The Oxford Handbook of Film Theory
The Oxford Handbook of Film Theory
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牛津电影理论手册
DOI：
10.1093/oxfordhb/9780190873929.013.20
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发表时间：
2022
期刊：
影响因子：
--
通讯作者：
Uhlirova M
中科院分区：
文献类型：
--
作者：
Uhlirova M
时尚和服装一直是电影的主要力量，其重要性远远超过它们所享有的各种商业关系。他们的研究提供了一个棱镜，通过它来重新构建我们对电影叙事和非叙事形式运作方式的理解。作为两个行业，艺术形式，机构和文化，时尚和电影已经深深地交织在一起-尽管有摩擦和矛盾-而且，至关重要的是，有时相互变革。这不仅体现在它们的许多融合实践方面，而且体现在它们的材料、技术、视觉效果和影响方面。时尚和电影之间的许多不同的交叉点在这里被用来部分问题化的概念分离之间存在的“时尚”和“服装，”它被认为是共享的电影和时尚研究，并提出了一个主要的难题在一个统一的领域的发展。第三个术语，“衣服”，然后添加到讨论中，以强调另一个被忽视的方面，如何服装的功能和表现在电影中。
Fashion and dress have been major forces in the cinema, with far greater significance than that of the various commercial relationships they have enjoyed. Their study offers a prism through which to reframe our understanding of cinema’s workings across its narrative and nonnarrative forms. As two industries, art forms, institutions, and cultures, fashion and cinema have been profoundly intertwined—albeit with frictions and contradictions—and, crucially, have at times been mutually transformative. This is true not only in terms of their many converging practices but also in terms of their materialities, technologies, visual effects, and affects. The many and varied intersections between fashion and film are here used in part to problematize a conceptual separation that exists between “fashion” and “costume,” which, it is argued, is shared by both film and fashion studies, and has presented a major conundrum in the development of a unified field. A third term,“clothes,” is then added to the discussion, in order to emphasize another overlooked aspect of how clothing functions and performs in film.