100 Years of the Fashion Film: Frameworks and Histories
100 Years of the Fashion Film: Frameworks and Histories
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时尚电影 100 年：框架和历史
DOI：
10.2752/175174113x13541091797562
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发表时间：
2013
期刊：
影响因子：
--
通讯作者：
Marketa Uhlirova
中科院分区：
文献类型：
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作者：
Marketa Uhlirova
摘要本文概述了时尚电影的初步历史，一个多方面的形式，可以追溯到电影的出现，但最近才“爆炸”由于数字图像制作和传播的进步。本文将时尚电影作为一种必须在电影与新媒体、时尚产业、娱乐和艺术实践等多重框架内加以考虑的形式进行了细致的探讨。最重要的是，在时尚推广、形象制作和体验领域，时尚电影对运动和时间的表现力和营销可能性越来越感兴趣。与摄影和其他静态图像不同，时尚电影在时间中展开（好像以某种方式实现了只有在摄影或插图中才能暗示的潜力），而且，与时装秀不同，它将时尚固定为图像。尽管如此，时尚电影在这里并不是孤立于这些形式之外，而是通过它们的中间联系来理解的，这种联系在“数字时代”得到了加强：时装秀是时尚电影展览的重要早期平台之一，时尚摄影师在21世纪初是它们的主要制作人。
Abstract This article outlines a preliminary history of the fashion film, a multifaceted form that can be traced as far back as the emergence of cinema but has only recently “exploded” thanks to advances in digital image production and dissemination. The article carefully negotiates the fashion film as a form that must be considered within multiple frameworks, namely cinema and the new media, fashion industry, entertainment, and art practice. Above all, the fashion film has come to embody a growing interest, within the realms of fashion promotion, image-making, and experience, in the expressive and marketing possibilities of movement and time. Unlike photography and other static imagery, the fashion film unfolds in time (as if somehow fulfilling a potential only suggested in photography or illustration), and, unlike the fashion show, it fixes fashion as image. Still, the fashion film is understood here not in isolation from these forms, but rather through their intermedial links, which have intensified in the “digital age”: fashion shows were among the vital early platforms for the exhibition of the fashion film, and fashion photographers were in the early 2000s their principal producers.