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.