Film Costumes in Action: Design, Production and Performance Cultures in British Film, 1965-2015

电影服装在行动：英国电影的设计、制作和表演文化，1965-2015

• 批准号: AH/X004880/1
• 负责人: Melanie Bell
• 金额: $ 91.55万
• 依托单位: University of Leeds
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FX004880%2F1
• 关键词: Film; Costumes; Action; Design; Production

Film Costumes in Action investigates how costumes for film are designed, made and disseminated in British film culture from the 1960s onwards. Different types of professional expertise are involved in the processes of design, manufacture, screening and post-release consumption. These elements inter-lock and we use our concept of 'the costume journey' to map this expertise across 1. Design; 2 Making; 3 Shooting; 4 Screening. Drawing together films, practitioner interviews and material sources, the project team will research how costumes are designed, fabrics selected, the role of actors and others in costume choice, where costumes are made and stored, and how they are filmed and marketed to audiences. Then, by working in partnership with curators, costume practitioners and the cultural heritage sector, we will develop a range of outputs to preserve this history and make it available to diverse audiences. Our goal is to increase the visibility, understanding and appreciation of the myriad work processes and craft skills underpinning the costume journey, highlight the significant input of the costume team in the successful creation of film, and have an impact on film programmers and audiences by expanding notions of screen heritage in new directions.This is important and necessary because costume plays a central role in film imagery, operating as a visual shorthand through which narrative and characterisation are constructed. Its significance is recognised by the general public whose record visitor numbers to the V&A made its 'Hollywood Costume' exhibition (2012-13) one of the most popular in the museum's recent history. Yet little is known about how costumes are created, made, shot and crafted into film performances. The prevailing approach in scholarship is that costumes are 'stitched into' narrative rather than drawing attention to themselves, an idea which shifts attention away from the work underpinning their production and performance. Moreover, the preponderance of women in the costume profession, and its associations with fashion/consumerism, has detracted from serious engagement with the subject, with scholarship privileging directors and other majority-male roles in the production hierarchy. This has left the specifics of costume design, costume making and its craft skills poorly understood. Consequently, production histories are impoverished and established production hierarchies go unchallenged. This project uses British film as the case study through which to recover, analyse and make visible the craft skills and work processes of the costume team. Unlike Hollywood, where in-studio costume departments flourished, British film companies mixed original design with rentals from specialist costume houses (Angels), and ready-mades adapted for the screen. From this mixed economy Britain developed a reputation for craft skills and period expertise with British-trained designers, especially women, becoming increasingly prominent internationally from 1965 onwards. Several have won multiple BAFTAs and Academy Awards (Sandy Powell, The Favourite; Jenny Beavan OBE Mad Max: Fury Road, Jacqueline Durran, Little Women) and are recognised as industry leaders.Our focus encompasses the three main costume types of 'modern', 'historical' and 'fantasy' - defined by practitioners as the main categories of costume production - and ranges over a period of 50 years (1965-2015). We draw case studies from a number of films including recognised classics A Room With A View (1985) and The King's Speech (2010), alongside lesser-known films such as Velvet Goldmine (1998) and Moon (2009), chosen to examine different manifestations of the costume journey. Our ambition is two-fold; to raise the profile and appreciation of British-led costume design and making, nationally and internationally, and champion expanded notions of screen heritage, past, present and future.

电影服装的电影调查了电影从1960年代开始如何在英国电影文化中设计，制作和传播电影的服装。不同类型的专业知识参与了设计，制造，筛选和释放后消费的过程。这些元素相互锁定，我们使用“服装之旅”的概念来绘制1个设计的专业知识。 2制作； 3射击； 4筛选。项目团队将电影，从业人员的访谈和物质资源汇总在一起，将研究如何设计服装，选择面料，演员和其他人在服装选择中的作用，制作和存放服装，以及如何拍摄和向观众推销。然后，通过与策展人，服装从业人员和文化遗产部门合作，我们将开发一系列产量，以保存这一历史并为多元化的受众提供。我们的目标是提高对服装旅程的基础的无数工作过程和手工艺技能的可见性，理解和欣赏，突出了服装团队在成功制作电影中的重要投入，并对电影程序员和观众产生影响，并通过在新方向上扩展屏幕遗产的概念来进行新的方向。这是重要的和必要的，因为Costimition costimition在构造中的表现是构造的，而构造了构造的表现。它的意义得到了公众的认可，其记录的V＆A访客人数使其“好莱坞服装”展览（2012-13）是博物馆最近历史上最受欢迎的展览之一。然而，对于如何创作，制作，拍摄和制作成电影表演的服装知之甚少。奖学金中普遍的方法是，服装被“缝制成”叙事，而不是引起人们对自己的关注，这一想法将注意力转移到了基于其生产和表现的工作中。此外，服装行业中女性的优势及其与时尚/消费主义的关联损害了与该主题的认真互动，奖学金属于董事和其他多数派在生产层次结构中的角色。这使服装设计，服装制作以及其手工艺技能的细节得以了解不足。因此，生产历史是贫穷的，并且建立的生产层次结构不受挑战。该项目将英国电影作为案例研究，可以通过它来恢复，分析和使可见的服装团队的手工艺技能和工作过程。与好莱坞（Hollywood）不同的是，在整个室内服装部门蓬勃发展，英国电影公司将原始设计与专业服装屋（天使）的租金混合在一起，并适应了屏幕。从这个混合经济体中，英国以英国训练的设计师（尤其是妇女）的工艺技能和时期专业知识而闻名，从1965年开始，国际上越来越重要。一些人赢得了多个BAFTA和奥斯卡奖奖（桑迪·鲍威尔，最喜欢的；詹妮·比瓦·奥贝·马克斯：愤怒路：愤怒的路，贾克琳·杜兰（Jacqueline Durran），小妇女），并被认为是行业领导者。我们的重点包括三种主要的成本类型的“现代”，“历史”，“历史”和“幻想” - 由实践者定义为主要类别的550年50次（196年） - 和50年代（196 cecy of of 50 of of costemime of Costmey -osepme）。我们从包括公认的经典电影（1985年）和《国王的演讲》（2010年）的许多电影中吸取了案例研究，以及众所周知的电影（如Velvet Goldmine（1998）和Moon（2009）），选择检查服装之旅的不同表现。我们的野心是两个方面。为了提高英国领导的服装设计和国际和国际上的制作的形象和欣赏，冠军扩大了过去，现在和未来的屏幕遗产概念。