Lecture Six: Beyond Hollywood

 'In the Mood for Love' (2000), is a film set in Hong Kong about two neighbors sharing a bond. The actress, Maggie Cheung has a particularly lanky frame, vacant expressions and a crane’s neck that is quite model-like. She makes the cheongsam dress extremely elegant and sophisticated even when she is shot in the pouring rain. The costume designer, William Chang, worked the cheongsam in a different way by using unconventional material with a mixture of western and Chinese prints that were designed for furnishings. It demonstrates how films beyond Hollywood use traditional dress in new ways to inspire
the fashion world and create new perceptions for consumers.  

Lecture 5: Change, Identity and Rebellion

Youth culture began to grow in the 1950's with the rise of teenage consumers which sparked a new age of fashion especially within film. The Hays code became increasingly relaxed with time which allowed people on screen to DO more and spectators to SEE more. We then see subcultures begin to emerge with the earliest being mods, bikers and then of course punks. As viewed today, 'Easy Rider' depicts a movie made outside the studio system reflecting popularised music of the time (a strong factor of subcultural factions), drug deals and the Hippie lifestyle that appealed to young responders. 

We have seen a myriad of subcultural movements in which film has helped build upon in relation to fashion. The classic examples demonstrate opposition to mainstream values and resisting mass taste which are apparent within 'Jubilee' 1977 where fierce black coats, zippers and metallics are like that of a warning to mainstream society - threatening. What interests me more is those contemporary subcultures displayed within film and since i am so drawn to costume I have studied Cosplay and it's effect on trends.

In the present context, scholars have shifted the focus towards the fluidity of identity within these groups that reflects upon our highly individualised technologically mediated worlds. Cosplay or ‘costume-play’ is distinctively embedded within the technological realm that extends one’s notion of self far beyond bone and sinew. To a great extent, Cosplay exists as a subculture through the collective aspiration to redefine one’s self through dressing up not only as famous characters from films, but also as characters that they have developed themselves (Versegi, M. 2007). Cosplay enthusiasts engage deeply with technology, immersing themselves in anime, movies, TV series, books, comics and video games to embody a character they feel most similar, which extends their own sense of self and group identity. 

I found an article demonstrating how one cosplayer connects with Ramona Flowers, the supporting actress in 'Scott Pilgrim Vs. the World'. 
http://screencrush.com/cosplay-scott-pilgrim-vs-the-world-ramona-flowers/

The woman on the right, Leilani Jo,y covers every minute detail of Ramona Flowers costume she wears at the climax of the film complete with the blue wig. 

  Cosplay is a most vivid expression of what Daniel Casey describes as ‘lucid secrecy, interweaving childhood terrors, sheer pleasure, mystic fantasy, and sacred awe’ (Casey, D, 2010). These individuals thrive off both the anxiety and euphoria that comes with assuming the essence of another being such as film characters or heroes which has the propensity to make the most mysterious more relatable. They seek to mould their identity through whole body transformations and supplements such as costume, hair, makeup accessories and adopted mannerisms. 


By assuming an avatar, members immediately set themselves apart from mainstream society, allowing them to experience the psychological intensity of ‘not fitting it’ via an extension of identity. 

Lecture Four: Masculinities

MASCULINITY

activity

voyeurism

sadism

fetishism

holds the story

FEMININITY

passivity

exhibitionism

masochism

narcissism

regarded as spectacle

The lecture today revolved around the assumption of the male norm in film- that men are not to be objectified as a sexual object or stand passive but are active and are seen to be tested. Pamela pointed out, as shown above, the distinct differences between men and women according to Laura Mulvey. This however is not the case in contemporary cinema where we have become 'accustomed to the visibility of the male body' (Church Gibson 2004)  and accept that men are aware of fashion in terms of self identification and vanity.

 When studying the suit as classic male dress within film there are many signs which support the male norms. Pamela Church Gibson highlights that it 'renders the male body totally inaccessible', restricting the body from becoming objectified. Dissimilarly, since the 60's women have become increasingly accessible, with parts of the body being shown through skirts and dresses. Throughout history, women are always seen as concealing the flesh while men are not, producing a form of fetishism of female clothing.  

http://www.posh24.com/photo/1350790/brad_pitt_black_suit_white_shi

Laura Mulvey's theory of the 'male gaze' exposes female passivity and relates to the idea of consumption and film. 'Gentlemen Prefer Blondes' is a prime example of how female spectators react to clothing through the male eye. It seems wherever Marilyn is, men are always there gawking at her- wanting to get closer, highlighting that men are the active force that indeed takes precedence. In addition Mulvey also argues that the female's gaze is much the same as the male gaze and this appears to be an inextricable element to the consumption of fashion through film. Women constantly feel inadequate in looking at themselves through the eyes of men and so seek out new inspiration following what men desire as a look. Furthermore by achieving a desired look there is, as Church Gibson states, a great emotional satisfaction that is attached and thus consumer capitalism grows extensively. 

Contemporary film, 'Magic Mike' provides a stark contrast to traditional male norms with men intentionally filmed to be objectified through hardly any clothing at all. However the clothing they do wear appears to subvert the original norms. The classic suit has been altered specifically for male strippers with the shirt completely forgotten (who needs it) and with the bow tie as item of fetishism, sitting on white collar. 

http://winestainedlife.com/2012/07/08/movie-review-magic-mike/

Lecture Three: Cinema Couture

"Clothes can function independently of the body, character and narrative"
(Bruzzi 1997, p.3)

This notion of fashion as an intrusive force on film forces me to consider that couture intentionally alienates spectators to impose new meaning on the narrative. It allows responders to be distanced from experiencing a crystallised vision of social reality and begin to 'question existing assumptions about the relationship between spectator and image' (Bruzzi 1997, p.3).

For example the way Audrey Hepburn is fashioned in 'Breakfast at Tiffany's' provides not just an alternate 'type' of woman but one that specifically is for women. Firstly, her sleek, thin body, dark, butchered hair and stunning Givenchy black dress provides a stark contrast to the look of Marilyn Monroe. Audrey offers a more mature, elegant look that is still quite sexy but not an object for sex. She is androgynous- possessing both masculine and feminine qualities that forced people to become interested in her and her fashion. These signs also demonstrate her rebellious nature and how it was she who was in control of herself.

 Audrey is one of the first seductive, androgynous and non-conformist female protagonists. The stunning evening gown she is still wearing at breakfast is reflective of her rebellious lifestyle of endless parties while scenes of her singing 'Moon River' in her denim jeans, ballet flats and oversized jumper offers an extremely relaxed look that is still very sheik. It is also known that Audrey Hepburn actually preferred, denim, slacks, men's shirts and turtle necks to dresses and skirts and so there is little discrepency between on and off screen.This is also seen within her film 'Funny face' where her black turtle neck has now become a fashion staple. Women were exposed to shape-shifting fashion that made it more relatable to women.

http://www.doctormacro.com/movie%20star%20pages/Hepburn,%20Audrey-Annex.htm

(Left:http://pennylifeinpics.blogspot.com.au/2010/06/editorials-marie-antoinette-kirsten.html)

The screenings today featured 'Marie Antoinette' which, to be perfectly honest, was quite boring, however I thought the costuming was absolutely phenomenal with each new scene bringing a completely new parade of dresses. What I thought was most interesting was the fact that Kirstin Dunst posed for the Vogue September issue (2006) in floor-length gowns designed by the likes of Alexander McQueen, John Galliano and by Milena Canonero. 

It has made me realise the extent to which film affects fashion. To me when I think of fashion I think of the whole picture- the photographers, the clothing (of course), the designers and the magazines.  Having Kirstin Dunst pose creates spectacle and draws people in, making them buy the issue and forces them to consider fashion. And so I come to my next point which was brought up today during the lecture- 'Fashion has always hovered near the interface between art and commerce'. The photo spread for Vogue includes a pink and grey taffeta gown by McQueen and a breathtaking Galliano dress of black aluminium foil for Dior Couture. It is the way we see these moving and stagnate images on screen and in magazine stands that dictate how we should 'create and perceive our own clothed selves' (Hollander 1975). I truly believe that after this course i won't remember a thing about the story of Marie Antoinette but all I will have remembered was the fashion parading with Manolo Blahnik shoes and the endless dresses. 

Day 2 Screenings

'Gilda', directed by Charles Vidor in 1946 is characterised as a film noir that looks at the underbelly of society. I found Rita Hayworth's character of a mysterious and heartbreaking femme fatale most intriguing as she immediately dominates the film through fashion. She exudes sexuality in a way that teases and wounds all men she becomes affiliated with suggesting a highly duplicitous persona that becomes rectified towards the end. Other signs of her seemingly deceitful nature appear in the way her body is fashioned. Asymmetry is apparent within many of her costumes such as a coat lapel and the black dress shown below. The way in which she strip teases and only takes off one glove in the presence of Johnny generates a tantalising energy that disrupts the narrative and demands the audience's attention. Women and men who view the film will be hung up on these 'show-stoppers' and inevitably talk about the clothes because they were such a spectacle.

http://www.doctormacro.com/Movie%20Summaries/G/Gilda.htm

Angelina Jolie in 'The Tourist' plays a similar role, becoming more entrenched in lies as the film progresses. We are first presented with a fugitive who teases a tourist as 'part of the plan' to see her lover, Alexander who is caught up in criminal activity. It is obviously clear that the fashion is sublime but the film does not just offer beautiful clothes but a breathtaking tour of Venice.

http://chicposh.blogspot.com.au/2012/05/femme-fatale-par-excellence.html

As she manoeuvres the metro in stilettos amid the gondolas and accordion music I can't help but wish to be her. And to be completely honest if this outfit was on an ordinary girl or even a model in magazine I don't think it would have gained my attention as much. It had to be her wearing it to completely convince me of the high class and sophisticated sexiness. Further, Patty Fox highlights that for the women who don't read magazines- 'the majority' - the cinema offered a different way to converse with fashion. Film becomes an unending dialogue between designers and consumers.

Lecture Two: The Star System

Today we looked at the star system and under the topic of conceptual dualities, stardom was revealed as being two things:

1. Manufactured commodities 

2. Communicators of meaning

I was shocked to learn that classic Hollywood stars were owned by the studio system that dictated their private lives as much as their on-screen characters, ultimately constructing consumer capitalism within film. Hollywood synthesised these two competing aspects through developing specific 'types' of roles the stars possessed, giving consumers the personification of their desires. One classic example is Marilyn Monroe who could only play loveable blonde characters while Greta Garbo (below) represents the exotic type. 


http://www.doctormacro.com/movie%20star%20pages/Garbo,%20Greta.htm

Drawing back to the idea as stars as commodity, Brigitte Bardot's attendance at the Cannes Film Festival (1956) not only sent her to stardom but simultaneously popularised the bikini and "ensured the success of her new film, 'And God Created Woman'" (Gibson) through beach photocalls. However it challenged conventional ideas surrounding Hollywood glamour and shifted the focus on her more rebellious and youthful self. 

She became literally known as 'The Girl in the Bikini' as demonstrated in the film 'Manina, the girl without a veil' as shown below. 

Bardot's sexual display of her midriff and naval undermined the Hays code of the time and similarly reject the glamour of Hollywood film and bourgeois life in favour of a more rebellious, youthful style.

Day 1 Screenings

http://mamasarollingstone.com/video-miu-mius-muta/

The first of the many films we are yet to view had me puzzled by faceless models lurking around a boat. ‘Miu Miu’ FW2011 Film ‘MUTA’ by Lucrecia Martel evoked an eerie but intriguing tonal quality. Instantaneously I gain a sense of alienation as the models emerge in an incoherent, ridged slither across the floor before halting, where I see the first glimpse of the garments. The absence of dialogue and faces combined with the fierceness and odd bodily behaviour illuminates the ideology that the garments are indeed an extension of the body creating new perceptions of fashion. With each sudden, involuntary motion there is a strong sense that the model are consumed by the clothes and that they are in fact wearing the models. This juxtaposes the filmic techniques in Howard Hawks, ‘Gentleness prefer Blondes’ in which fashion serves to exemplify the stars being Jane Russell and Marilyn Monroe. I really felt it cultish in the way that they were so detached from society on a boat which I think adds to ‘Miu Miu’s status of class, wealth and above all exclusiveness. Tall elegant figures cross and line corridors and decks like runway shows reflecting the notion that the garments are alive- that they are graciously acting in their natural environment on these human vessels.

http://screeninvasion.com/movie-review/gentlemen-prefer-blondes-seven-days-of-marilyn-day-one/

Howard Hawk's, 'Gentlemen Prefer Blondes' had me so enthralled, I have been wondering why I haven’t seen it the whole way through yet. In each scene that Marilyn Monroe and Jane Russell were in, my eyes were glued to the amazing dresses and costuming. I spent my time admiring the luscious fabrics, bright colours, dazzling sequins and strong use of line that immediately set the characters apart from the rest. In this way the film is unlike ‘MUTA’ which attempts to shift the focus to the garments and let them be the star of the film. The beginning scenes of both Dorothy and Lorelei arriving to board to ship demonstrate a flock of people including athletes set to board as well. One thing that stood out was how easily the extras blended in. Their clothes were all so similar with drab colours, fabrics and styles highlighting the two main characters even further- props to the film. These filmic technique combined with the lavish garments that the protagonist wears supports Jennifer Craik's idea that fashion 'thrives on the illusion of choice', dictating to consumers what they should want to wear and want to look like through the spectacle of film. 

When analysing different parts of the film, our tutorial group established the relationship that both women had with men but furthermore the even stronger relationship they shared with each other. Their interest in fashion, conflicting dispositions and trifles with men develop two strong, dominant females. Dorothy is more of a masculine, strong willed woman who is looking for love which can be mirrored through her clothing of suits, jackets and broad shoulders. Lorelei on the other hand is highly feminine and chases money and diamonds, unconcerned with love and the ability to wrap any man around her finger.

The pool scene has very distinctive Greek symbols that evoke a strong gay and sexualised mood intended to excite a range of audiences with the seemingly nude, buff males and dancing.

Lecture One: Hollywood and Consumption

Professor Pamela Church Gibson gave an inspiring introduction to Film and Fashion which made me eager to get back home to look up some of the more contemporary fashion films she had mentioned. In her introduction she spoke of how in the early days of fashion films the designers fought to get their designs on film and seen by consumers as Bruzzi states, what 'Hollywood wears one day, you will wear tomorrow'  producing many imitations and ultimately having a large impact on contemporary fashion trends. I think the positive and extensive response from fashion in film can be largely attributed to the fact that the garments are presented on movie stars that appear perfect in their carefully thought out roles, are idolised, styled and most importantly are beautiful delivering to responders mental snapshots that dictate to consumers the way they relate in buying and wearing their own clothing. 

This is highly evident in Howard Hawks, 'Gentlemen prefer Blondes' in which the two protagonists played by Marilyn Monroe and Jane Russell appear immaculately dressed. 

http://www.filmhash.com/main/2011/12/1/marilyn-monroe-week-gentlemen-prefer-blondes.html

 In a more contemporary context, movies indeed set trends that become viral even more so though the internet. When typing in a simple ‘Google’ search of ‘Sex and the city fashion’ I am whisked to a college fashion site -  http://www.collegefashion.net/fashion-tips/inspired-by-sex-and-the-city-movie/&gt - that looks at specific scenes from movies and literally hunts for similar styles on sites and in stores to show consumers exactly how and where to get the look complete with shoes and hats. I have realised the great potential a film has in selling product regardless of how little it has been screened and whats most important is the first feeling one gains when exposed to fashion on screen. I know when the house comes crashing down at the end of ‘Mr and Mrs Smith’ It’s not the shock of the explosion, the burning debris or Brad Pitt that gains my attention by how amazing Angelina Jolie looks in those red ‘Hunter’ boots and how maybe, just maybe I could look as good.

http://www.zimbio.com/Angelina+Jolie/articles/2557/Angelina+Jolie+red+boots+Mr+Mrs+Smith

By the way, they’re $165 from Styletread.com.au