Period Costume Making in British Art Schools from the late 1950s and its impact on British Television & Film Dramas

20 世纪 50 年代末英国艺术学校的时代服装制作及其对英国电视的影响

• 批准号: 2859182
• 金额: --
• 依托单位: Kingston University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2859182
• 关键词: Period; Costume; Making; British; Art

This PhD is an investigation into innovative developments of period costume making for film and television as a distinct form of craft practice in Britain from the late 1950s to the 1980s. It focuses on the importance of a defined, scholarly approach to the craft practice developed and disseminated by Costume and Theatre Design courses at British Art schools during this period. Focusing on the overlooked, back-room costume maker, rather than the designer, I will recontextualise period costume making as a unique craft practice that existed outside of the confines of modernist craft discourse. Developing in parallel with new performance technologies that increasing demanded craft skills as part of 'period accuracy' and 'authenticity', the research will identify the direct impact of these costume makers on the period drama revivals of the 1970s and 1980s in British Television and Film.This will be the first study to focus on period costumes as important craft objects, with their own language of making. A language that emerged from a small network of previously unresearched and highly influential craft educators and costume makers at three institutions: Norah Waugh at Central School of Arts and Crafts (1950s -1960s), Michael Pope at Wimbledon School of Art in the 1970s and Jean Hunnisett at Bournemouth School of Art in the 1980s. By studying archival material, identifying and analysing extant work, alongside foundational texts, it is possible to uncover the lineage of this unique practice and its tangible impacts on British Television and Film.Employing material culture methods and working across Cultural Studies, Craft History, Film and Television and Museum Studies, this interdisciplinary study will extend and deepen knowledge of period costume as a unique nexus point between scholarship, craft and popular culture, and make a significant contribution to craft histories and interpretation of period dramas.

这一博士学位是对20世纪50年代末至80年代英国作为一种独特的手工艺实践形式的电影和电视时期服装制作的创新发展的调查。它侧重于在这一时期英国艺术学校的服装和戏剧设计课程开发和传播的工艺实践中，明确的、学术的方法的重要性。聚焦于被忽视的幕后服装制造者，而不是设计师，我将把那个时代的服装制作重新设置为一种独特的工艺实践，存在于现代主义工艺话语的范围之外。随着新的表演技术的发展，人们对工艺技能的要求越来越高，这项研究将确定这些服装制作人对20世纪70年代和80年代英国电视和电影中的历史剧复兴的直接影响。这将是第一次将时代服装作为重要的工艺品进行研究，并使用他们自己的制作语言。这门语言是从三个机构的一个小网络中产生的，这些人以前没有进行过研究，而且非常有影响力的手工艺教育者和服装制造商：中央工艺美术学院的诺拉·沃(20世纪50年代至60年代)，温布尔登艺术学院的迈克尔·波普(Michael Pope)，20世纪70年代，以及伯恩茅斯艺术学院的让·亨尼塞特(Jean Hunnisett)。通过研究档案材料，识别和分析现存的作品，以及基本文本，有可能揭示这种独特做法的谱系及其对英国电视和电影的切实影响。运用物质文化方法，跨文化研究、手工艺历史、电影电视和博物馆研究，这一跨学科研究将扩展和深化对作为学术、手艺和流行文化之间独特连接点的时代服装的知识，并对手工艺历史和对时代戏剧的解释做出重大贡献。