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

这个博士学位是对电影和电视时期服装制作的创新发展的调查，作为20世纪50年代末至20世纪80年代英国工艺实践的一种独特形式。它的重点是一个明确的，学术的方法来开发和传播的工艺实践在英国艺术学校在这一时期的课程和戏剧设计课程的重要性。关注被忽视的幕后服装制作者，而不是设计师，我将重新将时期服装制作作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，作为“时代准确性”和“真实性”的一部分，对工艺技能的要求越来越高，这项研究将确定这些服装制造商对20世纪70年代和80年代英国电视和电影中的时期戏剧复兴的直接影响。这将是第一项关注时期服装作为重要工艺品的研究，具有自己的制作语言。一种语言，出现在一个小的网络，以前未经研究和高度有影响力的工艺教育家和服装制造商在三个机构：诺拉沃在中央艺术和工艺学院（1950年代至1960年代），迈克尔波普在温布尔登艺术学院在1970年代和让亨尼塞特在伯恩茅斯艺术学院在1980年代。通过研究档案材料，识别和分析现存的作品，以及基础文本，可以揭示这种独特做法的血统及其对英国电视和电影的切实影响。采用物质文化方法，并在文化研究，工艺史，电影和电视和博物馆研究中工作，这种跨学科的研究将扩展和深化时期服装作为学术，工艺和流行文化之间的独特联系点的知识，并对工艺历史和历史剧的解释做出了重大贡献。

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.