Film Fashion & Consumption最新文献_第2页

HBO’s Euphoria and the complexities at play in the costumed representations of contemporary masculinities HBO的《欣快感》(Euphoria)，以及当代男性化服饰表现中的复杂性

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Film Fashion & Consumption Pub Date : 2022-11-01 DOI: 10.1386/ffc_00047_1

L. Betts

{"title":"HBO’s Euphoria and the complexities at play in the costumed representations of contemporary masculinities","authors":"L. Betts","doi":"10.1386/ffc_00047_1","DOIUrl":"https://doi.org/10.1386/ffc_00047_1","url":null,"abstract":"This article discusses the language of screen costume and representations of masculinity via a close reading of the successful and critically acclaimed 2019 HBO drama series Euphoria. It considers three key characters, Rue, Nate and Fez, and how each of these characters makes visible certain cultural and sociological ideologies which concern and influence current debates around diverse masculinities, social class and creative subjectivity. It is argued that the production team behind Euphoria employs creative acts of appropriation to articulate and explore the diversity of masculine lived experience within the restricted language of television. This is evidenced through the character of ‘Rue’, who sits in opposition to all other characters identified as feminine or transitioning in both narrative context and, significantly, costuming. ‘Rue’ is therefore explored as the masculine articulation and/or manifestation of the creator – Sam Levinson’s subjective position. ‘Nate’ is explored in relation to the currency of damaging stereotypes of dominant masculinity within television drama and how misconceptions around gendered identities work to reinforce, perpetuate and normalize problematic behavioural traits. It is suggested that we need to expand understandings of ordinary clothing or costume as a language, how meaning is articulated within this language and how the materiality of ordinary or unexceptional dress evolves and mutates and becomes a set of unquestioned yet dangerous symbols or significations. ‘Fez’ will be examined in response to Henri Lefebvre’s 1960s ideas around moments of contestation, alongside a discussion of the role that the body and clothing play in marking out or positioning ideas around the intersection of social class and masculinity which can be applied to differing, global manifestations of social hierarchies. Readings of ‘Fez’ highlight middle-class insecurities around subjective value and distance from working-class experience and are played out through the character’s costuming.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89086307","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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‘Now you are one of us’: Mafia fashion on-screen “现在你是我们中的一员了”:银幕上的黑手党时尚

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Film Fashion & Consumption Pub Date : 2022-11-01 DOI: 10.1386/ffc_00045_1

Rebecca Bauman

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‘Who wants the pressure of being super all the time?’: Mid-century modern fashions and their influence on costume development in The Incredibles and Incredibles 2 “谁想一直承受超级巨星的压力?”:《超人总动员》和《超人总动员2》中中世纪的现代时尚及其对服装发展的影响

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Film Fashion & Consumption Pub Date : 2022-04-01 DOI: 10.1386/ffc_00041_1

Maarit Kalmakurki, Marley Healy

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Embodying female dissent in Sanditon: The case of Esther Denham’s two bodies 《桑迪顿》中女性异议的体现:以斯帖·德纳姆的两具尸体

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Film Fashion & Consumption Pub Date : 2022-04-01 DOI: 10.1386/ffc_00040_1

Boel Ulfsdotter

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Meeting the expectations of western consumers on the Romanian film Beyond the Hills by Cristian Mungiu 满足西方消费者对由克里斯蒂安·蒙吉执导的罗马尼亚电影《山外》的期望

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Film Fashion & Consumption Pub Date : 2022-04-01 DOI: 10.1386/ffc_00039_1

Ulrike Ettinger, B. Schrödl

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Emotional rescue: A review essay of E/MOTION. Fashion in Transition, temporary exhibition, MoMu Fashion Museum, Antwerp, 4 September 2021‐23 January 2022 情感救援:E/MOTION综述。转型中的时尚，临时展览，MoMu时尚博物馆，安特卫普，2021年9月4日至2022年1月23日

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Film Fashion & Consumption Pub Date : 2022-04-01 DOI: 10.1386/ffc_00037_4

G. Roberts

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Female fashion in the Franco era and the Imágenes magazine programme 佛朗哥时代的女性时尚和Imágenes杂志节目

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Film Fashion & Consumption Pub Date : 2022-04-01 DOI: 10.1386/ffc_00038_1

Ana Melendo

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From research to practice: The talking frocks1 从研究到实践:会说话的连衣裙

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Film Fashion & Consumption Pub Date : 2021-10-01 DOI: 10.1386/ffc_00033_7

Sue Harper

引用次数: 0

TikTok teens: Turbulent identities for turbulent times TikTok青少年：动荡时代的动荡身份

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Film Fashion & Consumption Pub Date : 2021-10-01 DOI: 10.1386/ffc_00031_1

L. Rogers

{"title":"TikTok teens: Turbulent identities for turbulent times","authors":"L. Rogers","doi":"10.1386/ffc_00031_1","DOIUrl":"https://doi.org/10.1386/ffc_00031_1","url":null,"abstract":"Through the examination of two subcultural fashion trends spawned on the micro-vlogging platform TikTok, this article will consider how the mythic functions of the archetypal ‘clown’ and ‘rebel’ have been redeployed by Generation Z TikTok users in an attempt to push back against prevailing beauty ideals. These short-form film performances reveal the specular world-view of a demographic that is as used to being watched as it is watching others. The bulk of TikTok’s content revolves around viral trends; dances that spread by mimesis, hashtags that agglomerate universally relatable human experiences and the usual aspirational travel and fashion material. Those that break away from this mould find themselves in algorithmically led micro-communities (self-termed ‘core aesthetics’), which form satellites around more popular content forms and occasionally gain virality themselves for their freakishness or downright surrealism. The ‘clown’ and ‘rebel’ are still seen as liminal characters in the social space – affording them certain freedoms from the visual dominance of celebrity culture but also requiring certain compromises; existing at the fringes is, by definition, to be excluded and ‘othered’.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46537619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Worn: Footwear, Attachment and the Affects of Wear, Ellen Sampson (2020) 《磨损:鞋类、依恋和磨损的影响》，艾伦·桑普森(Ellen Sampson, 2020)

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Film Fashion & Consumption Pub Date : 2021-10-01 DOI: 10.1386/ffc_00035_5

Clare M. Wilkinson

引用次数: 0