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Unstitching the 1950s film costumes : hidden designers, hidden meaningsCousins, Jennie January 2008 (has links)
This thesis showcases the work of four costume designers working within the genre of costume drama during the 1950s in France, namely Georges Annenkov, Rosine Delamare, Marcel Escoffier, and Antoine Mayo. In unstitching the cinematic wardrobes of these four designers, the ideological impact of the costumes that underpin this prolific yet undervalued genre are explored. Each designer’s costume is undressed through the identification of and subsequent methodological focus on their signature garment and/or design trademark. Thus the sartorial and cinematic significance of the corset, the crinoline, and accessories, is explored in order to determine an ideological pattern (based in each costumier’s individual design methodology) from which the fabric of this thesis may then be cut. In so doing, the way in which film costume speaks as an independent producer of cinematic meaning may then be uncovered. By viewing costume design as an autonomous ideological system, rather than a part of mise-en-scène subordinate to narrative, this fabric-centric enquiry consolidates Stella Bruzzi’s insightful exploration of film costume in Undressing Cinema, Clothing and Identity in the Movies (1997). Where this study diverges from previous work, however, is in its focus on specific costume designers to illustrate the way in which the costume of costume drama may operate as a complex component of cinematic signification in terms of gender, authenticity, status and power.
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O traje medieval português e sua função alegórica no Auto da Barca do Inferno e no Auto da Alma de Gil VicenteSouza, Érica Fernanda Brasil Carosia Paulino de 12 May 2011 (has links)
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Previous issue date: 2011-05-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation examines the role of the allegorical medieval costume
Portuguese, Auto da Barca do Inferno (1517) and Auto da Alma (1518) Gil
Vicente. As specific objectives, we demonstrate the relationship between clothing
and the characters, explain the symbolism of each piece of clothing, and elucidate
the Vincentian context, through the clothing, the conflict between the sacred and the
profane, the ideological concepts of the sixteenth century Christians In two acts of
religious playwright Portuguese. We point out relevant data from the clothing of the
sixteenth century, as well as the theoretical background on allegory. We apply the
concept, through clothing, to elucidate the conflict between salvation and damnation
of the characters in the context of the pieces. We explain the issue from two
allegorical modes stylistic or rhetorical allegory constructive (so to speak) and
allegory interpretive or hermeneutic (way of understanding). Object of study by
numerous researchers, the machine takes a critical look that demands a closer look.
Establishes a visual language as relevant as verbal discourse. Reveals information.
Expresses ideas. Represents the social and cultural changes. Allows interactions
between society. It expresses identity and behavior.
However, we observed that the clothing is not synonymous with acquittal
or conviction, but joins the allegorical character of the works of playwright
Portuguese, who always point to two conflicting realities: human and divine, the
immanent and transcendent, individual ethics and social ethics / Esta dissertação de Mestrado analisa a função alegórica do traje medieval
português, no Auto da Barca do Inferno (1517) e no Auto da Alma (1518) de Gil
Vicente. Como objetivos específicos, buscamos demonstrar a relação entre a
indumentária e as personagens; explicar a simbologia de cada peça de roupa, no
contexto vicentino e elucidar, por meio do vestuário, o conflito entre o sagrado e o
profano e os conceitos ideológicos cristãos do século XVI, nos dois autos religiosos
do teatrólogo português. Apontamos dados relevantes do vestuário do século XVI,
bem como o panorama teórico sobre alegoria. Aplicamos a conceituação, por meio
da indumentária, para elucidar o conflito entre a salvação e a perdição das
personagens no contexto das peças. Elucidamos a questão alegórica a partir de
duas modalidades estilísticas: alegoria construtiva ou retórica (maneira de falar) e
alegoria interpretativa ou hermenêutica (modo de entender). Objeto de estudo de
inúmeros pesquisadores, a roupa propõe uma leitura crítica que demanda um olhar
atento. Estabelece uma linguagem visual tão relevante quanto o discurso verbal.
Revela informações. Exprime ideias. Representa as mudanças sociais e culturais.
Permite interações entre a sociedade. Expressa identidade e comportamento.
Contudo, observamos que a roupa não é sinônimo de absolvição ou
condenação, mas antes alia-se ao caráter alegórico das obras do teatrólogo
português, que apontam sempre para duas realidades em conflito: a humana e a
divina, a imanente e a transcendente, a ética individual e a ética social
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Genderové stereotypy v současném britském historickém kostýmním dramatu. Komparace Panství Downton a Pana Selfridge. / Gender Stereotypes in Contemporary British Historical Period Drama Series. Comparative Analysis of Downton Abbey and Mr Selfridge.Hrnčířová, Denisa January 2017 (has links)
The diploma thesis named Gender Stereotypes in Contemporary British Period Drama. The Comparative Analysis of Downton Abbey and Mr Selfridge compares the marks of gender stereotypes and conservative principles in British period drama series. The analysis of their clash with progress in society and technology during the first two decades of the 20th century is performed on the method of qualitative content analysis of two examples of popular contemporary British costume drama Downton Abbey and Mr Selfridge. The theoretical framework of the thesis is based on the concept regarding history in film. The main category of research is the work with female characters and their social roles in Edwardian Britain which is characterized by unprecedented social change. The objective of the thesis is to analyze the way a female character reflects stereotypes and conservative principles that are usually believed to be characteristic features of period drama series. Additional objective is to examine how the 21st century society is mirrored in manipulation with stereotypes and social values in the series. The content analysis is based on the three criteria most interconnected wih position and social change of women of that era. These refer to property and proprietorship, sexuality, and emancipation of women in...
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