6 0 0 1 7 2 8 Flynn, Judith Zaccagnini Dress of Older Italian-A Mer1can Women

Total Page:16

File Type:pdf, Size:1020Kb

6 0 0 1 7 2 8 Flynn, Judith Zaccagnini Dress of Older Italian-A Mer1can Women 6001728 FLYNN, JUDITH ZACCAGNINI DRESS OF OLDER ITALIAN-AMER1 CAN WOMEN: DOCUMENTATION OF DRESS AND THE INFLUENCE OF SOCIO—CULTURAL FACTORS. THE OHIO STATE UNIVERSITY, PH.D., 1979 COPR. 19 7 9 FLYNN, JUDITH ZACCAGNINI University M icrofilms International m o n . z e e b r o a d , a n n a r b o r , m i 4s io6 © Copyright by Judith Zaccagnini Flynn 1979 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been Identified here with a check mark 1. Glossy photographs ^ 2. Colored Illustrations ^ 3. Photographs with dark background ______ 4. Illustrations are poor copy ______ 5. Print shows through as there 1s text on both sides of page ________ 6. Indistinct, broken or small print on several p a g e s_________ throughout 7. Tightly bound copy with print lost 1n spine ______ 8. Computer printout pages with indistinct print _ _ 9. Page(s) lacking when material received, and not available from school or author ______ 10. Page(s) ______ seem to be missing in numbering only as text follows ______ 11. Poor carbon copy _ _ _ _ _ _ 12. Not original copy, several pages with blurred type _______ 13. Appendix pages are poor copy_ _____ 14. Original copy with light type ______ 15. Curling and wrinkled pages______ 16. O t h e r_______________________________________ ________ University Mradfiim s international 300 N. ZEEB RD.. ANN ARBOR. Ml 48106 <313) 761-4700 DRESS OF OLDER ITALIAN-AMERICAN WOMEN: DOCUMENTATION OF DRESS AND THE INFLUENCE OF SOCIO-CULTURAL FACTORS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Judith Zaccagnini Flynn, B.S., M.S. * * * * * The Ohio State University 1979 Reading Committee: Approved By Dr. Lois E. Dickey Dr. Gisela J. Hinkle Dr. Esther Meacham Adviser Department of Textiles and Clothing Dedicated to the memory of my Grandmother, Julia il ACKNOWLEDGMENTS I had the support of many qualified people during the research and writing of this dissertation. Dr. Lois Dickey provided professional and personal guidance throughout the study. Her help was always provided with a smile and en­ couragement that made me try harder at each stage of my degree. Dr. Gislea Hinkle aided in my gaining an expanded awareness of sociology and its connection to clothing and textiles. Her suggestions and theoretical knowledge were most helpful. Dr. Esther Meacham provided her expertise in media and comments on the overall research direction. Her advise and encouragement were al­ ways welcome. Special thanks and appreciation is given to: Professionals familiar with Italian-American research, the North End or clothing and textiles who were giving of their time and knowledge including: Judith Dunning, Paula Todisco, Frank Lucibella, Father Ubaldis, and Lydio Tomasi. Retailers in Boston who aided in the development and follow through of the project. The women of the North End who were photographed and spoke of their lives and their clothing. My family who answered thousands of questions concerning their iii Italian heritage and their life experiences. Janice Miley and Mary Lou O'Connor who proof read the manuscripts and Suzanne Huck who typed the dissertation. Joan Broadcorens and Framingham State College faculty who listened when they were needed. Students in my classes and graduate students at The Ohio State University who reacted to the data as collected. Mrs. Marjory Newman for her hospitality while at school. A special thank you to David Flynn, who understood the importance of this research: his support, encouragement and understanding of the time committment of this project was always present. VITA 1947 ................... Born - Newton, Massachusetts 1969 ................... B.S. Ed., Framingham State College, Framingham, Massachusetts 1970 ................... Graduate Research Assistant, Clothing for the Handicapped Project, Kansas State Uni­ versity, Manhattan, Kansas 1970 - 72 ............. Instructor, Kansas State University, Man­ hattan, Kansas 1972 - 73 ............. Instructor, Framingham State College, Framingham, Massachusetts 1973 - 1979............ Doctoral Studies, The Ohio State University 1973 - 1974 ........... Graduate Administrative Associate, The Ohio State University 1974 - 1976 ........... Consumer and Homemaking Grant: Development of Individualized Instruction Materials; Framingham State College, Framingham, Massachusetts 1976 -.................. Assistant Professor, Framingham State College, Framingham, Massachusetts PUBLICATIONS "Meeting the Clothing Needs of Handicapped Children" Journal of Home Economics 65(May, 1973):25-27. Reprinted 1978 in Focus on Services to Young Children "Annual Conference for American Association for Textile Technology" in ACPTC Eastern Region Newsletter May, 1977. v / FIELDS OF STUDY Major Field: Textiles and Clothing Minor Field: Sociology Studies in Textiles and Clothing: Professors Lois E. Dickey, Esther Meacham and Mary Millican Studies in Sociology: Professors Gisela J. Hinkle, Roscoe C. Hinkle, Enrico L. Quarantelli and Kent P. Schwirian Studies in Supporting Areas: Professors Charles M. Galloway (The Ohio State University), I. Keith Tyler (The Ohio State University), Gary Hunt (The Ohio State University, currently University of California, Los Angeles), Patricia Golden (Northeastern University, Boston), Ronald Nuttal (Boston College), and Fred Pula (Boston College). vi I TABLE OF CONTENTS Page ACKNOWLEDGMENTS ............................................... iii VITA .......................................................... v LIST OF TABLES .................................................. xi LIST OF PLATES ................................................. xii PROLOGUE ....................................................... 1 Chapter I. INTRODUCTION ........................................... 2 PURPOSE ........................................... 4 OBJECTIVES AND JUSTIFICATION ..................... 5 II. REVIEW OF LITERATURE................................... 8 DRESS AS A SOCIO-CULTURAL S T U D Y ................. 8 COMMUNITY AND SOCIETY AS A CHANGING SOCIAL SETTING .................................. 11 History and Definition ............ 12 Folk-Urban as Ideal Types ................... 12 Features of Gemeinschaft and Gesellschaft. 16 Physical boundaries ..................... 16 Temperament and character .............. 18 Group w i l l ................................ 18 HISTORY OF NORTH END, BOSTON ..................... 20 vii CHANGES IN NORTH END, BOSTON ................... 24 PHOTOGRAPHY FOR RESEARCH .......................... 29 III. RESEARCH DESIGN AND METHODOLOGY ..................... 36 QUALITATIVE RESEARCH .............................. 36 Field Research .............................. 37 Ethnomethodology .............................. 38 Foundations by Alfred Schutz ............. 39 Events of everyday l i f e ................. 40 Ethnomethodological considerations .... 41 Photography .................................. 44 METHODOLOGY ......................... 45 Establishment of a Social Situation to Observe Dress ............................ 45 Documentation of Dress ....................... 46 Photographing subjects ................... 46 Supporting d a t a .......................... 49 Establishment of a Socio-Cultural Context . 52 Library resources ....................... 53 Photographs .............................. 53 Interviews with North End w o m e n ........ 53 Methodological Considerations in Qualita­ tive S t u d y .................................. 54 ANALYSIS OF D A T A .................................. 55 Documentation of Dress ....................... 56 Photographs .............................. 56 Supporting d a t a .......................... 57 viii Relationship of Dress to Socio-Cultural Contexts in the C o m m u n i t y .................. 58 IV. DRESS OF THE OLDER ITALIAN-AMERICAN WOMEN IN NORTH END, B O S T O N .................................. 60 DOCUMENTATION OF DR E S S ............................. 60 Descriptions of Dress and Women Subjects in Photographs.............................. 61 Body height and weight ................... 62 Garment silhouette ....................... 62 Design details of garments ............... 63 Accessories ..... ................... 64 Description of Dress of Women Subjects Based on Supporting D a t a ................... 70 SOCIO-CULTURAL FACTORS INFLUENCING DRESS: BASED ON A COMPARISON OF GEMEINSCHAFT AND GESELLSCHAFT.... ................................. 80 The Movement from Family Life and Kinship to Individuality .............................. 81 Photographic data reflecting family life to i n d i v i d u a l i t y ................. 81 Supporting data reflecting family life to individuality ................. 82 The Movement from Neighborhood to City .... 88 The Movement from Religion to Rational Ties. 98 V. SUMMARY, IMPLICATIONS AND RECOMMENDATIONS .......... 105 SUMMARY .............................................. 105 ix IMPLICATIONS ...................................... 108 RECOMMENDATIONS .................................... Ill REFERENCES ..................................................... 114 APPENDIXES A Map of North End, B o s t o n .......................... 123 B Reaction to Slides: Summary of Comments by Evaluative Panels ................................ 125 C Retail Stores Interviewed .......................... 130 D Interview Schedules ................................ 132 Interview Schedule
Recommended publications
  • Central Missouri, University of Vendor List
    Central Missouri, University of Vendor List 4imprint Inc. Contact: Karla Kohlmann 866-624-3694 101 Commerce Street Oshkosh, WI 54901 [email protected] www.4imprint.com Number Type Status Contracts: 1052556 Standard Effective Products: Accessories - Convention Bag Accessories - Tote Accessories - Backpacks Accessories - purse, change Accessories - Luggage tags Accessories - Travel Bag Automobile Items - Ice Scraper Automobile Items - Key Tag/Chain Crew Sweatshirt - Fleece Crew Domestics - Table Cover Domestics - Cloth Domestics - Beach Towel Electronics - Flash Drive Electronics - Earbuds Furniture/Furnishings - Picture Frame Furniture/Furnishings - Screwdriver Furniture/Furnishings - Multi Tool Games - Bean Bag Toss Game Games - Playing Cards Garden Accessories - Seed Packet Gifts & Novelties - Button Gifts & Novelties - Key chains Gifts & Novelties - Koozie Gifts & Novelties - Lanyards Gifts & Novelties - tire gauge Gifts & Novelties - Rally Towel Golf/polo Shirts - Polo Shirt Headbands, Wristbands, Armband - Armband Headbands, Wristbands, Armband - Wristband Holiday - Ornament Home & Office - Fleece Blanket Home & Office - Dry Erase Sheets Home & Office - Night Light Home & Office - Mug Housewares - Jar Opener Housewares - Coasters Housewares - Tumbler Housewares - Drinkware - Glass Housewares - Cup Housewares - Tumbler Jackets / Coats - Jacket 04/02/2019 Page 1 of 91 Jackets / Coats - Coats - Winter Jewelry - Lapel Pin Jewelry - Spirit Bracelet Jewelry - Watches Miscellaneous - Umbrella Miscellaneous - Stress Ball Miscellaneous
    [Show full text]
  • Approximate Weight of Goods PARCL
    PARCL Education center Approximate weight of goods When you make your offer to a shopper, you need to specify the shipping cost. Usually carrier’s shipping pricing depends on the weight of the items being shipped. We designed this table with approximate weight of various items to help you specify the shipping costs. You can use these numbers at your carrier’s website to calculate the shipping price for the particular destinations. MEN’S CLOTHES Item Weight in grams Item Weight in grams Underpants 70 - 100 Jacket 1000 - 1200 Sports shirt, T-shirt 220 - 300 Coat, duster 900 - 1500 UnderpantsShirt 70120 - -100 180 JacketWind-breaker 1000800 - -1200 1200 SportsBusiness shirt, suit T-shirt 2201200 - -300 1800 Coat,Autumn duster jacket 9001200 - -1500 1400 Sports suit 1000 - 1300 Winter jacket 1400 - 1800 Pants 600 - 700 Fur coat 3000 - 8000 Jeans 650 - 800 Hat 60 - 150 Shorts 250 - 350 Scarf 90 - 250 UnderpantsJersey 70450 - -100 600 JacketGloves 100080 - 140 - 1200 SportsHoodie shirt, T-shirt 220270 - 300400 Coat, duster 900 - 1500 WOMEN’S CLOTHES Item Weight in grams Item Weight in grams Underpants 15 - 30 Shorts 150 - 250 Bra 40 - 70 Skirt 200 - 300 Swimming suit 90 - 120 Sweater 300 - 400 Tube top 70 - 85 Hoodie 400 - 500 T-shirt 100 - 140 Jacket 230 - 400 Shirt 100 - 250 Coat 600 - 900 Dress 120 - 350 Wind-breaker 400 - 600 Evening dress 120 - 500 Autumn jacket 600 - 800 Wedding dress 800 - 2000 Winter jacket 800 - 1000 Business suit 800 - 950 Fur coat 3000 - 4000 Sports suit 650 - 750 Hat 60 - 120 Pants 300 - 400 Scarf 90 - 150 Leggings
    [Show full text]
  • The Legacy of American Photojournalism in Ken Burns's
    Interfaces Image Texte Language 41 | 2019 Images / Memories The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series Camille Rouquet Electronic version URL: http://journals.openedition.org/interfaces/647 DOI: 10.4000/interfaces.647 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 21 June 2019 Number of pages: 65-83 ISSN: 1164-6225 Electronic reference Camille Rouquet, “The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series”, Interfaces [Online], 41 | 2019, Online since 21 June 2019, connection on 07 January 2021. URL: http://journals.openedition.org/interfaces/647 ; DOI: https://doi.org/10.4000/interfaces.647 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. THE LEGACY OF AMERICAN PHOTOJOURNALISM IN KEN BURNS’S VIETNAM WAR DOCUMENTARY SERIES Camille Rouquet LARCA/Paris Sciences et Lettres In his review of The Vietnam War, the 18-hour-long documentary series directed by Ken Burns and Lynn Novick released in September 2017, New York Times television critic James Poniewozik wrote: “The Vietnam War” is not Mr. Burns’s most innovative film. Since the war was waged in the TV era, the filmmakers rely less exclusively on the trademark “Ken Burns effect” pans over still images. Since Vietnam was the “living-room war,” played out on the nightly news, this documentary doesn’t show us the fighting with new eyes, the way “The War” did with its unearthed archival World War II footage.
    [Show full text]
  • Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept
    DOCUMENT RESUME ED 048 223 SP 007 137 TITLE Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept. of Education, Toronto. PUB LATE 67 NOTE 34p. EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS Clothing Instruction, *Curriculum Guides, Distributive Education, *Grade 11, *Grade 12, *Hcme Economics, Interior Design, *Marketing, Merchandising, Textiles Instruction AESTRACT GRADES OR AGES: Grades 11 and 12. SUBJECT MATTER: Fashicn arts and marketing. ORGANIZATION AND PHkSTCAL APPEARANCE: The guide is divided into two main sections, one for fashion arts and one for marketing, each of which is further subdivided into sections fcr grade 11 and grade 12. Each of these subdivisions contains from three to six subject units. The guide is cffset printed and staple-todnd with a paper cover. Oi:IJECTIVE3 AND ACTIVITIES' Each unit contains a short list of objectives, a suggested time allotment, and a list of topics to he covered. There is only occasional mention of activities which can he used in studying these topics. INSTRUCTIONAL MATERIALS: Each unit contains lists of books which relate either to the unit as a whole or to subtopics within the unit. In addition, appendixes contain a detailed list of equipment for the fashion arts course and a two-page billiography. STUDENT A. ,'SSMENT:No provision. (RT) U $ DEPARTMENT OF hEALTH EOUCATION & WELFARE OFFICE OF THIS DOCUMENTEOUCATION HAS BEEN REPRO DUCED EXACT' VAS RECEIVED THE PERSON OR FROM INAnNO IT POINTSORGANIZATION ()RIG IONS STATED OF VIEW OR DO NUT OPIN REPRESENT OFFICIAL NECESSARILY CATION
    [Show full text]
  • Aa000343.Pdf (12.91Mb)
    COMFORT SHOE New Style! New Comfort! Haband’s LOW 99 PRICE: per pair 29Roomy new box toe and all the Dr. Scholl’s wonderful comfort your feet are used to, now with handsome new “D-Ring” MagicCling™ closure that is so easy to “touch and go.” Soft supple uppers are genuine leather with durable man-made counter, quarter & trim. Easy-on Fully padded foam-backed linings Easy-off throughout, even on collar, tongue & Magic Cling™ strap, cradle & cushion your feet. strap! Get comfort you can count on, with no buckles, laces or ties, just one simple flick of the MagicCling™ strap and you’re set! Order now! Tan Duke Habernickel, Pres. 1600 Pennsylvania Ave. Peckville, PA 18452 White Black Medium & Wide Widths! per pair ORDER 99 Brown FREE Postage! HERE! Imported Walking Shoes 292 for 55.40 3 for 80.75 Haband 1600 Pennsylvania Ave. 1 1 D Widths: 77⁄2 88⁄2 9 Molded heel cup Peckville, Pennsylvania 18452 1 1 NEW! 9 ⁄2 10 10 ⁄2 11 12 13 14 with latex pad COMFORT INSOLE Send ____ shoes. I enclose $_______ EEE Widths: positions foot and 1 1 purchase price plus $6.95 toward 88⁄2 9 9 ⁄2 Perforated sock and insole 1 adds extra layer 10 10 ⁄2 11 12 13 14 for breathability, postage. of cushioning GA residents FREE POSTAGE! NO EXTRA CHARGE for EEE! flexibility & add sales tax EVA heel insert for comfort 7TY–46102 WHAT WHAT HOW shock-absorption Check SIZE? WIDTH? MANY? 02 TAN TPR outsole 09 WHITE for lightweight 04 BROWN comfort 01 BLACK ® Modular System Card # _________________________________________Exp.: ______/_____ for cushioned comfort Mr./Mrs./Ms._____________________________________________________ ©2004 Schering-Plough HealthCare Products, Inc.
    [Show full text]
  • Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
    Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”.
    [Show full text]
  • Fashion Trends 2016
    Fashion Trends 2016 U.S. & U.K. Report [email protected] Intro With every query typed into a search bar, we are given a glimpse into user considerations or intentions. By compiling top searches, we are able to render a strong representation of the population and gain insight into this population’s behavior. In our second iteration of the Google Fashion Trends Report, we are excited to introduce data from multiple markets. This report focuses on apparel trends from the United States and United Kingdom to enable a better understanding of how trends spread and behaviors emerge across the two markets. We are proud to share this iteration and look forward to hearing back from you. Olivier Zimmer | Trends Data Scientist Yarden Horwitz | Trends Brand Strategist Methodology To compile a list of accurate trends within the fashion industry, we pulled top volume queries related to the apparel category and looked at their monthly volume from May 2014 to May 2016. We first removed any seasonal effect, and then measured the year-over-year growth, velocity, and acceleration for each search query. Based on these metrics, we were able to classify the queries into similar trend patterns. We then curated the most significant trends to illustrate interesting shifts in behavior. Query Deseasonalized Trend 2004 2006 2008 2010 2012 2014 Query 2016 Characteristics Part 1 Part 2 Part 3 Top Risers a Spotlight on an Extensive List and Decliners Top Trending of the Top Volume Themes Fashion Trends Trend Categories To identify top trends, we categorized past data into six different clusters based on Sustained Seasonal Rising similar behaviors.
    [Show full text]
  • The Shape of Women: Corsets, Crinolines & Bustles
    The Shape of Women: Corsets, Crinolines & Bustles – c. 1790-1900 1790-1809 – Neoclassicism In the late 18th century, the latest fashions were influenced by the Rococo and Neo-classical tastes of the French royal courts. Elaborate striped silk gowns gave way to plain white ones made from printed cotton, calico or muslin. The dresses were typically high-waisted (empire line) narrow tubular shifts, unboned and unfitted, but their minimalist style and tight silhouette would have made them extremely unforgiving! Underneath these dresses, the wearer would have worn a cotton shift, under-slip and half-stays (similar to a corset) stiffened with strips of whalebone to support the bust, but it would have been impossible for them to have worn the multiple layers of foundation garments that they had done previously. (Left) Fashion plate showing the neoclassical style of dresses popular in the late 18th century (Right) a similar style ball- gown in the museum’s collections, reputedly worn at the Duchess of Richmond’s ball (1815) There was public outcry about these “naked fashions,” but by modern standards, the quantity of underclothes worn was far from alarming. What was so shocking to the Regency sense of prudery was the novelty of a dress made of such transparent material as to allow a “liberal revelation of the human shape” compared to what had gone before, when the aim had been to conceal the figure. Women adopted split-leg drawers, which had previously been the preserve of men, and subsequently pantalettes (pantaloons), where the lower section of the leg was intended to be seen, which was deemed even more shocking! On a practical note, wearing a short sleeved thin muslin shift dress in the cold British climate would have been far from ideal, which gave way to a growing trend for wearing stoles, capes and pelisses to provide additional warmth.
    [Show full text]
  • Costume Design for You Never Can Tell
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research and Creative Activity in Theatre and Film Theatre and Film, Johnny Carson School of 5-2010 Costume Design for You Never Can Tell Emily S. Parker University of Nebraska at Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/theaterstudent Part of the Other Theatre and Performance Studies Commons Parker, Emily S., "Costume Design for You Never Can Tell" (2010). Student Research and Creative Activity in Theatre and Film. 11. https://digitalcommons.unl.edu/theaterstudent/11 This Article is brought to you for free and open access by the Theatre and Film, Johnny Carson School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research and Creative Activity in Theatre and Film by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COSTUME DESIGN FOR YOU NEVER CAN TELL by Emily Parker A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Fine Arts Major: Theatre Arts Under the Supervision of Professor Janice Stauffer Lincoln, Nebraska May, 2010 COSTUME DESIGN FOR YOU NEVER CAN TELL Emily Parker, M.F.A. University of Nebraska, 2010 Advisor: Janice Stauffer This thesis will expound upon the costume design process for The Johnny Carson School of Theatre and Film’s 2009 production of You Never Can Tell, performed in the Howell Theatre at the University of Nebraska – Lincoln. Directed by Dr. Tice Miller, and Mijou Sahiouni, Assistant Director, the production team included Emily Parker as the Costume Designer, Ahna Packard as the Set Designer, and Harrison Hohnholt as the Lighting Designer.
    [Show full text]
  • Media Images of War 3(1) 7–41 © the Author(S) 2010 Reprints and Permission: Sagepub
    MWC Article Media, War & Conflict Media images of war 3(1) 7–41 © The Author(s) 2010 Reprints and permission: sagepub. co.uk/journalsPermissions.nav DOI: 10.1177/1750635210356813 Michael Griffin http://mwc.sagepub.com Macalester College, Saint Paul, MN, USA Abstract Photographic images of war have been used to accentuate and lend authority to war reporting since the early 20th century, with depictions in 1930s picture magazines of the Spanish Civil War prompting unprecedented expectations for frontline visual coverage. By the 1960s, Vietnam War coverage came to be associated with personal, independent and uncensored reporting and image making, seen as a journalistic ideal by some, and an obstacle to successful government conduct of the war by others. This article considers the idealized ‘myth’ of Vietnam War coverage and how it has influenced print and television photojournalism of American conflicts, skewing expectations of wartime media performance and fostering a consistent pattern of US Government/media collaboration. Upon analysis, pictorial coverage of US wars by the American media not only fails to live up to the myth of Vietnam but tends to be compliant and nationalist. It fails to reflect popular ideals of independent and critical photojournalism, or even the willingness to depict the realities of war. Keywords documentary, Gulf War, Iraq War, journalism, news, photography, photojournalism, television, television news, Vietnam War, visual communication, visual culture, war, war photography Media representations of war are of interest to media scholars for many reasons. First, as reports or images associated with extreme conflict and matters of life and death, they tend to draw intense public attention, and potentially influence public opinion.
    [Show full text]
  • Design Your Own Muumuu
    • UNIVERSITY OF HAWAII COOPERATIVE EXTENSION SERVICE • HOME ECONOMiCS CIRCULAR 351 . OJ. COOPERATIVE EXTENSION WORK IN AGRICULTURE AND HOME ECONOMICS 'COLLEGE OF TROPICAL AGRICULTURE UNIVERSITY OF HAWAII. HONOLULU. HAWAII 116822 UNITED STATES DEPARTMENT OF AGRICULTURE COOPERATING C. PEAIRS WILSON, DIRECTOR, HAWAII COOPERATIVE "EXTENSION SERVICE ,DISTRIBUTED IN FURTHERANCE OF THE ACTS OF CONGRESS OF MAY 8 AND JUNE 30, ll1U HOME ECONOMICS CIRCULAR 351-FEBRUARY 1967 DESIGN YOUR OWN MUUMUU GERTRUDE P. HARRELL Extension Specialist in Clothing Muumuus have been a popular way of dressing for many years in the islands. In the last decade, muumuus have become very versatile in styles, making them suitable for all occasions. Some of them are short; some are very basic and good for working around the house; and some are very dressy, used for very formal occasions. The muumuu is a form of dress that can be adapted to the individual's style of dress. Many people can design a muumuu that is very becoming to them. Because muumuus can be straight and on the tailored side or very full and quite fancy, they give every woman the chance to wear the type most becoming to her figure. Also, they can be made with various types of fabric. Muumuu fabrics range from the inexpensive cotton prints to the very ex­ pensive brocades and even to the expensive lace with lovely backing or lining. Muumuu fashions change the. same as dress styles of today. It is possible to use dress patterns and redesign them slightly and have lovely muumuus. If you have a desire to have individual muumuus, you can follow some basic prin­ ciples and design your own by using a current fashion pattern or a basic pattern that has been made to fit you.
    [Show full text]
  • Bachelor of Design Foundation Course SEMESTER I Sr
    Bachelor of Design Foundation Course SEMESTER I Sr. Th Pr Subject TC Hours Internal External Total No. C C Th Pr Th Pr Drawing and Sketching 100 marks continuous 1 4 - 4 120 100 (c) evaluation Environmental Studies 2 4 4 - 60 25 75 100 (c) Fundamental of Design 3 4 2 2 90 25 25 50 25 100 (c) 25+25=50/2=25 4 Communication Skills (c) 4 3 1 75 15 10 60 15 100 History of Art & Design 5 4 3 1 75 15 10 60 15 100 (c) 20 500 SEMESTER II Th Pr Sr. No. Subject TC Hours Internal External Total C C Th Pr Th Pr 1 Art Appreciation (c) 4 3 1 75 15 10 60 15 100 Technical Drawing- 100 marks continuous 2 4 - 4 120 100 Foundation (b) evaluation 3 Advance Design (c) 4 2 2 90 25 25 50 25 100 25+25=50/2=25 100 marks continuous 4 Material Studies (b) 4 - 4 120 100 evaluation Computer Application 100 marks continuous 5 4 - 4 120 100 for Design evaluation 20 500 Fashion Design SEMESTER III Sr. Subject TC Th C Pr C Hrs Internal External Total No. Th Pr Th Pr Fundamentals of Illustration & 1 4 0 4 120 100 marks continuous evaluation 100 Design Concept 2 Introduction to Pattern Making 4 0 4 120 100 marks continuous evaluation 100 Introduction to Garment 3 4 0 4 120 100 marks continuous evaluation 100 Construction 4 Introduction to Textile 4 4 0 60 25 75 100 History of fashion (Indian & 5 4 4 0 60 25 75 100 Western) and women's studies TOTAL 20 500 SEMESTER IV Sr.
    [Show full text]