上海的电影与时尚:文革期间该穿什么(不该穿什么)

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
C. Berry, Shujuan Zhang
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引用次数: 2

摘要

摘要最近的学术界对“文化大革命”期间中国是一片单调统一的服装海洋的假设提出了质疑。这篇文章通过询问电影在人们选择穿什么方面扮演了什么角色来扩展这一趋势。基于在上海的集体采访中收集的数据,它发现了几个趋势:革命历史电影启发了当代军事风格的服装,但不仅仅是出于政治原因;文化大革命期间放映的外国电影建立了一个当代国际时尚的心理档案,这种档案是在20世纪70年代那个时代的限制放松时借鉴的;对1966年之前放映的电影的记忆提供了另一个复古时尚可能性的心理档案,也随着限制的放松而被利用。总的来说,我们的研究表明,尽管社会政治框架总是以个人能动性为条件,即使在最困难的时候,个人能动性仍在日常生活的间隙中发挥作用。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Film and fashion in Shanghai: What (not) to wear during the cultural revolution
ABSTRACT Recent scholarship has challenged the assumption that China was an ocean of drab sartorial uniformity during the Cultural Revolution decade. This essay extends this tendency by asking what role cinema played in people's choices about what to wear. Based on data gathered in group interviews in Shanghai, it finds several tendencies: revolutionary history films inspired contemporary military-style clothing, but not only for political reasons; foreign films screened during the Cultural Revolution built up a mental archive of contemporary international fashion that was drawn upon as the strictures of the era were relaxed in the 1970s; and memories of films screened before 1966 provided another mental archive of retro-fashion possibilities, also drawn on as strictures were relaxed. Overall, our research demonstrates that even though socio-political frameworks always condition individual agency, even in the most difficult of times, individual agency continues to be exercised in the interstices of everyday life.
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来源期刊
Journal of Chinese Cinemas
Journal of Chinese Cinemas FILM, RADIO, TELEVISION-
CiteScore
0.50
自引率
0.00%
发文量
16
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