2017/2 – #Dress
Recent Submissions
- ArticleEditorial NecsusNECSUS Editorial Board (2017) , S. 1-3
- ArticleOnly a groomed woman deserves her name: Fashion, emancipation, and stardom in the Czechoslovak film musical THE LADY OF THE LINESGmiterková, Šárka; Papežová, Miroslava (2017) , S. 123-141Socialist Czechoslovakia in the 1960s witnessed substantial changes in terms of lifestyle. The film musical DÁMA NA KOLEJÍCH (THE LADY OF THE LINES, 1966) addresses these shifts through female emancipation and fashion. Therefore the film articulates a utopian space of couture fashion as a vehicle for equality of the sexes. The seductive vision of a stylish, empowered lady was presented as accessible to any working class woman. Also, the pages of period lifestyle magazines, the musical form, and the bitter finale tell a different story of a very limited transferability to everyday reality.
- ArticleWomanliness as animal masqueradeFreda, Isabelle (2017) , S. 143-158This essay examines the intersection of femininity as masquerade and the status of the animal through an investigation of two examples: the film DONKEY SKIN by Jacques Demy and the web series GREEN PORNO by Isabella Rossellini. In both instances the stars masquerade as both woman and animal, thereby providing an opportunity to critique the position of both as objectified ‘other’ within dominant culture and its philosophical and cultural norms.
- ArticleThe dress is the screen: Dancing fashion, dancing mediaBaronian, Marie-Aude (2017) , S. 159-180This essay reflects upon the intimate interrelation between fashion, media, and dance. In particular, it looks at designer Rabih Kayrouz’s 2017 summer collection fashion show (and its filmic version), which features a performance by ballet dancer Marie-Agnès Gillot. Drawing freely from Loïe Fuller’s famous Serpentine dances, the aim is not only to substantiate – historically and ontologically – the fascination for bodily movement from which both the film and fashion industries have emerged, but also to epitomise the inherent choreographic features of both dress and screen.
- ReviewMapping the fashion film festival landscape: Fashion, film, and the digital ageSeixas, Mariana Medeiros (2017) , S. 181-188
- ReviewFashion film festivals: Shifting perspectives on fashion in one of the world’s dirtiest industriesvan der Linden, Janneke (2017) , S. 189-196
- ArticleLA GRANDE BELLEZZA: Adventures in transindividualitydel Río, Elena (2017) , S. 19-36This essay examines Paolo Sorrentino’s LA GRANDE BELLEZZA (THE GREAT BEAUTY, 2013) as a film where the conjunction of human and milieu maps the immanent links between individual and collective. I draw on Gilbert Simondon’s concept of transindividuality as simultaneously a spatial and temporal process of collective individuation. In making the city and its human inhabitant indiscernible, the film preserves the link between solitude and the collective. The collective arises in a preindividual zone of affects that inscribes a non-conscious form of intimacy among bodies in a shared milieu. I examine two major aspects of the film’s expressions of transindividuality: the artwork as a catalyst for the affirmation of disparate forces coalescing around the dynamic disparation of sacred and profane realities, classical and contemporary art; and the conjoined image of city and human crystallising as successive existential territories that are shown in paradoxical simultaneity. The city-human spectacle shows the body passing through endless processes of individuation. It is the dephasing of temporalities in the city-human body, rather than a judgmental opposition between sacred past and profane present, that energises the film in its ability to capture preindividual forces and affective singularities.
- ReviewBreaking down the tribes: Opening night films at Frameline and Sydney Mardi Gras Film FestivalRichards, Stuart (2017) , S. 197-203
- ReviewTopophilic tendencies at Birmingham’s Flatpack Film FestivalSmyth, Sarah (2017) , S. 205-216
- ReviewPromenade through the theatre of illusion: Dioramas in Palais de TokyoChefranova, Oksana (2017) , S. 217-232
- ReviewUrban Now: City Life in CongoSinnige, Sanne (2017) , S. 233-242
- ReviewWhose perspective is this? A few thoughts on Eija-Liisa Ahtila’s Studies on the Ecology of DramaBrasiskis, Lukas (2017) , S. 243-248
- ReviewA new era of Maghrebi-French cinema: Two perspectivesStrohmaier, Alena (2017) , S. 249-256
- ReviewSocial Media – New Masses / Updating to Remain the SameZeeuw, Daniël de (2017) , S. 257-267
- ReviewMarx at the Movies / Cartographies of the AbsoluteBianchi, Pietro (2017) , S. 269-274
- ArticleTowards an alternative history of the video essay: Westdeutscher Rundfunk, ColognePantenburg, Volker (2017) , S. 275-280Complementing more established genealogical accounts of the video essay, this dossier proposes to enlarge the scope of historical investigation to include the work of television. Focusing on Westdeutscher Rundfunk (WDR) based in Cologne and its programs from the mid-1970s, the article highlights essayistic programs by Werner Dütsch, Harun Farocki, and Rainer Gansera. Extrapolating from these examples, it implicitly argues for a European perspective on the contribution of public broadcasting and its film educational efforts to the field of videographic film studies.
- ArticleTELEKRITIK: Über Song of CeylonPantenburg, Volker (2017) , S. 281-285
- ArticleTELEKRITIK: Über zwei Filme von Peter NestlerPantenburg, Volker (2017) , S. 287-290
- ArticleFritz Lang (1974/1990)Pantenburg, Volker (2017) , S. 291-294
- ArticleIntertextuality, cybersubculture, and the creation of an alternative public space: ‘Danmu’ and film viewing on the Bilibili.com website, a case studyYeqi, Zhu (2017) , S. 37-54I will examine the film-viewing experience influenced by ‘Danmu’ (literally barrage), particularly popularised in China by the website Bilibili.com. As a combination of private and public film screening-viewing-transformation systems, Danmu allows the viewer to develop a ‘paracinematic’ reading. It is also used by the audience as a way of constructing a ‘public space’, making the website function as an alternative to limited offline screening and discussion spaces. I will argue that film viewing by appropriating the cybersubcultural platform creates a sphere where the ‘modern’ and ‘postmodern’ receptions of films join hands.