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Italian style : fashion & film from early cinema to the digital age /
"Provides an historical and theoretical framework to understand the different typologies and meanings of costume in film, going beyond content and identity of a character"--
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
New York :
Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc.,
2016.
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| Colección: | Topics and issues in national cinema ;
v. 5. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- FC; Topics and Issues in National Cinema; Title; Copyright; Contents; List of Illustrations; Acknowledgments; 1 Fashion, Film, Modernity; Nostra Dea: the goddess of fashion; Pirandello, cinema, and clothing: elective affinities; "The Tight Frock-Coat": performing dress; Film, costume, fashion, and intermediality; Italian style: fashion and film; 2 Italian Fashion and Film in the 1910s: From the Futurists to Rosa Genoni; The Futurists, fashion, film, and performance; Rosa Genoni: Per una moda italiana: fashioning the diva; 3 From the Body of the Diva to the Body of the Nation.
- The Italian divas and the "gowns of emotions"Lyda Borelli (1887-1959): the ethereal melancholic beauty and Ma l'amore mio non muore! (love everlasting); The veil: modernity in motion in Nino Oxilia's Rapsodia Satanica; Francesca Bertini (1892-1985): the glamorous embodied; Nino Oxilia's Sangue Bleu (1914) and Gustavo Serena's Assunta Spina (1915); Pina Menichelli (1890-1981): "the other woman" and the end of an era; 4 Fashion, Film, Modernity, under Fascism; Fashion in motion: the LUCE newsreels; Rhythms of the modern city: fashion in Corrado D'Errico's Stramilano (1929).
- Contessa di Parma (Alessandro Blasetti, 1937): a manifesto for the promotion of Italian fashion and Turin as a fashion cityGrandi Magazzini (1939, Mario Camerini): fashion consumption, gender roles, and work in Milan; Epilogue: towards a new dawn; 5 Launching Italian Style in Cinema and Fashion: The Films of Michelangelo Antonioni; The fabric of film: Sette canne, un vestito (1949); The 1950s: Cronaca di un amore, La signora senza camelie and Le amiche; The fashion show in Cronaca: a narrative mise en abyme; "Was I a good femme fatale?" (Lucia Bosè (Clara) in La signora senza camelie).
- The fashion show in Le amiche: the end of the gameThe 1960s: from costume to fashion. L'Avventura and beyond; Outsiders, doubles, wanderers; Conclusion: a visual tactility; 6 Rome, Fashion, Film; From "Hollywood on the Tiber" to La Dolce Vita; Rome as a fashion city in the postwar years; La Dolce Vita; La Dolce Vita and its discontents; Roma (Fellini, 1971): space and time; The broken watch of history; The ecclesiastical fashion show; 7 After La Dolce Vita: La Grande Bellezza (2013) by Paolo Sorrentino; Fashion, film, and Rome today: national identity revisited; Appendices.
- The Photographic Archive by Giuseppe Palmas (1918-1977)Interview with Fernanda Gattinoni, Rome, June 16, 2000; Dressing the Dreams: Interview with Dino Trappetti-Tirelli Costumi Rome, December 2015; Interview with Teresa Allegri, founder of Annamode, Rome, Fondazione Annamode, June 6, 2013; Adriana Berselli; Some notes on the set of L'avventura (1960) by Michelangelo Antonioni; "Cesare Attolini" and La Grande Bellezza: Interview with Massimiliano Attolini, Son of Cesare and Grandson of Vincenzo, Founder of the Sartoria; Selected Bibliography; Filmography; Index; Plates.