Anna Dahlgren
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526126641
- eISBN:
- 9781526139016
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526126641.001.0001
- Subject:
- Art, Art History
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 ...
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Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.Less
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.
Felicity Chaplin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781526109538
- eISBN:
- 9781526128263
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526109538.001.0001
- Subject:
- Film, Television and Radio, Film
While there have been significant contributions on la Parisienne in the fields of art history, fashion theory and culture, and cultural history, little is written on her appearance and function in ...
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While there have been significant contributions on la Parisienne in the fields of art history, fashion theory and culture, and cultural history, little is written on her appearance and function in cinema. This book is an attempt to address this gap in scholarship by examining the figure of la Parisienne in cinema.
The approach of this book is threefold: textual (the films), contextual (the history of the representations of the Parisienne type), and intertextual (the relationship between the films and other texts such as novels and paintings, extending to the star persona of the actress). However the overarching methodology of this book is iconographical, tracing the historical prefigurations of la Parisienne in the art, literature, and mass culture of nineteenth-century France.
The findings of this book are both general (la Parisienne as a cultural type) and specific (la Parisienne as a she appears in different films). La Parisienne can be defined as a figure of French modernity, understood both in its technological and cultural sense, and is recognisable in terms of six interconnected categories: art, cosmopolitanism, fashion, danger, prostitution, and stardom.
These categories reveal the way the Parisienne type is constantly evolving while at the same time possessing a set of recognisable motifs. By connecting the films discussed in this book to a cultural tradition to which they may not at first appear to belong, this book not only enriches our understanding of these films, it also offers new analytical and interpretative perspectives.Less
While there have been significant contributions on la Parisienne in the fields of art history, fashion theory and culture, and cultural history, little is written on her appearance and function in cinema. This book is an attempt to address this gap in scholarship by examining the figure of la Parisienne in cinema.
The approach of this book is threefold: textual (the films), contextual (the history of the representations of the Parisienne type), and intertextual (the relationship between the films and other texts such as novels and paintings, extending to the star persona of the actress). However the overarching methodology of this book is iconographical, tracing the historical prefigurations of la Parisienne in the art, literature, and mass culture of nineteenth-century France.
The findings of this book are both general (la Parisienne as a cultural type) and specific (la Parisienne as a she appears in different films). La Parisienne can be defined as a figure of French modernity, understood both in its technological and cultural sense, and is recognisable in terms of six interconnected categories: art, cosmopolitanism, fashion, danger, prostitution, and stardom.
These categories reveal the way the Parisienne type is constantly evolving while at the same time possessing a set of recognisable motifs. By connecting the films discussed in this book to a cultural tradition to which they may not at first appear to belong, this book not only enriches our understanding of these films, it also offers new analytical and interpretative perspectives.
Elizabeth A. Wissinger
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780814794180
- eISBN:
- 9780814794197
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814794180.003.0006
- Subject:
- Sociology, Gender and Sexuality
In this chapter, I explore the significance of increasingly stringent and exigent dieting, exercise, and surgery advice from the 1970s onward, highlighting how self-altering practices were cast as a ...
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In this chapter, I explore the significance of increasingly stringent and exigent dieting, exercise, and surgery advice from the 1970s onward, highlighting how self-altering practices were cast as a means to become an acceptable member of society. It explores how the model became the ideal for the whole population. Simultaneously, however, the body’s vitality and mutability also came to be favored, as a biopolitics of beauty emerged, organizing and regulating publics at the level of population, as a standing reserve, always already in need of enhancement and optimization, ready for a close-up, in need of that makeover. In tandem with these developments, modeling work took on characteristics that prompted some of my respondents to refer to it as “the life,” a state of working that felt to many like having to be “on” all the time. In the transition from day job to total lifestyle, playing the role of being a model—sashaying about in crinolines, carrying a hatbox containing waist cinchers and war paints (the badge of the model’s trade), while ducking into movie theaters to make oneself scarce between calls—gave way to the casual street chic, “I only dress up on the runway” attitude of today, where models live the part, hiding the effort required to make looking glamourous seem easy and like something everyone should do.Less
In this chapter, I explore the significance of increasingly stringent and exigent dieting, exercise, and surgery advice from the 1970s onward, highlighting how self-altering practices were cast as a means to become an acceptable member of society. It explores how the model became the ideal for the whole population. Simultaneously, however, the body’s vitality and mutability also came to be favored, as a biopolitics of beauty emerged, organizing and regulating publics at the level of population, as a standing reserve, always already in need of enhancement and optimization, ready for a close-up, in need of that makeover. In tandem with these developments, modeling work took on characteristics that prompted some of my respondents to refer to it as “the life,” a state of working that felt to many like having to be “on” all the time. In the transition from day job to total lifestyle, playing the role of being a model—sashaying about in crinolines, carrying a hatbox containing waist cinchers and war paints (the badge of the model’s trade), while ducking into movie theaters to make oneself scarce between calls—gave way to the casual street chic, “I only dress up on the runway” attitude of today, where models live the part, hiding the effort required to make looking glamourous seem easy and like something everyone should do.
Canter Brown and Larry Eugene Rivers
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780813061146
- eISBN:
- 9780813051420
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061146.003.0014
- Subject:
- Literature, 19th-century and Victorian Literature
The afterword summarizes the high points of Mary Edwards Bryan’s life from the 1880 publication of Manch until her death at Clarkston, Georgia, in 1913. The authors assess the impact upon Mary of a ...
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The afterword summarizes the high points of Mary Edwards Bryan’s life from the 1880 publication of Manch until her death at Clarkston, Georgia, in 1913. The authors assess the impact upon Mary of a series of suicides and natural deaths among close friends and relations and her subsequent determination to depart the South for New York. Detailing her prodigious writing and editing accomplishments and attendant celebrity in New York and Atlanta, the authors treat publisher George Munro (later George Munro's Sons) and his Fireside Companion and New York Monthly Fashion Bazar, John Seals and The Sunny South, and Joel Chandler Harris and Uncle Remus's Magazine. The authors note Mary's increasing lack of satisfaction with her own writing product, particularly underscoring the relative lack of success she enjoyed with her second novel Wild Work, which attempted objective treatment of the Coushatta Massacre. They also observe details of Bryan's personal and family life, the persistence of scandal in her social interactions, and the death of husband Iredell while evaluating the circumstances and importance of her effort to return to Florida for winters at the Indian River resort town, Coquina. Mary’s biography closes on details of her death and discussion of her professional legacies.Less
The afterword summarizes the high points of Mary Edwards Bryan’s life from the 1880 publication of Manch until her death at Clarkston, Georgia, in 1913. The authors assess the impact upon Mary of a series of suicides and natural deaths among close friends and relations and her subsequent determination to depart the South for New York. Detailing her prodigious writing and editing accomplishments and attendant celebrity in New York and Atlanta, the authors treat publisher George Munro (later George Munro's Sons) and his Fireside Companion and New York Monthly Fashion Bazar, John Seals and The Sunny South, and Joel Chandler Harris and Uncle Remus's Magazine. The authors note Mary's increasing lack of satisfaction with her own writing product, particularly underscoring the relative lack of success she enjoyed with her second novel Wild Work, which attempted objective treatment of the Coushatta Massacre. They also observe details of Bryan's personal and family life, the persistence of scandal in her social interactions, and the death of husband Iredell while evaluating the circumstances and importance of her effort to return to Florida for winters at the Indian River resort town, Coquina. Mary’s biography closes on details of her death and discussion of her professional legacies.
Des O’Rawe
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780719099663
- eISBN:
- 9781526104137
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099663.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter discusses William Klein’s filmmaking in relation to his photography, and how he has used documentary forms to investigate the relations between time and movement, image and montage. The ...
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This chapter discusses William Klein’s filmmaking in relation to his photography, and how he has used documentary forms to investigate the relations between time and movement, image and montage. The chapter also looks at how Klein negotiates his identity as an American in Paris who has, nevertheless, remained artistically and politically attached to the USA, especially New York City. Some of Klein’s most iconic street photographs were taken in 1950s, in the streets of his childhood, and – as the chapter elucidates – much of his documentary filmmaking has involved expeditions into American culture in the second half of the twentieth century. In examining the various aesthetic and cultural issues provoked by Klein’s films, it also suggests a correspondence between his work and Roland Barthes’ intellectual project.Less
This chapter discusses William Klein’s filmmaking in relation to his photography, and how he has used documentary forms to investigate the relations between time and movement, image and montage. The chapter also looks at how Klein negotiates his identity as an American in Paris who has, nevertheless, remained artistically and politically attached to the USA, especially New York City. Some of Klein’s most iconic street photographs were taken in 1950s, in the streets of his childhood, and – as the chapter elucidates – much of his documentary filmmaking has involved expeditions into American culture in the second half of the twentieth century. In examining the various aesthetic and cultural issues provoked by Klein’s films, it also suggests a correspondence between his work and Roland Barthes’ intellectual project.
Elizabeth A. Wissinger
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780814794180
- eISBN:
- 9780814794197
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814794180.003.0003
- Subject:
- Sociology, Gender and Sexuality
In this chapter, I explore how the fashion show changed as television and the Internet, systems for gridding affectivity for profit, spread, by tracking these changes from Charles Frederick Worth’s ...
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In this chapter, I explore how the fashion show changed as television and the Internet, systems for gridding affectivity for profit, spread, by tracking these changes from Charles Frederick Worth’s innovative use of live mannequins to the “disdainful beauties” of the 1950s, to Mary Quant’s wild leap into the future when she recruited photographic models for the runway in the 1960s to, finally, the supermodels’ celebrity and the ensuing everydayness of fashion.Less
In this chapter, I explore how the fashion show changed as television and the Internet, systems for gridding affectivity for profit, spread, by tracking these changes from Charles Frederick Worth’s innovative use of live mannequins to the “disdainful beauties” of the 1950s, to Mary Quant’s wild leap into the future when she recruited photographic models for the runway in the 1960s to, finally, the supermodels’ celebrity and the ensuing everydayness of fashion.
Elizabeth A. Wissinger
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780814794180
- eISBN:
- 9780814794197
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814794180.003.0007
- Subject:
- Sociology, Gender and Sexuality
While the general public engages in varying levels of it, the models and modeling professionals I spoke to for this study claimed they felt as though they were never off duty and were always at work ...
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While the general public engages in varying levels of it, the models and modeling professionals I spoke to for this study claimed they felt as though they were never off duty and were always at work to produce the right “look” in person, in photographs, and online. Model agents made it clear that it matters where models live, where they eat and shop, and on which airline they travel. As this chapter explores, some respondents reported being told explicitly by their agents they had to put on the show all the time, even if they were just running around the corner to do an errand, mindful of the impression they might make as they are out and about, conscious of their online image created by the photos snapped of them in fashionable neighborhoods or at social events and posted to blogs or websites dedicated to documenting the modeling world. It seems like a lot of work, but models who really want to “make it” report trying to make it look fun to be exposed in this way, to be “on” all the time, to be out there in the spotlight, as often as humanly possible.Less
While the general public engages in varying levels of it, the models and modeling professionals I spoke to for this study claimed they felt as though they were never off duty and were always at work to produce the right “look” in person, in photographs, and online. Model agents made it clear that it matters where models live, where they eat and shop, and on which airline they travel. As this chapter explores, some respondents reported being told explicitly by their agents they had to put on the show all the time, even if they were just running around the corner to do an errand, mindful of the impression they might make as they are out and about, conscious of their online image created by the photos snapped of them in fashionable neighborhoods or at social events and posted to blogs or websites dedicated to documenting the modeling world. It seems like a lot of work, but models who really want to “make it” report trying to make it look fun to be exposed in this way, to be “on” all the time, to be out there in the spotlight, as often as humanly possible.
Kam Louie (ed.)
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9789888083794
- eISBN:
- 9789882209060
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888083794.003.0005
- Subject:
- Literature, World Literature
Eileen Chang's fiction and essays show us an intricate relationship between the quotidian, gender and literary imagination. Similar to what Walter Benjamin calls “profane illumination,” her literary ...
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Eileen Chang's fiction and essays show us an intricate relationship between the quotidian, gender and literary imagination. Similar to what Walter Benjamin calls “profane illumination,” her literary inspirations are drawn from the materialistic and anthropological dimensions in the mundane realm of everyday life. On the one hand, her feminine writings about clothing display Shanghai as a phantasmagoria in the perpetual process of innovation and destruction. On the other hand, her secular reflections can be traced to an ancient memory of Chinese antiquity without the celebration of a sense of youthfulness and freshness that characterizes Western modernist literature. Questioning the gendered space of everyday life, her writings, which deal with both the historical and the philosophical, destabilize the binary thinking of female sensibility and masculine sublimity.Less
Eileen Chang's fiction and essays show us an intricate relationship between the quotidian, gender and literary imagination. Similar to what Walter Benjamin calls “profane illumination,” her literary inspirations are drawn from the materialistic and anthropological dimensions in the mundane realm of everyday life. On the one hand, her feminine writings about clothing display Shanghai as a phantasmagoria in the perpetual process of innovation and destruction. On the other hand, her secular reflections can be traced to an ancient memory of Chinese antiquity without the celebration of a sense of youthfulness and freshness that characterizes Western modernist literature. Questioning the gendered space of everyday life, her writings, which deal with both the historical and the philosophical, destabilize the binary thinking of female sensibility and masculine sublimity.
Monica Titton
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474419475
- eISBN:
- 9781474444699
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474419475.003.0004
- Subject:
- Film, Television and Radio, Film
The essay analyses fashion blogs as discursive and performative sites for the dissemination and production of fashion and provides a critical analysis of the processes of authorship, identity and ...
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The essay analyses fashion blogs as discursive and performative sites for the dissemination and production of fashion and provides a critical analysis of the processes of authorship, identity and persona construction from a feminist perspective. It also traces the recent cultural-historical developments, which have paved the way for the representation of identity and selfhood performed and displayed on fashion blogs. The author discusses continuities and dis-continuities in written and visual female authorship from the 1960s to the present.Less
The essay analyses fashion blogs as discursive and performative sites for the dissemination and production of fashion and provides a critical analysis of the processes of authorship, identity and persona construction from a feminist perspective. It also traces the recent cultural-historical developments, which have paved the way for the representation of identity and selfhood performed and displayed on fashion blogs. The author discusses continuities and dis-continuities in written and visual female authorship from the 1960s to the present.
Myra S. Washington
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496814227
- eISBN:
- 9781496814265
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496814227.003.0003
- Subject:
- Sociology, Race and Ethnicity
Kimora Lee Simmons’s career as a fashion model and media figure offers an alternative reading of Blasians as potentially resistive and subversive campy subjects. This chapter delves into how her use ...
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Kimora Lee Simmons’s career as a fashion model and media figure offers an alternative reading of Blasians as potentially resistive and subversive campy subjects. This chapter delves into how her use of camp is predicated on the performative nature of identity and her refusal to settle for the primacy of visibility and authenticity as key measures of race. Analyses of Simmons’s advertising campaigns, reality television show, and social media usage highlights the ways her Blasianness publicly challenges the idea of a color-blind, post-racial United States.Less
Kimora Lee Simmons’s career as a fashion model and media figure offers an alternative reading of Blasians as potentially resistive and subversive campy subjects. This chapter delves into how her use of camp is predicated on the performative nature of identity and her refusal to settle for the primacy of visibility and authenticity as key measures of race. Analyses of Simmons’s advertising campaigns, reality television show, and social media usage highlights the ways her Blasianness publicly challenges the idea of a color-blind, post-racial United States.
Jenny Lin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526132604
- eISBN:
- 9781526139047
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526132604.003.0003
- Subject:
- Art, Art History
Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers ...
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Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers the rising political tensions between Hong Kong and Shanghai, as Hong Kong was handed over from British to mainland Chinese rule in 1997. The chapter discusses a 1997 Shanghai Tang advertisement featuring Chinese actress Gong Li, addressing how the image signals the return of class-based society, while sanitizing mainland China’s immediate socialist past. This chapter also examines the powerful influence of Shanghai Tang’s founder, art collector Sir David Tang, on the international dissemination of contemporary Chinese art, exploring key Shanghainese painters promoted by Tang, including Yu Youhan, Wang Ziwei and Ding Yi. Referencing these artists’ connections to Shanghai Tang, and also the French fashion brand, Christian Dior, the chapter theorizes the rise of a contemporary Chinese art/fashion system. The final section focuses on Shanghai-based sculptor Liu Jianhua, who has been supported by both Tang and Christian Dior, and the artist’s subversion of mainland China’s presumed role as “the factory of the world” through his ceramic-based practice.Less
Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers the rising political tensions between Hong Kong and Shanghai, as Hong Kong was handed over from British to mainland Chinese rule in 1997. The chapter discusses a 1997 Shanghai Tang advertisement featuring Chinese actress Gong Li, addressing how the image signals the return of class-based society, while sanitizing mainland China’s immediate socialist past. This chapter also examines the powerful influence of Shanghai Tang’s founder, art collector Sir David Tang, on the international dissemination of contemporary Chinese art, exploring key Shanghainese painters promoted by Tang, including Yu Youhan, Wang Ziwei and Ding Yi. Referencing these artists’ connections to Shanghai Tang, and also the French fashion brand, Christian Dior, the chapter theorizes the rise of a contemporary Chinese art/fashion system. The final section focuses on Shanghai-based sculptor Liu Jianhua, who has been supported by both Tang and Christian Dior, and the artist’s subversion of mainland China’s presumed role as “the factory of the world” through his ceramic-based practice.
Jenny Lin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526132604
- eISBN:
- 9781526139047
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526132604.003.0006
- Subject:
- Art, Art History
The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking ...
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The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking Glass.” Ruminating on the afterlives of East-meets-West exoticizations, the conclusion synthesizes the preceding ones by analyzing the exhibition’s loaded cross-cultural hybrids of art-fashion-celebrity culture and Sino-US corporate sponsorship. The chapter argues that “China: Through the Looking Glass” might have countered the critique that the exhibition did not adequately present contemporary Chinese culture by including some of the art and design projects presented throughout the book, summarizing the vital issues these projects raise.Less
The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking Glass.” Ruminating on the afterlives of East-meets-West exoticizations, the conclusion synthesizes the preceding ones by analyzing the exhibition’s loaded cross-cultural hybrids of art-fashion-celebrity culture and Sino-US corporate sponsorship. The chapter argues that “China: Through the Looking Glass” might have countered the critique that the exhibition did not adequately present contemporary Chinese culture by including some of the art and design projects presented throughout the book, summarizing the vital issues these projects raise.
Tanisha C. Ford
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781469625157
- eISBN:
- 9781469625171
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469625157.003.0001
- Subject:
- History, African-American History
The opening chapter of the book outlines a brief history of black fashion. Using Angela Davis as a guiding figure, the chapter discusses how and why soul style became a global phenomenon. Locating ...
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The opening chapter of the book outlines a brief history of black fashion. Using Angela Davis as a guiding figure, the chapter discusses how and why soul style became a global phenomenon. Locating the style’s roots in the antebellum period, tracing its development in the interwar period, and showing its critical evolution in the years following WWII, the chapter makes a case for why clothing has always been tied to struggles for black freedom. The chapter centers this American history in a broader context of the African diaspora in the mid-twentieth century. It uses these intertwining movements as the cultural and political foundation from which soul style emerges as a global phenomenon. The chapter also offers important definitions of terms such as “style,” “fashion,” and “soul.”Less
The opening chapter of the book outlines a brief history of black fashion. Using Angela Davis as a guiding figure, the chapter discusses how and why soul style became a global phenomenon. Locating the style’s roots in the antebellum period, tracing its development in the interwar period, and showing its critical evolution in the years following WWII, the chapter makes a case for why clothing has always been tied to struggles for black freedom. The chapter centers this American history in a broader context of the African diaspora in the mid-twentieth century. It uses these intertwining movements as the cultural and political foundation from which soul style emerges as a global phenomenon. The chapter also offers important definitions of terms such as “style,” “fashion,” and “soul.”
Kendra Marston
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474430296
- eISBN:
- 9781474453608
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474430296.003.0004
- Subject:
- Film, Television and Radio, Film
Chapter Three analyses the 2013 film Blue Jasmine as an example of a text in which the protagonist’s melancholia appears misplaced and is thus unable to be alleviated by a journey away from home. ...
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Chapter Three analyses the 2013 film Blue Jasmine as an example of a text in which the protagonist’s melancholia appears misplaced and is thus unable to be alleviated by a journey away from home. Jasmine operates as a social outcast who exemplifies value systems that are temporarily deemed morally reprehensible, based as they are upon the over-valuation of economic income and enthusiastic participation in consumer-capitalism. Blue Jasmine’s narrative and its protagonist must be understood as signifying at a temporary period of ideological weakening for neoliberalism and its associated political rhetoric. It is this moment of instability that allows for the privileged race and class status of the postfeminist representational subject within this film to be configured as an ethical problem to be debated, even if on superficial or temporary terms, rather than a conditional aspect of the aspirational ideal.Less
Chapter Three analyses the 2013 film Blue Jasmine as an example of a text in which the protagonist’s melancholia appears misplaced and is thus unable to be alleviated by a journey away from home. Jasmine operates as a social outcast who exemplifies value systems that are temporarily deemed morally reprehensible, based as they are upon the over-valuation of economic income and enthusiastic participation in consumer-capitalism. Blue Jasmine’s narrative and its protagonist must be understood as signifying at a temporary period of ideological weakening for neoliberalism and its associated political rhetoric. It is this moment of instability that allows for the privileged race and class status of the postfeminist representational subject within this film to be configured as an ethical problem to be debated, even if on superficial or temporary terms, rather than a conditional aspect of the aspirational ideal.
Melanie Tebbutt
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780719066139
- eISBN:
- 9781781704097
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719066139.003.0004
- Subject:
- History, Social History
Chapter 3 compares and contrasts anxieties and concerns which surrounded the clothed and unclothed male body. Male bodies had a powerful cultural resonance after the war, in rehabilitative ...
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Chapter 3 compares and contrasts anxieties and concerns which surrounded the clothed and unclothed male body. Male bodies had a powerful cultural resonance after the war, in rehabilitative initiatives and emerging consumer industries. By the 1930s, the physical power of the masses, from the Bolshevik Revolution to images of crowds at play, was informing a national iconography of controlled and disciplined youth, very visible in newsreel footage from the 1930s of the Scouts, BB, boys' clubs, and totalitarian youth movements in Germany and Italy. At an individual level, young men's physical sense of self was coming under the growing influence of visual forms and commercial leisure trends, bringing working-class young men into contact with new models of personal behaviour and social interaction which made many sensitive to style, fashion and appearance. This chapter examines how working-class young men mediated the feminised connotations of consumption in negotiating these new physical images and ways of performing masculinity.Less
Chapter 3 compares and contrasts anxieties and concerns which surrounded the clothed and unclothed male body. Male bodies had a powerful cultural resonance after the war, in rehabilitative initiatives and emerging consumer industries. By the 1930s, the physical power of the masses, from the Bolshevik Revolution to images of crowds at play, was informing a national iconography of controlled and disciplined youth, very visible in newsreel footage from the 1930s of the Scouts, BB, boys' clubs, and totalitarian youth movements in Germany and Italy. At an individual level, young men's physical sense of self was coming under the growing influence of visual forms and commercial leisure trends, bringing working-class young men into contact with new models of personal behaviour and social interaction which made many sensitive to style, fashion and appearance. This chapter examines how working-class young men mediated the feminised connotations of consumption in negotiating these new physical images and ways of performing masculinity.
Elizabeth A. Wissinger
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780814794180
- eISBN:
- 9780814794197
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814794180.003.0002
- Subject:
- Sociology, Gender and Sexuality
I describe in this chapter how the increased effort to harness hard-to-manage forms of “affective” energy accelerated the demand for models to sell brands and how eventually, in the form of the ...
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I describe in this chapter how the increased effort to harness hard-to-manage forms of “affective” energy accelerated the demand for models to sell brands and how eventually, in the form of the supermodels, models became brands themselves. The inauguration of the supermodels brought the transition from a girl who models to the 24/7 supermodel icon and the supermodels who became the quintessential glamour laborers who were never off duty. Facilitated by newly far flung webs of cable television and high-speed communications, the supermodels became household names. This transition laid the groundwork for the rise of mass fashion and the spread of glamour labor to the general populace. Prior to the regime of the blink, the fashion show, for instance, was nothing like the branded dazzle with which we are currently familiar.Less
I describe in this chapter how the increased effort to harness hard-to-manage forms of “affective” energy accelerated the demand for models to sell brands and how eventually, in the form of the supermodels, models became brands themselves. The inauguration of the supermodels brought the transition from a girl who models to the 24/7 supermodel icon and the supermodels who became the quintessential glamour laborers who were never off duty. Facilitated by newly far flung webs of cable television and high-speed communications, the supermodels became household names. This transition laid the groundwork for the rise of mass fashion and the spread of glamour labor to the general populace. Prior to the regime of the blink, the fashion show, for instance, was nothing like the branded dazzle with which we are currently familiar.
Elizabeth A. Wissinger
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780814794180
- eISBN:
- 9780814794197
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814794180.003.0004
- Subject:
- Sociology, Gender and Sexuality
In this chapter, I treat how changes in the goals and methods of the fashion shoot. The value of what the model did changed from the 1900s discovery that a person’s image could be owned by them and ...
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In this chapter, I treat how changes in the goals and methods of the fashion shoot. The value of what the model did changed from the 1900s discovery that a person’s image could be owned by them and worth money to the carefully staged and scripted studio shots prevalent from the 1920s through the 1950s, to the far more intense and invasive practice of getting one’s “soul sucked out” by the camera lens, as one model described it, to being given the puzzling direction to try to look like a rat (as the former supermodel Cindy Crawford reported). This chapter tracks shifts in photographic modeling, from using models as mere props to an intense experience in which the model is expected to reveal herself utterly to the camera. Models’ stories about photographic sittings and shoots reveal how affective lability or mania became a valuable factor in modeling work for the camera in the age of the blink.Less
In this chapter, I treat how changes in the goals and methods of the fashion shoot. The value of what the model did changed from the 1900s discovery that a person’s image could be owned by them and worth money to the carefully staged and scripted studio shots prevalent from the 1920s through the 1950s, to the far more intense and invasive practice of getting one’s “soul sucked out” by the camera lens, as one model described it, to being given the puzzling direction to try to look like a rat (as the former supermodel Cindy Crawford reported). This chapter tracks shifts in photographic modeling, from using models as mere props to an intense experience in which the model is expected to reveal herself utterly to the camera. Models’ stories about photographic sittings and shoots reveal how affective lability or mania became a valuable factor in modeling work for the camera in the age of the blink.
Nancy E. Spencer
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9781496809889
- eISBN:
- 9781496809926
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496809889.003.0002
- Subject:
- Sociology, Sport and Leisure
This chapter examines the athletic career of French tennis star, Suzanne Lenglen, who participated during the Golden Age of sports in the 1920s. Lenglen was one of the first female athletes to ...
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This chapter examines the athletic career of French tennis star, Suzanne Lenglen, who participated during the Golden Age of sports in the 1920s. Lenglen was one of the first female athletes to achieve worldwide recognition and acclaim for her tennis success, as well as her influence on the sport, including her fashion. Lenglen’s appeal extended beyond the tennis courts, and part of her lasting image rests on her ability to both challenge and reinforce ideas around femininity in sport during the 1920s.Less
This chapter examines the athletic career of French tennis star, Suzanne Lenglen, who participated during the Golden Age of sports in the 1920s. Lenglen was one of the first female athletes to achieve worldwide recognition and acclaim for her tennis success, as well as her influence on the sport, including her fashion. Lenglen’s appeal extended beyond the tennis courts, and part of her lasting image rests on her ability to both challenge and reinforce ideas around femininity in sport during the 1920s.
Anna Dahlgren
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526126641
- eISBN:
- 9781526139016
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526126641.003.0004
- Subject:
- Art, Art History
Chapter 3 investigates the printed magazine as a site where the world of art and fashion merged in the 1980s. Since the early 1990s fashion photographs have migrated effortlessly between the art ...
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Chapter 3 investigates the printed magazine as a site where the world of art and fashion merged in the 1980s. Since the early 1990s fashion photographs have migrated effortlessly between the art field and the commercial field, between being considered as personal works or assignments limited by the ideas and wants of designers, brands and fashion publications. As pointed out by several scholars a crucial part of this development was the new aesthetics that emerged in the 1990s which challenged traditional notions of fashion as glamorous depictions of garments, a style labelled ‘trash realism’, ’radical fashion’ or ’post fashion’. However, as the chapter shows, an equally important material basis for this development was the emergence of new fora in the 1980s. Later on, in the 1990s and early 2000s several magazines that straddled art, style culture and high fashion appeared, such as Purple Prose, Tank, 032C and Sleek. This chapter trace the beginnings of these transgressions through a close examination of the two magazines i-D and Artforum, which from different positions and with different strategies served as an active interface between art and fashion in the 1980s.Less
Chapter 3 investigates the printed magazine as a site where the world of art and fashion merged in the 1980s. Since the early 1990s fashion photographs have migrated effortlessly between the art field and the commercial field, between being considered as personal works or assignments limited by the ideas and wants of designers, brands and fashion publications. As pointed out by several scholars a crucial part of this development was the new aesthetics that emerged in the 1990s which challenged traditional notions of fashion as glamorous depictions of garments, a style labelled ‘trash realism’, ’radical fashion’ or ’post fashion’. However, as the chapter shows, an equally important material basis for this development was the emergence of new fora in the 1980s. Later on, in the 1990s and early 2000s several magazines that straddled art, style culture and high fashion appeared, such as Purple Prose, Tank, 032C and Sleek. This chapter trace the beginnings of these transgressions through a close examination of the two magazines i-D and Artforum, which from different positions and with different strategies served as an active interface between art and fashion in the 1980s.
Bernard Vere
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781784992507
- eISBN:
- 9781526136268
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784992507.003.0003
- Subject:
- Art, Visual Culture
The second chapter deals with two individual sports. Boxing and tennis might appear strange bedfellows, but as well as being primarily individual sports, they are also united by their transatlantic ...
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The second chapter deals with two individual sports. Boxing and tennis might appear strange bedfellows, but as well as being primarily individual sports, they are also united by their transatlantic nature. The flamboyant figures of boxer Jack Johnson and tennis player Suzanne Lenglen were famous on both sides of the Atlantic. Johnson lived it up in nightclubs in both Paris and London, Lenglen played host to American film stars on the French Riviera. Boxing’s Americanism is traced in the writings and life of Cravan that culminated in the fight against Johnson in Barcelona, which is then refracted through the fascination of American journal The Soil for both boxing and Cravan. Tennis was particularly associated with modernist architecture, with players featuring in books written by Le Corbusier, Adolf Behne and Sigfried Giedion. It was also a rare example of a sport where the women’s game attracted as much, if not more, attention than that of the men. This, I contend, caused problems for Le Corbusier, who preferred to concentrate on the geometrical court and the anonymous male players that he includes in his Urbanisme, rather than the glamour and fashion of Lenglen, a woman dressed by the couturier Jean Patou and who served as an inspiration for a Jean Cocteau piece for the Ballets Russes.Less
The second chapter deals with two individual sports. Boxing and tennis might appear strange bedfellows, but as well as being primarily individual sports, they are also united by their transatlantic nature. The flamboyant figures of boxer Jack Johnson and tennis player Suzanne Lenglen were famous on both sides of the Atlantic. Johnson lived it up in nightclubs in both Paris and London, Lenglen played host to American film stars on the French Riviera. Boxing’s Americanism is traced in the writings and life of Cravan that culminated in the fight against Johnson in Barcelona, which is then refracted through the fascination of American journal The Soil for both boxing and Cravan. Tennis was particularly associated with modernist architecture, with players featuring in books written by Le Corbusier, Adolf Behne and Sigfried Giedion. It was also a rare example of a sport where the women’s game attracted as much, if not more, attention than that of the men. This, I contend, caused problems for Le Corbusier, who preferred to concentrate on the geometrical court and the anonymous male players that he includes in his Urbanisme, rather than the glamour and fashion of Lenglen, a woman dressed by the couturier Jean Patou and who served as an inspiration for a Jean Cocteau piece for the Ballets Russes.
