关系。本文通过比较电影中对时尚的使用和20世纪50年代实际的斯蒂利亚吉运动的历史数据,展示了这部电影是如何在后苏联意识形态中运作的。通过对异性恋和异性恋关系的否定,这部电影创造了一种对苏联文化的人为理解。它遵循了官方的意识形态原则,即在不吸引观众注意斯大林后苏联的压迫的情况下,创造对苏联简单但有些压抑的生活的怀旧。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 求助全文
来源期刊
Film Fashion & Consumption
Film Fashion & Consumption HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.40
自引率
50.00%
发文量
6
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信