Costume on film: How the femme fatale’s wardrobe scripted the pictorial style of 1940s film noir
Costume on film: How the femme fatale’s wardrobe scripted the pictorial style of 1940s film noir
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电影中的服装：蛇蝎美人的服装如何塑造 20 世纪 40 年代黑色电影的画面风格
DOI：
10.1386/scp.4.1.65_1
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发表时间：
2019
期刊：
影响因子：
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通讯作者：
Lisa Colpaert
中科院分区：
文献类型：
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作者：
Lisa Colpaert
女主角的性格和黑色电影的视觉风格是我们理解这一类型的关键因素。这位女主角所穿的电影服装是至关重要的，正是因为它们清晰的电影形象，而不是作为明确的标志，才定义了类型识别的元素。这篇文章提出了一种电影服装研究人员进行图画分析的方法，而不一定是按照我们对电影作为一种“语言”的理解来分析电影服装的意义。在提出对电影服装进行近距离文本分析的框架中，方法是基于对逐个镜头的描述、服装细目和制作剧照的检查的三角测量。这一三角关系对于理解电影服装的复杂性至关重要，它由一系列广泛的因素定义，例如：电影业的生产模式，电影服装与当时时尚的关系，演员的身体和明星形象，服装设计师和他/她的部门的工作，以及电影的特殊性。电影服装在特定镜头中的作用方式将被证明是分析黑色电影和女主角画面特征的重要工具。为了说明方法论，本文建议仔细阅读为此类角色最著名的表演之一设计的标志性电影服装，即在比利·怀尔德的《双重赔偿》(1944)的结尾场景中，伊迪丝·海德为芭芭拉·斯坦威克设计的白色连体裤。
The character of the femme fatale and the visual style of film noir are vital elements in our understanding of that genre. Film costumes worn by the femme fatale are crucial, and are defining elements in genre recognition precisely because of their explicit cinematic visualization, rather than functioning as unequivocal signs. This article proposes a methodology for film costume researchers to conduct a pictorial analysis, without necessarily analysing film costume in terms of a meaning-making repertoire adhering to our understanding of film as a ‘language’. In the proposition of a framework for the close textual analysis of film costumes, the methodology is based on the triangulation of a shot-by-shot description, a wardrobe breakdown and an examination of production stills. This triangulation is crucial to understand the complexity of film costumes, which are defined by a wide-ranging set of factors such as: the film industry’s mode of production, the film costume’s relation to the fashion of its time, the body and star image of the actor, the work of the costume designer and his/her department, and the film-specificity. The ways in which a film costume functions in a specific shot will prove to be an important tool to analyse the pictorial characteristics of film noir and the femme fatale. To exemplify to methodology, this article proposes a close reading of an iconic film costume designed for one of the best-known performances of such a character, i.e. the white jumpsuit designed by Edith Head for Barbara Stanwyck in the closing scene of Billy Wilder’s Double Indemnity (1944).
电影
DOI：
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发表时间：
2009
期刊：
Gombault, Anne et al. (ed.), L'AlphaBEM des Industries Creatives, BEM
影响因子：
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作者：
清水信匡;加登豊;坂口順也;河合隆治;梶原武久;山田仁一郎;加藤司・崔相鐵;山田仁一郎
通讯作者：
山田仁一郎