Film Fashion & Consumption最新文献_第6页

From a lady to a lost ‘Prole’: Girls in the city in Polish cinema of the 1960s and early 1970s 从一个淑女到一个迷失的“无产者”:20世纪60年代和70年代初波兰电影中的城市女孩

IF 0.2

Film Fashion & Consumption Pub Date : 2018-11-01 DOI: 10.1386/FFC.7.2.115_1

E. Mazierska

引用次数: 1

1960s surfsploitation films: Sex, the bikini and the active female body 20世纪60年代的色情片:性、比基尼和活跃的女性身体

IF 0.2

Film Fashion & Consumption Pub Date : 2018-11-01 DOI: 10.1386/FFC.7.2.147_1

J. Ormrod

{"title":"1960s surfsploitation films: Sex, the bikini and the active female body","authors":"J. Ormrod","doi":"10.1386/FFC.7.2.147_1","DOIUrl":"https://doi.org/10.1386/FFC.7.2.147_1","url":null,"abstract":"From 1959 to 1966, approximately 66 Hollywood films were produced to exploit the surfing craze. Surfsploitation, the surf craze of the early 1960s, crossed music, comics, television, advertising and films. Films, especially, focused on the importance of the bikini in their promotion.The bikini, a liminal piece of clothing, conceals and yet reveals the naked body. The film’s producers emphasized the appeal of the bikini in the films’ cross-media promotion, which promised sex but delivered inane plots, dependent on comedy, pop music and fantasy for their continuing appeal. In the early 1960s the bikini was perceived as an erotic item of clothing from Europe. To appeal to American perceptions of the garment, in fashion and consumerism it was repackaged as related to sport and fun for the female teenage body. Comparing promotional and advertising materials of consumer culture with that of the films, this article explores how the bikini articulated notions of the active yet passive female body in this era on the cusp between the reactionary 1950s and the emergence of second-wave feminism of the late 1960s. Although the promotion from the films promised sex, they were highly moral. Yet the representations of the active female body in the films and their promotional materials reveal the debates around female agency for the early 1960s, an era when girls had to negotiate the societal demands of the reactionary 1950s with the demands placed upon women by second-wave feminism of the later 1960s.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45752460","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: 0

Cool, sunglasses and the modern woman: Icons of the 1960s 酷、太阳镜和现代女性：20世纪60年代的偶像

IF 0.2

Film Fashion & Consumption Pub Date : 2018-11-01 DOI: 10.1386/FFC.7.2.97_1

Vanessa Brown

{"title":"Cool, sunglasses and the modern woman: Icons of the 1960s","authors":"Vanessa Brown","doi":"10.1386/FFC.7.2.97_1","DOIUrl":"https://doi.org/10.1386/FFC.7.2.97_1","url":null,"abstract":"This article considers the enduring appeal of certain iconic images of (sub)urban/e women of the 1960s: Audrey Hepburn in Breakfast at Tiffanys (1961); Black Panther Kathleen Cleaver; and ‘Lolita’ as depicted in the promotional poster for Kubrick’s 1962 film. These are considered in relation to the idea of ‘coolness’, an attribute explored as problematic, yet generally desirable. Frequently perceived as a male attribute, even a male pathology, this article explores cool specifically in relation to iconic images of women, and their potential meanings both at the time of their creation and in the present day. It demonstrates how connections between coolness and modernity are articulated in imagery of women by the wearing of sunglasses, a material and embodied practise that allows acts of gazing to be nuanced in a variety of ways. At first sight, these images may have multiple, ambiguous and apparently contradictory meanings (from ‘nymphet’ to patriarchal refuser) but I will argue that viewing them through the use of sunglasses and the lens of ‘modern cool’ helps to refocus their power and continued, broad appeal as current benchmarks of still desirable, modern femininities, and therefore, their presence in a plethora of pastiches, consumer products and style discourses.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/FFC.7.2.97_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47454735","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

Editorial 社论

IF 0.2

Film Fashion & Consumption Pub Date : 2018-11-01 DOI: 10.1386/ffc.7.2.91_2

Katie Milestone, J. Ormrod

引用次数: 0

Go-go dancing – femininity, individualism and anxiety in the 1960s Go-go舞——60年代的女性气质、个人主义和焦虑

IF 0.2

Film Fashion & Consumption Pub Date : 2018-11-01 DOI: 10.1386/FFC.7.2.165_1

G. Gregory

{"title":"Go-go dancing – femininity, individualism and anxiety in the 1960s","authors":"G. Gregory","doi":"10.1386/FFC.7.2.165_1","DOIUrl":"https://doi.org/10.1386/FFC.7.2.165_1","url":null,"abstract":"Mainly performed by young women at nightclubs and discotheques, go-go dancing was a high-energy, free-form, dance style of the 1960s. Go-go dancers were employed to entertain crowds and to create a ‘cool’ ambience, wearing very revealing outfits including mini dresses, short-fringed skirts, tank tops, tight shorts and calflength boots. The dance style soon reached mainstream media platforms such as the US television show Hullabaloo and ABC’s Shindig, where girls could be seen suspended in clear plastic cages above the dancefloor. Before the Second World War partner dancing was the norm and social dance typically involved close physical contact, often as part of traditional courtship ritual. Moreover, most of the earlier dances required men to take the lead and to physically guide their female partner. A striking characteristic of go-go was the fact that girls usually danced alone, sometimes placed on podiums and often separate from the crowd. In this respect, go-go dancing can be viewed as an extreme extension of a growing trend towards solo dancing. The article explains how go-go dancing could be seen as reflecting social changes occurring during the 1960s, a time when gradual loss of faith in traditional sources of social guidance – religion, government, marriage – saw the rise of greater individualism. Women’s growing emancipation and a move towards selfdirection were embodied by go-go dancers, whose free style movements and rejection of formal steps metaphorically embody the dilemma of a generation of women facing an uncertain future.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66706565","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: 0

Men of mode: Alain Delon, Christian Dior and brand heritage 时尚男士:Alain Delon, Christian Dior和品牌传承

IF 0.2

Film Fashion & Consumption Pub Date : 2011-01-01 DOI: 10.1386/FFC.1.1.81_1

Nick Rees-Roberts

引用次数: 3