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Kleidung / Mode / Couture / Kostümdesign Im Film: Eine Erste Bibliographie 2011 Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie 2011 https://doi.org/10.25969/mediarep/12753 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 122). DOI: https://doi.org/10.25969/mediarep/12753. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0122_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 122, 2011: Mode im Film. Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek, Hans J. Wulff. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0122_11.html Letzte Änderung: 20.2.2011. Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Zusammengest. v. Hans J. Wulff u. Ludger Kaczmarek Inhalt: da, wo die Hobos sind, er riecht wie einer: Also ist er Einleitung einer. Warum sollte man jemanden für einen anderen Bibliographien halten als den, der er zu sein scheint? In Nichols’ Direktoria Working Girl (1988) nimmt eine Sekretärin heimlich Texte für eine Zeit die Rolle ihrer Chefin an, und sie be- nutzt auch deren Garderobe und deren Parfüm. Auch sie wird entdeckt, doch Ernüchterung mag sich nicht Einleitung* einstellen, weil sie sich durchsetzen kann, den Auf- stieg ins Chefbüro tatsächlich schafft. Und der Soziale Realität ist nicht homogen. Sie ist hierar- Schauspieler, der sich verkleidet und in Tootsie chisch gegliedert. Sie zerfällt in Klassen, Kasten (1981) höchst erfolgreich eine Rolle als Frau spielt, oder Schichten. Kleidung signalisiert Zugehörigkei- wird zu einem anderen, lernt, gesellschaftliche Rea- ten – zu einem Alters-, Klassen- oder (sub)kulturel- lität aus einer anderen Perspektive als der ihm ver- len Stil. Sie drückt Differenzierungen aus – zwischen trauten wahrzunehmen. Jungen und Alten, Männern und Frauen, Reichen In den 1980ern ist Bewegung in das so lange und Armen. Arbeiter tragen eben anderes als Fabri- funktionsmächtige Ausdruckssystem der Kleidung, kanten. Auch die Differenz zwischen Stadt und Land mittels dessen Grenzen und Zugehörigkeiten ange- wird durch Kleidungsstile ausgedrückt. In der Phase zeigt werden konnten, gekommen. Desperately See- des klassischen Hollywoods zeigten Anzug und king Susan (1985) – der Titel von Susan Seidelmans Schlips an, dass einer zur Stadt gehörte, nicht zur Film ist fast ein Programm. Die Geschichte erzählt Sphäre der Farmer. Urbanität hat ihre Stile und Ele- von zwei jungen Frauen, die die Kleidungen tau- mente, Ruralität hat andere. Der Wechsel der Zeit schen und zu anderen werden. Die Normale, die wird durch den Wechsel der Moden, der Konventio- Bürgerliche probiert nicht nur die subkulturelle Klei- nen, der Stoffe angezeigt. Jiři Menzels wunderbarer dung der anderen aus, sondern auch den Lebensstil, Film Postřižiny (1980) zeigt in nuce: Röcke und die Selbstwahrnehmung, das Selbstwertgefühl. Und Haare werden kürzer und darin zeigt sich die neue vice versa. Das, was einer ist, steht nicht mehr fest, Zeit. sondern wird gewählt. Identität ist nicht mehr deter- Uniformen aller Art zeigen an, daß sich die Uni- miniert, wird nicht mehr dadurch bestimmt, wo einer formträger zu unterwerfen haben. Der Held in Mike herkommt und zu wem er zählt, sondern ist eine ver- Nichols’ Film Catch 22 (1970) zerreißt und zerstört änderliche Tatsache geworden. am Ende seine Uniform – seinem Ausstieg aus dem Die Verbindungen der Modeindustrie zum Film Militär drastischen Ausdruck verleihend. bestanden von Beginn an (die frühen Nachrichtenfil- Verkleiden, um als ein anderer zu scheinen und me über Mode legen davon Zeugnis ab). Allerdings ein anderer zu werden. Der von Köpenick wird zum hatten die Filmstudios meist – darin den großen Hauptmann von daselbst. Ein anderer werden, weil Theatern ähnelnd – eigene Kostümabteilungen und man wie ein anderer aussieht. Der Regisseur in Pre- verfügten über einen eigenen Kostümfundus; einige ston Sturges’ Sullivan‘s Travels (1941) hat beim Kostümbildner des Films wie Edith Head gelten zweiten Versuch, undercover die Welt der Obdachlo- heute als „Autoren“ der Modegeschichte. Das änder- sen zu erkunden, keine Chance, nicht als Tramp, als te sich in den 1950ern: Für Sabrina (1954) – die Ge- Hobo genommen zu werden. Er sieht so aus, er ist schichte der Verwandlung einer burschikosen jungen Mode im Film // Medienwissenschaft/Hamburg, 122, 2011 // 2 Frau in eine mondäne Dame – ließ sich Audrey Hep- 1860 to the Present Day. London: BBC Books burn ihre Kleider erstmals nicht von Kostümbild- 1989), Kulturgeschichten der Mode, die nur partiell nern, sondern von einem jungen Pariser Couturier auf die Rolle des Films eingehen. Engelmeiers Bild- machen lassen: von Hubert de Givenchy. Einzelne band bietet zwar reichhaltiges Bildmaterial, versagt Modemacher begannen bald, fest für einen Star zu aber sowohl kostümhistorisch als auch in der Inter- arbeiten: Adrian für Greta Garbo, Travis Benton für pretation der vestimentären Zeichen. Während in der Marlene Dietrich, John Travillo für Marilyn Monroe Kunstgeschichte in Katalogwerken zum 18. Jahrhun- und eben Givenchy für die Hepburn. Diese Couturi- dert immer stärker auf die Forschungen der Kostüm- ers bestimmten nachhaltig das Image ihres Stars, geschichte (z.B. Eileen Ribero: The Gallery of Fa- und das nicht nur in den Rollen auf der Leinwand. shion. London: National Portrait Gallery 2000) oder Oftmals ließen sich die Stars auch privat nur noch der Kostümtheorie (zusammenfassend: Craik, Jenni- von ihrem Modemacher einkleiden. Heutzutage ha- fer: Fashion: The Key Concepts. Oxford/New York: ben die Filmstudios keine eigenen Kostümabteilun- Berg 2009) zurückgegriffen wird, werden solche An- gen mehr. Ja, es werden (außer natürlich bei histori- sätze in der Filmanalyse noch viel zu selten berück- schen Kostümfilmen) kaum mehr Kostüme eigens sichtigt. Allerdings finden sich in manchen Bänden für einen Film gefertigt – der Modemacher stellt der BFI Film Classics doch Kapitel, die auf die Ko- Stücke seiner neuen Kollektion zur Verfügung, wenn stüme und die Wirkung der Filmmode auf die Ge- auf Produkte der haute couture zugegriffen werden sellschaft eingehen. soll. Und wenn Richard Gere dann als American Gi- An Würdigungen der mehrfachen Oscar-Preisträ- golo (1980) Kleidung von Armani trägt, ist das für gerin Edith Head ist kein Mangel, an Prachtbänden den Modemacher als eine Form des Product Place- über die Hollywood-Damenmode der 1930er Jahre ment auch ein lohnendes Geschäft. (Marsha Hunt: The Way We Wore: Styles of the Weil Mode so eng mit der Kommunikation ge- 1930s and ’40s and Our World Since Then. Fall- sellschaftlicher Status zusammenhängt, hat Filmmo- brook: Fallbrook Publishing 1993) auch nicht. Den de immer auch eine Rolle in der Vermittlung sozialer Einfluß des Londoner Herrenschneiders Frederick Rollen, insbesondere der Geschlechterrollen ge- Scholte auf die Hollywood-Idole der 1930er und spielt. Filme geben modellhafte Vorbilder für Verhal- 1940er Jahre kann man bei Chenoune nachlesen, ten und Aussehen, sind darum auch Instrumente ei- aber ein Überbauwerk zum Thema Film und Mode, nes hidden curriculum und verbinden die Illusions- das den Ansätzen von Dressed to Kill (Dressed to welt des Films mit der äußeren Welt. Insbesondere Kill: James Bond The Suited Hero. [Ed. by Colin üben sie Grundformen eines konsumistischen Um- Woodhead.] Paris/New York: Flammarion 1996) gangs mit Kleidung ein, in dem Kleidungskommuni- oder Fred Miller Robinson (The Man in the Bowler kation eng mit der Zirkulation der Waren verbunden Hat: His History and Iconography. Chapel Hill/ wird. Eine Fülle ideologiekritischer Untersuchungen London: University of North Carolina Press 1993) hat gezeigt, wie insbesondere Frauen in diese Bin- folgt, bleibt weiterhin ein Desiderat. dung des Körperlichen in die Sphäre der Imagos und symbolischen Werte verstrickt sind. [*] Die Einleitung verarbeitet Beiträge von Jens Peter Be- Die historische, theoretische und kritische Unter- cker und Hans J. Wulff aus dem Lexikon der Filmbegriffe suchung des Filmkostüms resp. der Interaktionen (Mainz: Bender 2002ff.). — Ein besonderer Dank für die zwischen Mode und Film stecken immer noch in den Bereitstellung von Inhaltshinweisen zu italienischen Alt- Anfängen. Die Filmmuseen haben diverse Ausstel- beständen gebührt dem römischen Centro Sperimentale di Cinematografia und seiner Biblioteca “Luigi Chiarini”. lungen veranstaltet und mit Katalogen dokumentiert (am bekanntesten íst wohl der Bildband von Regine und Peter W. Engelmeier für die Ausstellung im Bibliographien Deutschen Filmmuseum Frankfurt 1990). Es fehlen kulturhistorisch, sozialhistorisch oder ikonogra- Anon.: A Bibliography of Costume Design Literacy; phisch angelegte Werke in der Art von John Harvey • URL: <http://ronin-group.org/misc_costumede- (Men in Black. Chicago: University of Chicago
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