This paper presents a detailed analysis of Assassin’s Creed III’s character Haytham Kenway’s costume, with emphasis on the physical qualities as well as the symbolic factors used in the garments. The costume is constructed physically in order to facilitate a further comparative study between the real and the virtual qualities looking at historical and technical accuracies in order to aid game companies in constructing accurate virtual costume.

The primary objective of this creative project was to develop an imagery source through the observation and analysis of historical and contemporary clothing. The secondary objective was to produce both jewelry and functional objects in metal that reflected the author's personal interpretation of such garment forms. This body of work employed a variety of traditional metalsmithing techniques. / Department of Art

鄺慧瑜. / "2004年6月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 19-23). / 附中英文摘要. / "2004 nian 6 yue". / Guang Huiyu. / Lun wen (zhe xue shuo shi)--Xianggang Xhong wen da xue, 2004. / Can kao wen xian (leaves 19-23). / Fu Zhong Ying wen zhai yao. / 論文撮要(中文） --- p.i / 論文撮要(英文） --- p.ii-iii / 圖表目錄 --- p.iv / 引言 --- p.1-2 / Chapter 第一章. --- 時裝歷史文獻回顧 / Chapter 1.1. --- 香港時裝歷史與文化硏究文獻回顧 --- p.3 / Chapter 1.1.1. --- 香港時裝歷史 --- p.3 / Chapter 1.1.2. --- 香港時裝文化硏究 --- p.4-7 / Chapter 1.2. --- 旗袍硏究文獻回顧 --- p.8-9 / Chapter 第二章. --- 硏究方法的論述 / Chapter 2.1. --- 硏究資料來源 --- p.10-11 / Chapter 2.1.1. --- 報紙 --- p.11-13 / Chapter 2.1.2. --- 電影雜誌 --- p.13-15 / Chapter 2.1.3. --- 電影 --- p.15-16 / Chapter 2.2. --- 硏究方法的槪述 --- p.17 / Chapter 第三章. --- 時裝理論剖析 / Chapter 3.1. --- 時裝定義 --- p.19-21 / Chapter 3.2. --- 時裝與社會硏究 --- p.21 / Chapter 3.2.1. --- 韋伯倫 --- p.22-23 / Chapter 3.2.2. --- 西美爾 --- p.24-25 / Chapter 3.3. --- 時裝與文化硏究 / Chapter 3.3.1. --- 時裝與符號 --- p.26-29 / Chapter 3.3.2. --- 時裝與流行商品文化 --- p.29-30 / Chapter 3.3.3. --- 時裝與性別 --- p.30 / Chapter 3.3.4. --- 其他理論 --- p.31-34 / Chapter 3.4. --- 中國與時裝 --- p.34 / Chapter 第四章. --- 戰前旗袍的歷史與變革 / Chapter 4.1. --- 旗袍之名稱 --- p.35 / Chapter 4.2. --- 清代婦女 --- p.36 / Chapter 4.2.1. --- 清初 --- p.36 / Chapter 4.2.2. --- 清中至末 --- p.37 / Chapter 4.3. --- 1920 年代 --- p.38 / Chapter 4.3.1. --- 女性時裝之一：襖衫/裙 --- p.38-39 / Chapter 4.3.2. --- 女性時裝之二 ：旗袍 --- p.40-44 / Chapter 4.3.3. --- 男裝 --- p.45 / Chapter 4.4. --- 1930年代 --- p.46 / Chapter 4.4.1. --- 女裝 --- p.46-47 / Chapter 4.4.2. --- 男裝 --- p.47 / Chapter 4.5. --- 1940年代至戰時 --- p.47-48 / Chapter 第五章. --- 戰前及四十年代的香港時裝 --- p.49-52 / Chapter 第六章. --- 五十年代的香港時裝 / Chapter 6.1. --- 男性時裝 --- p.53-56 / Chapter 6.2. --- 女性時裝 --- p.57 / Chapter 6.2.1. --- 旗袍 --- p.57-62 / Chapter 6.2.2. --- 西裙 --- p.62-64 / Chapter 第七章. --- 六十年代的香港時裝 / Chapter 7.1. --- 男性時裝 --- p.67 / Chapter 7.1.1. --- 西裝 --- p.68-69 / Chapter 7.2. --- 女性時裝 --- p.70 / Chapter 7.2.1. --- 旗袍 --- p.70-73 / Chapter 7.2.2. --- 西裙 --- p.74-76 / Chapter 7.2.3. --- 迷你裙 --- p.76-80 / Chapter 7.3. --- 香港時裝節 --- p.81-83 / Chapter 第八章. --- 七十年代及以後的香港時裝 / Chapter 8.1. --- 成衣的年代 --- p.84-85 / Chapter 8.2. --- 業界的發展 --- p.85-87 / Chapter 第九章. --- 香港時裝與旗袍´ؤ´ؤ旗袍的社會價値、文化轉變與象徵意義的論述 / Chapter 9.1. --- 旗袍的社會價値 --- p.88 / Chapter 9.1.1. --- 社會價値之建構 --- p.88 / Chapter 9.1.2. --- 旗袍之身份建構與表述 --- p.89-94 / Chapter 9.2. --- 文化轉變 --- p.95 / Chapter 9.2.1. --- 時裝文化的轉借與吸納 --- p.95-96 / Chapter 9.2.2. --- 混雜的時裝文化 --- p.96-99 / Chapter 9.2.3. --- 旗袍文化的對外影響 --- p.100-101 / Chapter 9.3. --- 消費品與象徵意義 --- p.102-103 / Chapter 9.3.1. --- 中國人的身份 --- p.103-106 / Chapter 9.3.2. --- 年齢的身份 --- p.107-110 / Chapter 第十章. --- 總結 / Chapter 10.1. --- 香港時裝歷史 --- p.111-112 / Chapter 10.2. --- 時裝潮流的變化理由 --- p.113-116 / 附錄： / 圖片說明目錄 附錄 --- p.1-4 / 圖片附錄 --- p.5-18 / 參考書目 附錄 --- p.19-23

The sinking of the RMS Titanic has achieved a difficult feat ��� it has remained culturally relevant. The dedication of the general public to understanding Titanic is evident in many avenues of popular and consumer culture. For those individuals who did not get enough of the 1997 Titanic movie, there are numerous Titanic museums and attractions to visit. What interests me as a scholar of historic dress is that the 1997 film is often used as a lens through which the historical events are interpreted and understood. More specifically the character of Rose (from the 1997 Titanic movie) has been translated from a film character to a living history character. Rose has become an integral part of the marketing and exhibiting techniques at some Titanic museum attractions. The purpose of this research was to conduct an introductory exploration of the role of film costume iconography in learning about a historical event and the development of a personal connection with an iconic character in the context of that event. Four permanent Titanic museum attractions were selected as sites of study: museum attractions in Branson, Missouri; Pigeon Forge, Tennessee; Orlando, Florida; and Las Vegas, Nevada. A total of 32 participants were included. Both museum attraction visitors and staff participated in this study; twenty-nine participants were classified as visitors and three participants were classified as staff. Phenomenological and inductive approaches were undertaken. Qualitative (personal phenomenology, phenomenological interviews, and brief participant observation) data collection techniques were employed. Both descriptive and experiential phenomenological and narrative approaches were combined to analyze the resulting data. I utilized a descriptive phenomenological method outlined by Giorgi and Giorgi (2003), and I made modifications to the procedure to fit the unique needs of my data. Data collection occurred in two phases at each location. In phase one, I participated in personal phenomenology during a visit to each museum attraction. In phase two, I collected data with participants. Data collection with visitor participants occurred in three stages: (1) pre-museum attraction visit interview, (2) the participant visited a Titanic museum attraction, and (3) post-museum attraction visit interview. I collected data with each staff participant during one interview. The findings of this study revealed that there are many perspectives from which to tell the story of Titanic and help museum attraction visitors learn the history of the ill-fated ship. I found that Rose did not factor into the decision of the participants to visit a Titanic museum attraction. If a participant learned from or about Rose, she did not factor into the learning or personal meaning-making process until he or she was inside the museum attraction. It was more common for participants to relate to the historical events of Titanic through the movie as a whole, as opposed to the specific character of Rose. The scenario of including a Rose living history interpreter as part of the lived experience of a museum visit elicited a wide range of reactions from participants. It was more common for participants to oppose the presence of a Rose living history interpreter than favor her presence. Several participants reported instances when they drew a spontaneous connection to the movie or were reminded of the movie in their own mind. Several participants used the movie as a foundation to build further historical understanding about Titanic. Some participants used the movie as a source of comparison to explore or confirm the accuracy of the movie. The primary difference in the museum attraction experience for visitors who had not seen the movie was that they encountered difficulty in relating and paying attention to any content or reference to the movie. A general phenomenological structure was formed from the data. As part of this study, I sought to further expand the body of literature that applies visual rhetorical theory and semiotic theory to dress and costume. A discussion of the resulting theoretical implications is included. An outcome of the phenomenological data collection and analysis was a list of recommendations for future practice specifically related to the display of dress and costume in both Titanic museum attractions and museums in general. I conclude with recommendations for future research and a reflective summary. / Graduation date: 2013

Cette recherche propose une histoire immatérielle du vêtement en Occident et plus particulièrement autour des XIIIe et XIVe siècles. Que signifie s’habiller dans les sociétés occidentales où le christianisme apparaît, à l’origine, puis dans son principe, comme une contre-culture inversant le système de valeurs de la sociabilité matérielle historique.<p><p>Le développement s’attache au changement radical d’attitudes à l’égard du vêtement dans les communautés chrétiennes du Bas-Empire romain du IIe au IVe siècle ;à l’institutionnalisation des apparences chrétiennes au haut Moyen Age ;à la métaphore du vêtement comme grande figure explicative des mythes chrétiens ;au statut anthropologique du vêtement dans la pensée et les pratiques médiévales ;à l’histoire de la valeur de l’objet technique et corporel ;aux modèles de consommation des biens de luxe ;au gouvernement politique par les apparences à la fin du Moyen Âge ;aux causes de la transformation des formes du vêtement jusqu’à la naissance du phénomène de mode. Toutes les sources (théologie, littérature populaire, comptabilité, archives judiciaires, images) sont convoquées, parfois de manière quantitative. Lorsque c’est possible le raisonnement procède par inversion :mettre en lumière des situations ponctuelles par l’arrière-plan normatif ou affectif, comprendre les phénomènes de longue durée ou les contradictions internes à une société au moyen de cas précis (une controverse, par exemple). Une expérience de description « intégrée » du récit historique est donc tentée, séparant le moins possible les « univers » (le social, l’économique, le symbolique, l’esthétique…) qui forment d’un seul tenant une culture. Si l’on souhaite faire une histoire du vêtement médiéval, il n’est pas dit que les moments, les pratiques ou les auteurs interrogés appartiennent à ce que l’on appelle couramment le Moyen Âge.<p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished