Narrative Form and the Rhetoric of Fashion in the Promotional Fashion Film
Narrative Form and the Rhetoric of Fashion in the Promotional Fashion Film
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时尚宣传片中的叙事形式与时尚修辞
DOI：
10.1386/ffc.2.2.175_1
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发表时间：
2013
期刊：
影响因子：
--
通讯作者：
Nikola Mijovic
中科院分区：
文献类型：
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作者：
Nikola Mijovic
网络时尚宣传片已成为21世纪世纪时尚符号化生产的重要方面。本文对这一体裁最突出的美学和形式倾向进行了广泛的概述。时装电影制作的三种方法进行了讨论：第一，非叙事，时装作为一个设计对象的地位是前景化;第二，传统的叙事，其中时装作为一个渴望的符号;最后，“有机”的叙事方法，其中的视觉风格和移动图像的形式系统是围绕服装构建的。讨论的电影包括尼克·奈特执导的《预兆》（2009年）、卡尔·拉格菲尔德的《记住现在》（2010年）和《从前》（2013年），以及卢克雷西亚·马特尔的《穆塔》（2011年）。本文评估了这种媒体的潜力，以挑战现有的范式与修辞的时尚，另一方面，叙事电影的形式。宣传时尚电影，虽然是一种形式的“新媒体”，也牢牢地位于后现代主义的领域，这可能解释其有限的能力，以破坏既定的占主导地位的代表性代码。
Online promotional fashion film has become a significant aspect of the symbolic production of fashion in the 21st Century. This article presents a broad overview of the genre’s most prominent aesthetic and formal tendencies. Three approaches to fashion film making are discussed: firstly, a non-narrative, where the status of fashion as a designed object is foregrounded; secondly, the conventional narrative, in which fashion acts as an aspirational symbol; and finally, the ‘organic’ narrative approach, where the visual style and the formal system of the moving image are constructed around clothing. The films discussed include Portent (2009), directed by Nick Knight, Karl Lagerfeld’s Remember Now (2010) and Once Upon a Time (2013), and Lucrecia Martel’s Muta (2011). The article assesses this medium in relation to its potential to challenge the existing paradigm associated with the rhetoric of fashion on the one hand, and the narrative film form on the other. Promotional fashion film, while being a form of ‘new media’, is also firmly situated within the domain of postmodernism, which may explain its limited ability to undermine the established dominant representational codes.