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

电影服装在行动调查如何服装的电影设计，制作和传播在英国电影文化从1960年代起。在设计、制造、筛选和放行后消费的过程中涉及不同类型的专业知识。这些元素相互关联，我们使用我们的“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放映。汇集电影，从业者访谈和材料来源，项目团队将研究服装如何设计，面料选择，演员和其他人在服装选择中的作用，服装制作和储存的地方，以及它们如何拍摄和销售给观众。然后，通过与策展人，服装从业者和文化遗产部门合作，我们将开发一系列产品，以保护这段历史，并将其提供给不同的观众。我们的目标是增加对支撑服装之旅的无数工作流程和工艺技能的可见性、理解和欣赏，突出服装团队在成功创作电影中的重要投入，并通过在新的方向上扩展屏幕遗产的概念来对电影程序员和观众产生影响。这是重要和必要的，因为服装在电影图像中起着核心作用，作为一种视觉速记，通过它来构建叙事和人物塑造。它的重要性得到了公众的认可，V&A的创纪录游客数量使其“好莱坞服装”展览（2012-13）成为博物馆近代史上最受欢迎的展览之一。然而，人们对服装是如何被创造、制作、拍摄和制作成电影表演的却知之甚少。学术界的主流观点是，服装被“缝合”到叙事中，而不是吸引人们对服装本身的注意，这种观点将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，已经从认真参与这一主题，与学术支持董事和生产层次中的其他主要男性角色。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研究，通过还原、分析和展示服装团队的工艺技能和工作流程。与好莱坞不同的是，在那里工作室服装部门蓬勃发展，英国电影公司将原创设计与专业服装公司（天使）的租金混合在一起，并为屏幕改编了现成的服装。从这种混合经济中，英国发展了工艺技能和英国训练的设计师，特别是女性的专业知识的声誉，从1965年开始在国际上变得越来越突出。其中几位获得了多项英国电影学院奖和奥斯卡奖（桑迪鲍威尔，最喜爱的;珍妮比万OBE疯狂的麦克斯：Fury Road，Jacqueline Durran，Little Women），并被公认为行业领导者。我们的重点包括“现代”，“历史”和“幻想”--被从业者定义为服装制作的主要类别--跨度超过50年（1965-2015年）。我们从一些电影中汲取案例研究，包括公认的经典之作《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），选择这些电影来研究服装之旅的不同表现。我们的雄心是双重的;提高英国主导的服装设计和制作的形象和欣赏，在国内和国际上，并支持扩大屏幕遗产的概念，过去，现在和未来。

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.