Fashion and film stories of (mis)understanding: Introduction to a special issue on cinema and fashion

  1. Díaz Soloaga, Paloma 1
  2. Muñoz Domínguez, Gemma 1
  3. Woodside, Arch G. 2
  1. 1 Complutense University of Madrid, Spain
  2. 2 Boston College, MA, USA
Revista:
Journal of Global Fashion Marketing

ISSN: 2093-2685,  2325-4483

Año de publicación: 2023

Páginas: 1-5

Tipo: Artículo

DOI: 10.1080/20932685.2023.2206411 GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: Journal of Global Fashion Marketing

Resumen

Cinema is the “the Seventh Art” and cinema is valued socially for itsenormous capacity to evoke feelings, awaken consciences, andrepresent the most sublime of the human spirit and soul. Cinemastories are elaborate constructs of narrative, technical and aestheticelements whose result is a final product with the antagonistic abilityto entertain in an alienating way or even change the thinking ofa society regarding a certain issue. Through movies, generationsreceive aesthetic educations: the way of behaving is learned, theway of speaking and dressing is imitated, an atmosphere of the pastis reproduced, trying to represent the Zeitgeist and evoke the greatthemes that oscillate in each society. Without a doubt, the arrival ofcinema into lives in the 20th century marks the ways generationssocialize, while forever changing the transmission of ideas, values,and aesthetics.

Referencias bibliográficas

  • Arriaza-Ibarra, K., & Berumen, R. (2019). MeToo in Spain and France: Stopping the abuse towards ordinary women. Interactions: Studies in Communication & Culture, 10(3), 169–184. https://doi.org/10.1386/iscc.10.3.169_1
  • Barrett, M., & Phillips, A. (2002). Desestabilizar la teoría. Paidós.
  • Butchart, A. (2016). The fashion of film: How cinema has inspired fashion. Hachette.
  • Engelmeier, R., & Engelmeier, P. (Eds.). (1997). Fashion in film. Prestel.
  • Freitas, C., Jordan, H., & Hughes, E. K. (2017). Body image diversity in the media: A content analysis of women’s fashion magazines. Health Promotion Journal of Australia, 29(3), 1–6. https://doi.org/10.1002/hpja.21
  • Ganeva, M. (2018). Film and fashion amidst the ruins of Berlin: From Nazism to the Cold War Rochester. Camden House.
  • Gillis, S., Howie, G., & Munford, R. (Eds.). (2004). Third wave feminism. Palgrave Macmillan.
  • Maeder, E. (1987). Hollywood and history: Costume design in film. Thames and Hudson.
  • Nadoolman Landis, D. (2012). Hollywood costume. Harry N. Abrams Inc. Victoria & Albert Museum.
  • Studlar, G. (2013). Precocious charms stars performing girlhood in classical Hollywood cinema. University of California Press.
  • Tello Díaz, L. (2016). La ’mirada femenina’: estereotipos y roles de género en el cine español (1918- 2015). Ámbitos Revista Internacional de Comunicación, 34(34), 1–17. https://doi.org/10.12795/Ambitos.2016.i34.05
  • Treviños-Rodríguez, D., & Díaz-Soloaga, P. (2021). La imagen femenina en tiempos del #metoo: publicidad de moda, perfume y cosmética. El profesional de la información, 30(2), e300205. https://doi.org/10.3145/epi.2021.mar.05
  • Uhlirova, M. (2022). On fire: When fashion meets cinema. In K. Stevens (Ed.), The Oxford handbook of film theory.
  • Volonté, P. (2019). Modelling practice: The inertia of body ideals in the fashion system. Sociologica, 13(3), 11–26. https://doi.org/10.6092/issn.1971-8853/9490