Film Costumes in Action: Design, Production and Performance Cultures in British Film, 1965-2015

《行动中的电影服装》调查了20世纪60年代以来英国电影文化中电影服装是如何设计、制作和传播的。在设计、制造、筛选和发行后消费的过程中，涉及到不同类型的专业知识。这些元素相互联系，我们使用“服装之旅”的概念来映射这种专业知识。设计;2制作;3拍摄;4检查。项目团队将结合电影、从业者访谈和材料来源，研究服装是如何设计的、面料的选择、演员和其他人在服装选择中的角色、服装在哪里制作和储存，以及如何拍摄和向观众推销。然后，通过与策展人、服装从业者和文化遗产部门合作，我们将开发一系列成果，以保护这段历史，并将其提供给不同的受众。我们的目标是提高人们对服装制作过程中无数工作流程和工艺技能的认识、理解和欣赏，突出服装团队在电影成功创作中的重要投入，并通过在新的方向上扩展电影遗产的概念，对电影制片人和观众产生影响。这一点很重要，也很必要，因为服装在电影形象中扮演着核心角色，作为叙事和人物塑造的视觉速记。它的重要性得到了公众的认可，参观V&A博物馆的人数创下了纪录，使其“好莱坞服装”展览（2012-13）成为该博物馆近年来最受欢迎的展览之一。然而，人们对服装是如何创作、制作、拍摄和制作成电影表演的知之甚少。学术界的主流观点是，服装是与叙事“紧密结合”在一起的，而不是将人们的注意力吸引到服装本身，这种观点将人们的注意力从支撑服装制作和表演的工作上转移开。此外，女性在服装行业的优势，以及它与时尚/消费主义的联系，已经削弱了对这一主题的认真参与，在生产等级制度中，奖学金给予导演和其他多数男性角色特权。这使得人们对服装设计、服装制作及其工艺技能的细节知之甚少。因此，生产历史是贫乏的，既定的生产等级制度没有受到挑战。本项目以英国电影为案例，对服装制作团队的工艺技能和工作流程进行还原、分析和展示。不同于好莱坞的片场服装部门蓬勃发展，英国电影公司将原创设计与从专业服装公司（天使）租赁的服装结合在一起，并将现成的服装改编成电影。在这种混合经济中，英国在工艺技能和时期专业知识方面获得了声誉，英国培养的设计师，尤其是女性，从1965年开始在国际上变得越来越突出。有几位获得了多项英国电影学院奖和奥斯卡奖（桑迪·鲍威尔，《宠儿》；珍妮·比文，《疯狂的麦克斯：狂暴之路》，杰奎琳·杜兰，《小妇人》），并被公认为行业领袖。我们的重点包括“现代”、“历史”和“幻想”三种主要的服装类型——由从业者定义为服装生产的主要类别——范围超过50年（1965-2015）。我们从许多电影中提取案例研究，包括公认的经典电影《看得见风景的房间》（1985）和《国王的演讲》（2010），以及不太知名的电影如《天鹅绒金矿》（1998）和《月亮》（2009），选择来研究服装之旅的不同表现形式。我们的抱负是双重的；提高英国主导的服装设计和制作在国内和国际上的知名度和鉴赏力，并倡导扩大银幕遗产、过去、现在和未来的概念。

Film Costumes in Action investigates how costumes for film are designed, made and disseminated in British film culture from the 1960s onwards. Different types of professional expertise are involved in the processes of design, manufacture, screening and post-release consumption. These elements inter-lock and we use our concept of 'the costume journey' to map this expertise across 1. Design; 2 Making; 3 Shooting; 4 Screening. Drawing together films, practitioner interviews and material sources, the project team will research how costumes are designed, fabrics selected, the role of actors and others in costume choice, where costumes are made and stored, and how they are filmed and marketed to audiences. Then, by working in partnership with curators, costume practitioners and the cultural heritage sector, we will develop a range of outputs to preserve this history and make it available to diverse audiences. Our goal is to increase the visibility, understanding and appreciation of the myriad work processes and craft skills underpinning the costume journey, highlight the significant input of the costume team in the successful creation of film, and have an impact on film programmers and audiences by expanding notions of screen heritage in new directions.This is important and necessary because costume plays a central role in film imagery, operating as a visual shorthand through which narrative and characterisation are constructed. Its significance is recognised by the general public whose record visitor numbers to the V&A made its 'Hollywood Costume' exhibition (2012-13) one of the most popular in the museum's recent history. Yet little is known about how costumes are created, made, shot and crafted into film performances. The prevailing approach in scholarship is that costumes are 'stitched into' narrative rather than drawing attention to themselves, an idea which shifts attention away from the work underpinning their production and performance. Moreover, the preponderance of women in the costume profession, and its associations with fashion/consumerism, has detracted from serious engagement with the subject, with scholarship privileging directors and other majority-male roles in the production hierarchy. This has left the specifics of costume design, costume making and its craft skills poorly understood. Consequently, production histories are impoverished and established production hierarchies go unchallenged. This project uses British film as the case study through which to recover, analyse and make visible the craft skills and work processes of the costume team. Unlike Hollywood, where in-studio costume departments flourished, British film companies mixed original design with rentals from specialist costume houses (Angels), and ready-mades adapted for the screen. From this mixed economy Britain developed a reputation for craft skills and period expertise with British-trained designers, especially women, becoming increasingly prominent internationally from 1965 onwards. Several have won multiple BAFTAs and Academy Awards (Sandy Powell, The Favourite; Jenny Beavan OBE Mad Max: Fury Road, Jacqueline Durran, Little Women) and are recognised as industry leaders.Our focus encompasses the three main costume types of 'modern', 'historical' and 'fantasy' - defined by practitioners as the main categories of costume production - and ranges over a period of 50 years (1965-2015). We draw case studies from a number of films including recognised classics A Room With A View (1985) and The King's Speech (2010), alongside lesser-known films such as Velvet Goldmine (1998) and Moon (2009), chosen to examine different manifestations of the costume journey. Our ambition is two-fold; to raise the profile and appreciation of British-led costume design and making, nationally and internationally, and champion expanded notions of screen heritage, past, present and future.