'Form Follows Fiction: Designing Fred and Ginger'

《虚构之后的形式：设计弗雷德和金杰》研究了电影中的设计以及人员、流程和想法之间的互动。这项研究追溯了设计理论和公众品味的影响，从20世纪30年代RKO的工作室到后来对阿斯泰尔/罗杰斯系列的学术和流行欣赏。这项研究调查了公众品味和对流行设计风格的知识，如流线型和形式跟随功能，对20世纪30年代RKO艺术部的设计决策的影响。这项研究还考虑了到目前为止，制作过程中所做的设计决策对阿斯泰尔/罗杰斯音乐剧欣赏的影响。20世纪30年代是以其独特的装饰风格而闻名的十年，最重要的是装饰艺术、锯齿形现代风格和流线型风格。因此，对这些乐观而别致的设计风格的引用也成为学者和影迷在这部电视剧中的特点：弗雷德和金杰的电影通常被认为是逃避现实的现代社会奇幻的缩影。这项研究将考虑这些假设对流行和学术写作的影响，并将调查这些假设在多大程度上形成了自己的生活。这项研究使用了20世纪30年代的RKO内部期刊，如RKO Radio Flash，以及那个时期的行业报纸和粉丝杂志，以提供设计决定在电影制作和讨论中留下的“痕迹”的证据。这些将通过随后关于阿斯泰尔/罗杰斯、RKO和20世纪30年代电影设计的流行和学术文献进行追溯。运用演员网络理论，该研究认为电影是人类和非人类影响的社会互动或网络。设计涉及到电影的每个阶段，设计师和电影制作人在与材料、工艺和想法的互动中创作电影。因此，需要适当的工具来研究社会关系对这种创造性产品的影响。材料的影响的一个已知例子是特定类型的地板，用来给人一种弗雷德和金格在空中跳舞的印象，他们被简化了，或者仅仅是他们的高度复杂。这项研究考虑了这些解读对后来学者和粉丝创作的影响，从而有助于我们了解工作室设计的起源。演员网络理论有助于映射设计师的自觉意图，以及材料、公众品味或文化习俗对创意的外部和任意影响。它还提供了对产品的决定、材料、工艺和想法的理解，无论它们最初看起来多么微不足道，如何继续影响到今天的解释。

'Form Follows Fiction: Designing Fred and Ginger' is a study of design in cinema and the interaction of personnel, processes and ideas. It traces the influence of design theories and public taste from the studios at RKO in the 1930s out to scholarly and popular appreciation of the Astaire/Rogers series ever since.The study investigates the effect that public taste and knowledge of popular design styles, such as 'streamlining' and 'form follows function', had on the design decisions of the RKO art department in the 1930s. The study also considers the effect that design decisions made in production have had on the appreciation of the Astaire/Rogers musical series up to the present day. The 1930s is a decade known for its characteristic decorative style, most importantly art deco, 'zigzag moderne' and 'streamlining'. As such, references to these optimistic and chic design styles also characterise writing on the series from scholars and cinephiles: Fred and Ginger movies are commonly assumed to be the epitome of escapist Modern society fantasy. This study will consider the effect that these assumptions have had on popular and scholarly writing, and will investigate how far such assumptions develop a life of their own.The study uses RKO in-house journals from the 1930s, such as RKO Radio Flash, as well as trade press and fan magazines from the period, to provide evidence of the 'traces' that design decisions leave in the production and discussion of cinema. These will be traced through subsequent popular and scholarly literature on Astaire/Rogers, RKO and 1930s cinema design in general. Using Actor-Network Theory, the study considers cinema as a social interaction or network of human and non-human influences. Design is involved at every stage of cinema, and designers and filmmakers createfilms in interaction with materials, processes and ideas. Appropriate tools are therefore necessary to study the effect of social relations on such a creative product. A known example of the influence of materials is the particular type of flooring used to give the impression of Fred and Ginger 'dancing on air', of them being 'streamlined', or simply of them being the height of sophistication. The study considers the effect of such interpretations on later writing by scholars and fans, thereby contributing to our knowledge of the origins of studio design.Actor-Network Theory is useful for mapping the conscious intention of designers along with the external and arbitrary effects on creativity made by materials, public taste, or cultural mores. It also offers an understanding of how a production's decisions, materials, processes and ideas, no matter how insignificant they might initially seem, can continue to influence interpretations to the present day.