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Fashion and Film > Week 3 > Flashcards

Week 3 Flashcards

1
Q

Appeal of cinema

A
  • The power to enchant
  • Movies are fun
  • Sense of belonging
  • Emotional, intellectual and ideological impact
  • Identification and empathy
  • Sensation, desire, bodily response
  • Make the invisible visible
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2
Q

Ideology

A
  • The ways in which a certain image of one’s place in the world becomes internalized and then functions as a guide to proper conduct in a given social context.
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3
Q

Dominant Ideologies

A
  • Ideologies told to us repeatedly by important social institutions such as the church, the law, education and the media
  • Ex. Consumerism, gender, childhood.
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4
Q

Metaphor

A

Ex. Big baby, guardian angel.

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5
Q

Allegory

A

Sustained narrative in which the characters and situations stand for more general qualities or states.

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6
Q

The Formal Context:

A

Medium-specific qualities, such as technology, editing, sound, genre conventions, actors, narrative, aesthetics (tangible surface of the film)

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7
Q

Formal Response and Interpretation

A
  • Does the film alter, subvert or transform existing conventions in innovation ways?
  • Are conventions used effectively?
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8
Q

Social Response and Interpretation

A
  • Does the film present an unexpected, new perspective?
  • Does it reinforce pre existing points of view?
  • Does it challenge social realities?
  • Does the film support status quo or does it call for change?
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9
Q

Flashdance 1983

A
  • Second-wave feminism

- Exotic dancer/welder pursuing ballet (high/low)

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10
Q

Conventions

A
  • A customary way of doing things, rather than ‘rules’
  • Guidelines for selecting certain types of images
  • Arranging images into scenes
  • Vary over time and context
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11
Q

Continuity

A
  • Includes all the ways of organizing shots to ease transitions
  • Sound and images
  • Draws on preview experience
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12
Q

Semtiotics: The Sign

A

Meaning is not in the image but in the beholder

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13
Q

Referent

A
  • What the sign refers to outside the language in which it appears
  • Most signifiers possess a referent
  • Applies to photography as well
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14
Q

Style

A

Particular way a filmmaker makes use of cinematic signifiers

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15
Q

Editing

A
  • Primary means of building a chain of shots and scenes into one complete film
  • Creates relationships across time and space.
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16
Q

Continuity Editing

A
  • Standard
  • Viewers do not notice most of the edits
  • Focuses on narrative
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17
Q

Discontinuity and Montage Editing

A
  • Avant-garde, experimental
  • Used often in music videos.
  • Often used to condense time or to draw attention to the editing
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18
Q

Cinematography

A

Making choices between types of shot, types of lenses and camera movement.

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19
Q

Lighting

A

Variation has effect on tone and emotional impact

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20
Q

Mise-en-scene Composition

A

Arrangement of what appears in front of the camera

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21
Q

Diagetic Sound

A

Appears to originate from the story world

22
Q

Apparent Motion

A

When the eye perceives movement from one frame to the next

23
Q

Presence-in-Absence

A

Phenomenon where the image realistically represents a referent (subject or person) that is no longer physically present, but appears to be

24
Q

Identification

A

Emotional and psychological attachment. Different effect with performing arts.

25
Q

Worldview

A
  • A system of values, attitudes and beliefs which an individual group or society holds to be true or important. - - These are shared by a culture or society about how that society should function.
26
Q

Social Context

A
  • Social and historical problems, conflicts, issues that provide a thematic focus
  • Turns attention beyond aesthetics towards characteristics of the time.
27
Q

Filmakers Perspective

A

Social attitude, political perspective and aesthetic sensibility of the worlds maker will filter the audience’s experience.

28
Q

Semiotics: Signifier

A

What is materially presented?

29
Q

Semiotics: Signified

A

What meaning is attached?

30
Q

Extra Diagetic Sound

A

Belongs to the narration rather than the narrative. Comments on the story world

31
Q

Subjective Sound

A

Renders sounds as the character hears it

32
Q

Open-frame Composition

A

Gives the sense that it is part of a much wider field of action

33
Q

Closed-frame Composition

A

Sense that everything is contained within the shot

34
Q

Off-screen Composition

A

Includes visual and aural cues outside the frame

35
Q

High-key lighting

A

Everything is uniformly lit

36
Q

Low-key lighting

A

Dramatic shadows and vivid contrasts

37
Q

Paris Is Burning, Jenny Livingstone, 1990

Themes

A
  • Aspiration: in class, sense of belonging, balls

- Community: Drag house ‘mothers’, safe spaces

38
Q

Paris Is Burning, Jenny Livingstone, 1990

Formal Elements

A
  • Intimacy: close-up shots, nighttime lighting, candid interviews
  • Continuity: snapshots, low production value, DIY feeling
39
Q

Paris Is Burning, Jenny Livingstone, 1990

Constraints in filmmaking:

A
  • Low budget
  • Access: real people, sense of authenticity
  • Broader social context:
  • Balls had to happen underground, at nighttime
  • Gender stereotype performance/expression awards: how these people passed in the world in a safe way without being targeted or attacked.
40
Q

Discussion: movies and TV that don’t age well?

Comedy

A

What is topical at the time often changes and can become problematic

41
Q

Discussion: movies and TV that don’t age well?

Legacy

A

What came out of this movie didn’t credit or protect the people in it

42
Q

Discussion: movies and TV that don’t age well?

Fashion

A
  • Transformational tool
  • Using materials of everyday life to safely get through the world day to day, but also to be subversive
  • Highly political, matter of life or death in contrast to what drag culture is today. Must keep in mind that bravery backs the fashion in this film, not entertainment or beauty.
43
Q

Bohemian Myth Defintion

A

Transgression, excess sexual outrage, eccentric behavior, nostalgia, outgoingness, poverty (although wealth could contribute to their past)

44
Q

Bohemian Myth Examples

A
  • Cats as an editorial trope to represent quirkiness and age

- References to women and mental illness very casually (Ex. Vogue Italia, Steven Miesel, 1999)

45
Q

Bohemian Myth Characteristics

A

Repurposing spaces and clothing constantly: anti capitalist exercise, deconstruction, reappropriation

46
Q

Bohemian Myth Characteristics

A

Making do with what one has when times are tough (make do and mend)

47
Q

Bohemian Myth Characteristics

A

Characters in charge of their own representation and gaze at camera

48
Q

Grey Gardens 1975, Albert and David Maysles

Key Theme

A

Key Theme: Body and the Senses

Many reviewers projected the ravaged and decaying characteristics of the house onto the women’s bodies.

49
Q

Grey Gardens 1975, Albert and David Maysles

Senses

A

Senses: eating on screen, bickering about sex, covering up for the camera.

50
Q

Grey Gardens 1975, Albert and David Maysles

Sound

A

Sound: yelling, arguing, singing, running around.

51
Q

Grey Gardens HBO, 2009, Michael Sucsy

A

Positions Edie as a legitimate fashion insider
Enforces that Edie wasn’t always a totally wacky dresser
Image-driven, linear narrative

Fashion and Film (7 decks)

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