Archaeology of Fashion Film

这项研究项目首次系统地调查了1900至1929年间无声时代时尚电影隐藏的历史，以及它为当今快速变化的时尚传播领域留下的遗产，无论是在英国还是在全球。它认为时尚电影是两个行业的独特混合体，具有不同的做法、资源和动机。它的跨学科方法为理解这一日益流行的重要现象提供了一个新的历史和理论框架。为此，该项目汇集了电影史、时尚史和媒体研究方面的综合专业知识的学者，以及参与当代时尚电影制作各个方面的从业者。对时尚电影的研究在电影史和时尚史上都被忽视了，在时尚界，它往往被认为是数字时代的新产品。该项目通过对无声时代的时尚电影进行广泛的档案和电影研究来纠正这一点，并将这些发现与21世纪初新兴的数字时尚电影的做法进行比较-21世纪初是另一个快速技术和文化变革的时期。我们使用“媒体考古学”作为一种创新的、非线性的方法来连接这两个时期。尽管在历史上并不接近，但每个时期都是理解对方的关键棱镜。更广泛地说，我们还将调查媒体考古学方法的潜力，以重新连接已建立的时尚历史方法，并为当代时尚实践提供信息。该项目首次强调电影对这两个时期时尚的变革作用，建立了对电影作为一种“时尚媒介”和“时尚对象”的新理解。它将对时尚史、电影史和时尚电影史的学术研究做出重大贡献，并将改变当代时尚电影制作人和其他媒体从业者对其学科历史以及他们自己的创作和商业工作背景的理解。该项目团队设在伦敦艺术大学的中央圣马丁和南安普顿大学的温彻斯特艺术学院。该项目的方法涵盖时尚历史和理论、电影研究中的时尚和媒体考古学。专门的艺术学校环境非常适合这个项目，因为它的研究活动经常将历史和理论研究与艺术和设计实践结合起来。该团队将与AnOther.com(英国领先的国际媒体平台Daze Media拥有的、专注于文化、时尚和生活方式的有影响力的在线杂志)、英国电影学院(英国最重要的电影和运动图像收集、保存、展览和推广机构)、英国时尚协会(在全球市场促进英国时尚设计和媒体的国家组织)、萨默塞特宫(总部设在伦敦的主要艺术和文化中心)和莫拉夫斯卡画廊(捷克共和国的主要国家美术馆)密切合作，以确保广泛的产出和影响，和广泛的传播。这些产出包括：讲习班，当代媒体平台上的展示，一个会议，在萨默塞特之家和莫拉夫斯卡画廊，布尔诺，面向公众的放映和讨论活动的历史时尚电影的国际巡展，以及几个出版物：一本伴随展览的专著，一本记录学者和媒体行业从业人员之间的对话的书，以及一本《视觉文化杂志》特刊。

This research project is the first to systematically investigate the hidden history of fashion film in the silent era between 1900 and 1929, and its legacy for the rapidly changing field of fashion communications today, both in the UK and globally. It posits fashion film as a unique hybrid of two industries with distinct practices, resources, and motivations. Its interdisciplinary approach provides a new historical and theoretical framework for understanding this important and increasingly popular phenomenon. To that end, the project brings together scholars with combined expertise in film history, fashion history and media studies, and practitioners involved in various aspects of contemporary fashion film production. The study of fashion film has been neglected in both film and fashion histories, and in the fashion industry it is often assumed to be a novel product of the digital age. The project redresses this by conducting extensive archival and filmographic research into fashion film of the silent era, and by subjecting these findings to a comparison with the practices of emergent digital fashion film in the early 21st century - another period of rapid technological and cultural change. We use 'media archaeology' as an innovative, non-linear method of connecting these two periods. Although not historically proximate, each period acts as a critical prism for understanding the other. More broadly, we will also investigate the potential of media archaeology approaches to 'rewire' established fashion history methodologies and to inform contemporary fashion practice.Emphasising for the first time the transformative effects of film on fashion in both periods, the project forges a new understanding of film as a 'fashion medium' and as a 'fashion object'. It will make a major contribution to scholarly studies of the history of fashion, of film, and of fashion film, and will change how contemporary fashion filmmakers and other media practitioners understand the history of their discipline and the context for their own creative and commercial work.The project team is based at Central Saint Martins, University of the Arts London, and Winchester School of Art, University of Southampton. The project's methods span fashion history and theory, fashion in film studies and media archaeology. The specialist art school environment is a singularly appropriate milieu for this project because its research activities regularly combine historical and theoretical research with art and design practice. The team will work closely in partnership with AnOther.com (an influential online magazine owned by Dazed Media, a leading UK-based international media platform with a focus on culture, fashion and lifestyle), the British Film Institute (the UK's foremost body for the collection, preservation, exhibition and promotion of film and the moving image), the British Fashion Council (the national organisation for the promotion of British fashion design and media in a global market), Somerset House (a major arts and cultural centre based in London) and Moravska Galerie Brno (a major national arts museum in the Czech Republic) to ensure a broad range of outputs and impacts, and wide dissemination. The outputs include: workshops, a showcase on a contemporary media platform, a conference, an international touring exhibition of historical fashion film at Somerset House and Moravska Galerie, Brno, public-facing screenings and discussion events, and several publications: a monograph accompanying the exhibition, a book documenting the conversations between academics and media industry practitioners, and a special issue of the Journal of Visual Culture.