Period Costume Making in British Art Schools from the late 1950s and its impact on British Television & Film Dramas

20 世纪 50 年代末英国艺术学校的时代服装制作及其对英国电视的影响

• 批准号: 2859182
• 金额: --
• 依托单位: Kingston University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2859182
• 关键词: Period; Costume; Making; British; Art

This PhD is an investigation into innovative developments of period costume making for film and television as a distinct form of craft practice in Britain from the late 1950s to the 1980s. It focuses on the importance of a defined, scholarly approach to the craft practice developed and disseminated by Costume and Theatre Design courses at British Art schools during this period. Focusing on the overlooked, back-room costume maker, rather than the designer, I will recontextualise period costume making as a unique craft practice that existed outside of the confines of modernist craft discourse. Developing in parallel with new performance technologies that increasing demanded craft skills as part of 'period accuracy' and 'authenticity', the research will identify the direct impact of these costume makers on the period drama revivals of the 1970s and 1980s in British Television and Film.This will be the first study to focus on period costumes as important craft objects, with their own language of making. A language that emerged from a small network of previously unresearched and highly influential craft educators and costume makers at three institutions: Norah Waugh at Central School of Arts and Crafts (1950s -1960s), Michael Pope at Wimbledon School of Art in the 1970s and Jean Hunnisett at Bournemouth School of Art in the 1980s. By studying archival material, identifying and analysing extant work, alongside foundational texts, it is possible to uncover the lineage of this unique practice and its tangible impacts on British Television and Film.Employing material culture methods and working across Cultural Studies, Craft History, Film and Television and Museum Studies, this interdisciplinary study will extend and deepen knowledge of period costume as a unique nexus point between scholarship, craft and popular culture, and make a significant contribution to craft histories and interpretation of period dramas.

该博士是对电影和电视时期制作时期服装创新发展的调查，这是从1950年代后期到1980年代的英国一种独特的工艺实践形式。它重点介绍了在此期间，在英国艺术学校的服装和戏剧设计课程开发和传播的定义，学术方法对工艺实践的重要性。为了专注于被忽视的，后室的服装制造商，而不是设计师，我将重新定义时期的服装制作作为一种独特的手工艺实践，在现代主义手工艺品话语的范围之外存在。这项研究将与新的性能技术发展，这些技术将提高要求的手工艺技能作为“时期准确性”和“真实性”的一部分，将确定这些服装制造商对1970年代和1980年代在英国电视节目和电影中的戏剧性复兴的直接影响。这将是首次将其作为重要的手工艺品对象，以其自身的语言为重要的工艺对象。这种语言来自三个机构的先前未研究和高度影响力的手工艺教育者和服装制造商的小型网络：中央艺术与手工艺学院的诺拉·沃（Norah Waugh）（1950年代 - 1960年代），迈克尔·波普（Michael Pope），1970年代温布尔登艺术学院的迈克尔·波普（Michael Pope）和1980年代艺术学院的珍妮丝特（Jean Hunnisett）的温布尔登艺术学院（Wimbledon Pope）。通过研究档案材料，确定和分析现有的工作以及基础文本，可以揭示这种独特实践的血统及其对英国电视和电影的有形影响。就业物质文化方法以及跨文化研究，手工艺历史，电影和电影和博物馆研究的跨学科和加深的文化和加深的文化，跨越文化研究，跨越文化研究的培训，并加入了跨学科的知识，并培养了一项独特的知识。制作历史和时期戏剧的解释。