'Form Follows Fiction: Designing Fred and Ginger'

“形式追随小说：设计弗雷德和金格”是对电影设计以及人员、流程和想法之间的互动的研究。它追溯了设计理论和公众品味的影响，从20世纪30年代的RKO工作室到此后对阿斯泰尔/罗杰斯系列的学术和大众欣赏。这项研究调查了20世纪30年代，公众对流行设计风格（如“流线型”和“形式服从功能”）的品味和知识对RKO艺术部设计决策的影响。该研究还考虑了制作过程中的设计决策对阿斯泰尔/罗杰斯音乐剧系列至今的欣赏效果的影响。20世纪30年代是一个以其独特的装饰风格而闻名的十年，最重要的是装饰艺术，“之字形现代”和“流线型”。因此，这些乐观和时尚的设计风格也成为了学者和电影爱好者在系列文章中的特点：弗雷德和金吉电影通常被认为是逃避现实的现代社会幻想的缩影。本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发展了自己的生活。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刊和粉丝杂志，以提供设计决策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，该研究将电影视为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一个阶段，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。材料影响的一个众所周知的例子是特殊类型的地板，给人的印象是弗雷德和金格“在空中跳舞”，他们是“流线型的”，或者只是他们是高度复杂的。该研究考虑了这种解释对后来学者和粉丝写作的影响，从而有助于我们了解工作室设计的起源。行动者网络理论对于描绘设计师的有意识意图以及材料、公众品味或文化习俗对创造力产生的外部和任意影响非常有用。它还提供了一个生产决策，材料，过程和想法的理解，无论他们最初看起来多么微不足道，可以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.