E-bok, Engelska, 2017
Film, Fashion, and the 1960s
Av Eugenia Paulicelli, Drake Stutesman, Louise Wallenberg
104 kr
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Beskrivning
Produktinformation
- Utgivningsdatum: 2017-09-11
- Språk: Engelska
- Antal sidor: 244
- Filformat: EPUB
- Kopieringsskydd: LCP
- ISBN: 9780253026415
- Förlag: Indiana University Press
- Mått: 152 x 229 x undefined mm
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Mer om författaren
Eugenia Paulicelli is Professor of Italian, Comparative Literature, and Women's Studies at Queens College and The Graduate Center, City University of New York. She is author of Writing Fashion in Early Modern Italy: From Sprezzatura to Satire; Fashion is a Serious Business: Rosa Genoni, Milan Expo 1906 and The Great War, and Italian Style: Fashion & Film from Early Cinema to the Digital Age.Louise Wallenberg is Associate Professor in Film and Fashion Studies and former director of The Centre for Fashion Studies at Stockholm University. She is co-editor of Nordic Fashion Studies and has published extensively on film and fashion. Drake Stutesman teaches theoretical approaches to film costume design at New York University, where she co-organizes an annual conference on film costume. She is editor of the cinema and media journal Framework.
Recensioner i media
This collection of essays is enlightening and fruitful in demonstrating the richness of the scholarship regarding fashion and film, evident in the range of voices and range of conceptual approaches. This would be an invaluable read for scholars and fans of fashion and film costume, as well as for film historians, particularly with an interest in 1960s European film.(Historical Journal of Film, Radio and Television) With a focus on the most turbulent decade of the twentieth century, the collection of essays in Film, Fashion, and the 1960s captures a period profoundly marked by cultural innovation, political activism, and a rising consumer demographic that questioned conventional boundaries and reshaped the urban environment. . . . Film, Fashion, and the 1960s is an important resource that offers an additional perspective on the collaboration between directors and costume designers and may provide inspiration for further discussions. Most importantly, the range of topics illuminated by the analysis of the intermediality of cinema and fashion would appeal to readers interested in the cultural implications of the decade and its emerging trickle up mechanisms that allowed consumers to transform themselves into active participants in the construction of the modern fashion system.- Alicia Mihalić (The Journal of Dress History)
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