DOCSLIB.ORG

Vintage Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vintage Issue BESPOKEBESPOKE ISSUE #6, SPR I N G 2 0 14 VINTAGE ISSUE EXIT COPPER LET IT REIGN KATE HAWLEY ON GUILLERMO DEL TORO’S CRIMSON PEAK STEAMPUNK & INTAGE A GOOD V IND IS HARD TO F BESPOKE BESPOKE P. 2 ISSUE #6, SPR I N G 2 0 1 4 ISSUE #6, SPR I N G 2 0 1 4 Editor-in-Chief Contributors: THE VINTAGE ISSUE Loretta Chin Jennifer Bunt !"#$%&"'(%'()"'*+,-./'0123'4,5(' Amanda Bone Vintage issue of BeSpoke, our news- Story Editor Loretta Chin letter that celebrates our alliance of Kristen O’Reilly Bernadette Croft 100 plus members and showcases Urs Dierker the talents of our members’ creativ- Copy Editor Ian Drummond ity and craft. Straddling the worlds Kim Harkness Alexandria Goldman %6'4#&7'685)-%.'8.9'9"5-/.7':"*+%;"' Kim Harkness features interesting and relevant sto- Art & Advertising Adam Smith ries on the work of both seasoned Urs Dierker Joanna Syrokomla and neophyte talents, embracing the craft from both artistic and technical Advertising CAFTCAD perspectives with a much needed Jennifer Kelly 65 Heward Ave Building C #223 sense of humour and fondness for Toronto ON M4M 2T5 the medium we’ve chosen to work in. Graphic Design 416 900 0955 This is our vehicle to create aware- Macroblu [email protected] ness for what we do at home and [email protected] for the international community. Photo Editor We’d like to showcase the works of Cyana Madsen Correction: In the Portfolio section each and every one of you, so stay of the last BeSpoke Issue (Issue #5 involved, reach out and let us know Fall 2013) Ritta Koleva’s name was what you are doing. We hope you misspelled. We apologize for the enjoy the issue! oversight. BESPOKE BESPOKE ISSUE #6, SPR I N G 2 0 1 4 ISSUE #6, SPR I N G 2 0 14 P. 3 LET IT REIGN By Kim Harkness Image courtesy of M3 These days Toronto is a hotbed for 4(5'()"'=-##'85'-('6""#5'#-;"'8'&%9",.' sexy and alluring. Naughty yet period series and features. Although historical romance novel come to elegant. Outdated in our everyday Copper has exited, Murdoch Mysteries life. The series chronicles the rise <5"7'%<,'#%A"'8B8-,'?-()'()"&'-5'68,' is now in its seventh season, the fea- to power of Mary Queen of Scots from over, as many designers like (<,"'4#&5'Crimson Peak and Life are in when she arrives in France. It’s highly Roberto Cavalli, Dolce & Gabbana, production, and Reign, the Favourite 4$(-%.8#->"97'?-()'8'&%9",.'5$%,"' and Vivienne Westwood are known New TV Series winner at the People’s and period-inspired wardrobe. The for them. Choice Awards, has been awarded a show details the secret of survival at Reign’s costume designer Meredith second season. It must be a sign of @,".$)'$%<,('8&-95('4",$"'6%"57'98,;' Markworth-Pollack has crafted stun- what’s on our collective minds – if it’s forces and a world of sexual intrigue. ning costumes that pay tribute to not vampires, werewolves and the It’s a coming of age story – universal, historical accuracy with liberal doses zombie apocalypse, we’re looking timeless, with a more regal wardrobe of modern sensibility. Where Copper back where there’s plenty of treach- than the average Jane. worked hard at being true to the ery and intrigue - at least there is in The wardrobe on Reign pays trib- period, Reign is more interpretive in the historical stories being portrayed ute to the real France of 1564 with costume design. Just as Hollywood on the screen. a contemporary twist. It showcases in its glory days (all those Edith Head CW, who broadcasts Reign, is a pretty girls in corsets with metal- shows) was forward thinking of cur- network that targets a female audi- lic details that were certainly not of rent styles, Meredith has been grant- ence from 18-34 year olds. Reign that time. The corset: restrictive, ed similar freedom, albeit altering a BESPOKE BESPOKE P. 4 ISSUE #6, SPR I N G 2 0 1 4 ISSUE #6, SPR I N G 2 0 1 4 Images courtesy of M3 vision of the past instead of pushing on Film International Festival in Steampunk movement to shows like the present into the future. Southern California for the Bravo Game of Thrones, Downton Abbey, Meredith has a history with both Fact short she designed called Rosie The Tudors and Mad Men (to name period and pretty shows, having de- Takes the Train, a character study that just a few), audiences continue to be signed a pilot called Valley Girls set in “follows the life of Rosie from the fascinated with history - or at least the 1980s as well a web series called 1930s up to the present day.” 8'4$(-(-%<5',".9",-./'%6'-(D'E%?"A",' Stupid Hype set in the 90s. She was On Reign, fabrics and costume tied up in the politics of 1550s also the ACD on Gossip Girls for two stock have been sourced throughout France a viewer might be, it’s hard seasons where NYC never looked Europe and North America. “Tirelli not to imagine that a large part of prettier serving as the central char- Costumi (Italy) and Angels of London the draw is visual. Whether you pick acter alongside the privileged Upper (England) costume houses have up on the contemporary elements East Side kids who took fashion very been our main contributors however of the wardrobe or not is beside the seriously and made Manhattan their the Stratford Theatre (Ontario) has point. If you never question it, even playground. also provided great stock for the better. It’s the sign of the success- ACD Leslie Kavanagh (CAFTCAD show.” Some challenges have been ful hands of the designer and the member) says, “we always try to C4.9-./'()"',-/)('A-.(8/"'$#%()"5'(%' costume department. keep the feel and vibe of the true use as elements of the costume that In period shows costume design period but bring it to a more con- pair well with our in-house builds,” can be both historically accurate temporary place where today’s audi- she adds. “We build over 50% of the and imaginative through the creative ence can really relate to it.” She also costumes, almost all for our hero interpretations of designers. As gar- reveals that “the female cast have all players and some for our day players ments from the distant past disinte- really learned to love corsets!” or specialty looks, such as soldiers. grate, shows in the future will consist Leslie has a history with period As always, footwear has been of entire costumes that blend true shows herself. “Total Recall and problematic. They just don’t seem to period with the artistic inspirations Robocop were both futuristic and make tall leather boots for men they of costume designers. And on that dealt with specialty costumes,” she way they do for women.” day we’ll have to say that true period says. Recently, Leslie won a Best While we’re not watching the shows are a thing of the past. Costume Design Award at the Action History Channel, it’s clear from the BESPOKE BESPOKE ISSUE #6, SPR I N G 2 0 1 4 ISSUE #6, SPR I N G 2 0 1 4 P. 5 PERIOD CLOTHING & THE MODERN BODY By Urs Dierker “I really found the clothing very (,L'9-B",".('5(L#"57O'P%,"".'58L5D' restrictive,” British actress Anastasia Michel adds, “You’re more visual in F,-G()'89&-(("9'-.'8.'-.(",A-"?' your results.” Delphine explains, “The about the series Copper. “It imposed cutter certainly is the person which a lot on me insofar as how I would has more to do with the design of carry myself and how I would even the costume, than anybody else in breathe and talk and move.” How the department. You know, as a de- then, do you cut a period garment signer, you may have as many ideas for a modern body, especially when, as you want but unless you have a in 1860 a corset was mandatory for good crew these designs won’t come <++",'$#855'?%&".H'I('9"4."9'()"-,' to fruition. I love working coopera- silhouette. tively with a cutter and enjoy input- Loreen Lightfoot was the cutter on ting their feedback into the costume.” Copper in the initial season. “In the It’s not very common for patterns 4,5('5"85%.'%6'Copper this restric- to survive a show but there’s a huge (-%.'4('J.85(85-8'F,-G()K5'$)8,8$(",' pile of Copper patterns hanging in (Elisabeth Haverford),” she says. the CAFTCAD library. There are pat- Loreen and Michel Proulx, who was terns for men’s pants, jackets, and the second season cutter, share sim- shirts and women’s dresses from ilar experiences while cutting period the 1860s in New York City. The costumes for a contemporary female four cutters on the series - Nancy body. “An actor has to learn how Dasilva, Loreen Lightfoot, Michel to wear a period costume. At that Proulx and Ahmad Zargaran, com- time, they were not moving like we piled the patterns. Delphine do- do today. You could not raise your nated the patterns and two years of arm, like in a t-shirt,” Michel explains. research to the CAFTCAD library to Loreen continues, “Bodies are so allow for the study of “how clothing 9-B",".('(%98L'6,%&'8')<.9,"9'L"8,5' went together back then”, bearing in 8/%D'I'9,86('8'+8((",.'(%'4('8'&%9",.' mind the realities of drafting for the body placing the lines so that we contemporary body.
Load more

Recommended publications
  • Presents a Film by TRACEY DEER 92 Mins, Canada, 2020 Language: English with Some French
    Presents a film by TRACEY DEER 92 mins, Canada, 2020 Language: English with some French Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com BEANS Festivals, Achievements and Awards Awards & Achievements DGC Discovery Award – 2020 WGC Screenwriting Award, Feature Film – 2021 Canadian Screen Awards – 2021 Best Motion Picture, Winner John Dunning Best First Feature Film Award, Winner Achievement in Casting, Nomination Achievement in Sound Mixing, Nomination Achievement in Cinematography, Nomination Vancouver Films Critics Circle – 2021 One to Watch: Kiawentiio Best Supporting Actress: Rainbow Dickerson Festivals Berlinale, Generation Kplus, Germany – 2021 Crystal Bear for Best Film Toronto International Film Festival, Canada – 2020 TIFF Emerging Talent Award: Tracey Deer TIFF Rising Stars: Rainbow Dickerson TIFF’s Canada’s Top Ten Vancouver International Film Festival, Canada – 2020 Best Canadian Film Yukon Available Light Film Festival, Canada – 2021 Made in the North Award for Best Canadian Feature Film Audience Choice Best Canadian Feature Fiction Kingston Canadian Film Festival, Canada – 2021 Limestone Financial People’s Choice Award Minneapolis St. Paul International Film Festival, USA – 2021 Audience Choice Award: Nextwave Global Features Provincetown Film Festival - 2021 NY Women in Film & Television Award for Excellence
    [Show full text]
  • Puvunestekn 2
    1/23/19 Costume designers and Illustrations 1920-1940 Howard Greer (16 April 1896 –April 1974, Los Angeles w as a H ollywood fashion designer and a costume designer in the Golden Age of Amer ic an cinema. Costume design drawing for Marcella Daly by Howard Greer Mitc hell Leis en (October 6, 1898 – October 28, 1972) was an American director, art director, and costume designer. Travis Banton (August 18, 1894 – February 2, 1958) was the chief designer at Paramount Pictures. He is considered one of the most important Hollywood costume designers of the 1930s. Travis Banton may be best r emembered for He held a crucial role in the evolution of the Marlene Dietrich image, designing her costumes in a true for ging the s tyle of s uc h H ollyw ood icons creative collaboration with the actress. as Carole Lombard, Marlene Dietrich, and Mae Wes t. Costume design drawing for The Thief of Bagdad by Mitchell Leisen 1 1/23/19 Travis Banton, Travis Banton, Claudette Colbert, Cleopatra, 1934. Walter Plunkett (June 5, 1902 in Oakland, California – March 8, 1982) was a prolific costume designer who worked on more than 150 projects throughout his career in the Hollywood film industry. Plunk ett's bes t-known work is featured in two films, Gone with the Wind and Singin' in the R ain, in which he lampooned his initial style of the Roaring Twenties. In 1951, Plunk ett s hared an Osc ar with Orr y-Kelly and Ir ene for An Amer ic an in Paris . Adr ian Adolph Greenberg ( 1903 —19 59 ), w i de l y known Edith H ead ( October 28, 1897 – October 24, as Adrian, was an American costume designer whose 1981) was an American costume designer mos t famous costumes were for The Wiz ard of Oz and who won eight Academy Awards, starting with other Metro-Goldwyn-Mayer films of the 1930s and The Heiress (1949) and ending with The Sting 1940s.
    [Show full text]
  • Bruce Greenwood, Leslie Hope, Benjamin Ayres
    Directed by Jerry Ciccoritti Written by Jeff Kober Starring: Bruce Greenwood, Leslie Hope, Benjamin Ayres, Megan Follows, David Hewlett, Kris Holden-Reid, Jeff Kober, Grace Lynn Kung, Kristin Lehman, Daniel Maslany, Tony Nappo, Paula Rivera TRT: 92:26 Format: 2:39 Sound: 5.1 surround sound Rating: (pending) Country: Canada Language: English Genre: Drama Trailers: Available Website: www.IndicanPictures.com Table of Contents Synopsis ...................................................................................................................................................................... 2 Director’s Statement .................................................................................................................................................. 3 Producer’s Statement ................................................................................................................................................. 3 Artist’s Statement (Jeff Kober) ................................................................................................................................... 4 Cast Bios ...................................................................................................................................................................... 5 Bruce Greenwood (Frank) ...................................................................................................................................... 5 Leslie Hope (Melanie) ............................................................................................................................................
    [Show full text]
  • Mymovies.Pdf
    1 La Alcon Entertainment presenta ³3ULVRQHUV´, distribuito dalla Warner Bros. Pictures con LO FDQGLGDWR DOO¶Oscar® +XJK -DFNPDQ ³/HV 0LVpUDEOHV´ e -DNH *\OOHQKDDO ³%URNHEDFN 0RXQWDLQ´ per la regia di Denis VilleneuveFKHKDGLUHWWR³,QFHQGLHV´FDQGLGDWRDOO¶2VFDU® ocme miglior film straniero. Fin dove ti spingeresti per proteggere la tua famiglia? Keller Dover (Hugh Jackman) si trova ad affrontare il peggior incubo di ogni genitore. Sua figlia di sei, Anna, è scomparsa, insiema alla sua amichetta, Joy, e mentre i minuti diventano ore, il panico prende il sopravvento. La traccia più evidente conduce ad un vecchio camper, visto poco prima parcheggiato lungo la strada dove abitano. $ FDSR GHOO¶LQGDJLQH, il Detective Loki (Jake Gyllenhaal) arresta il suo guidatore, Alex Jones (Paul Dano), PDO¶DVVHQ]DGLSURYH costringe la polizia al suo rilascio. Mentre vengono seguite diverse piste, la pressione aumenta, sapendo che è in gioco la vita di sua figlia, Dover, fuori di sé, decide di non avere altra scelta che quella di occuparsene da solo. Ma fin dove si spingerà questo padre disperato, per proteggere la sua famiglia? Intepretato da Jackman e Gyllenhaal, il drammatico WKULOOHU³3ULVRQHUV´, è composto da un cast all-star, WUDFXLODFDQGLGDWDDOO¶Oscar® 9LROD'DYLV ³7KH+HOS´³'RXEW´ la candidata ai Golden Globe Award, 0DULD%HOOR ³$+LVWRU\RI9LROHQFH´³7KH&RROHU´ ed il candidato DOO¶Oscar®, 7HUUHQFH+RZDUG ³+XVWOH )ORZ´ , il premio Oscar®, 0HOLVVD/HR ³7KH)LJKWHU´ e Paul Dano. Denis Villeneuve dirige il film da una sceneggiatura originale di Aaron Guzikowski. Il FDQGLGDWRDOO¶Oscar® Broderick Johnson ³7KH%OLQG6LGH´ .LUD'DYLV LOFDQGLGDWRDOO¶Oscar® $QGUHZ$.RVRYH ³7KH%OLQG6LGH´ ed Adam Kolbrenner sono i produttori, con Edward L.
    [Show full text]
  • Final J.Min |O.Phi |T.Cun |Editor |Copy
    Style SPeCIAl What is shown in Paris today is a dead duck tomorrow.” — Costume designer EDITH HEAD, whose 57-year career owed “ much of its longevity to avoiding trends. C Edith Head’s LEgacy In her day, the famed costume designer ruled at Paramount, dressing everyone from Grace Kelly to Elizabeth Taylor — all the while savvily getting her way By Sam Wasson Kim Novak’s wardrobe for Vertigo, including this white coat with black scarf, was designed to look mysterious. “This girl must look as if she’s just drifted out of the San Francisco fog,” said Head. FINAL J.MIN |O.PHI |T.CUN |EDITOR |COPY Costume designer edith head — whose most unforgettable designs included Grace Kelly’s airy chiffon skirt in Hitchcock’s To Catch a Thief, Gloria Swanson’s darkly elegant dresses in Sunset Boulevard, Dorothy Lamour’s sarongs, and Elizabeth Taylor’s white satin gown in A Place in the Sun — sur- vived 40 years of changing Hollywood styles by skillfully eschewing fads of the moment and, for the most part, gran- Cdeur and ornamentation, too. Boldness, she believed, was a vice. Thirty years after her death, Head is getting a new dose of attention. A gor- geous coffee table book,Edith Head: The Fifty-Year Career of Hollywood’s Greatest Costume Designer, was recently published. And in late March, an A to Z adapta- tion of Head’s seminal 1959 book, The Dress Doctor, is being released as well. ! The sTyle setter of The screen The breezy volume spotlights her trade- Clockwise from above: 1.
    [Show full text]
  • 'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity
    ‘Perfect Fit’: Industrial Strategies, Textual Negotiations and Celebrity Culture in Fashion Television Helen Warner Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film and Television Studies Submitted July 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Helen Warner P a g e | 2 ABSTRACT According to the head of the American Costume Designers‟ Guild, Deborah Nadoolman Landis, fashion is emphatically „not costume‟. However, if this is the case, how do we approach costume in a television show like Sex and the City (1998-2004), which we know (via press articles and various other extra-textual materials) to be comprised of designer clothes? Once onscreen, are the clothes in Sex and the City to be interpreted as „costume‟, rather than „fashion‟? To be sure, it is important to tease out precise definitions of key terms, but to position fashion as the antithesis of costume is reductive. Landis‟ claim is based on the assumption that the purpose of costume is to tell a story. She thereby neglects to acknowledge that the audience may read certain costumes as fashion - which exists in a framework of discourses that can be located beyond the text. This is particularly relevant with regard to contemporary US television which, according to press reports, has witnessed an emergence of „fashion programming‟ - fictional programming with a narrative focus on fashion.
    [Show full text]
  • English and French-Speaking Legislation Intended to Diminish the Rights Requiring Workers Contribute to Their Own Television Channels Throughout Canada
    Join The Stand Up, Fight Back Campaign! IATSE Political Action Committee Voucher for Credit/Debit Card Deductions I hereby authorize the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States Political Action Committee, hereinafter called the IATSE-PAC to initiate a deduction from my credit card. This authorization is to remain in full force and effect until the IATSE-PAC has received written notification from me of its termination in such time and in such manner as to afford the parties a reasonable opportunity to act on it. Check one: President’s Club ($40.00/month) Leader’s Club ($20.00/month) Activist’s Club ($10.00/month) Choose one: Or authorize a monthly contribution of $________ Mastercard Discover Authorize a one-time contribution of $________($10.00 minimum) VISA American Express Card #: _____________________________________ Expiration Date (MM/YY): ____/____ Card Security Code: ______ Employee Signature_______________________________ Date________________ Last 4 Digits of SSN___________ Local Number_____________ ET Print Name_____________________________________Email______________________________________ Phone Number________________________ Home Address_______________________________________ City ____________________________ State/Zip Code _____________________________ Billing Address_________________________ City_________________ State/Zip Code______________ Occupation/Employer_____________________ This Authorization is voluntarily made based on my specific
    [Show full text]
  • Getting a on Transmedia
    ® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. SPRING 2014 Getting a STATE OF SYN MAKES THE LEAP GRIon transmediaP + NEW RIVALRIES AT THE CSAs MUCH TURNS 30 | EXIT INTERVIEW: TOM PERLMUTTER | ACCT’S BIG BIRTHDAY PB.24462.CMPA.Ad.indd 1 2014-02-05 1:17 PM SPRING 2014 table of contents Behind-the-scenes on-set of Global’s new drama series Remedy with Dillon Casey shooting on location in Hamilton, ON (Photo: Jan Thijs) 8 Upfront 26 Unconventional and on the rise 34 Cultivating cult Brilliant biz ideas, Fort McMoney, Blue Changing media trends drive new rivalries How superfans build buzz and drive Ant’s Vanessa Case, and an exit interview at the 2014 CSAs international appeal for TV series with the NFB’s Tom Perlmutter 28 Indie and Indigenous 36 (Still) intimate & interactive 20 Transmedia: Bloody good business? Aboriginal-created content’s big year at A look back at MuchMusic’s three Canadian producers and mediacos are the Canadian Screen Awards decades of innovation building business strategies around multi- platform entertainment 30 Best picture, better box offi ce? 40 The ACCT celebrates its legacy Do the new CSA fi lm guidelines affect A tribute to the Academy of Canadian 24 Synful business marketing impact? Cinema and Television and 65 years of Going inside Smokebomb’s new Canadian screen achievements transmedia property State of Syn 32 The awards effect From books to music to TV and fi lm, 46 The Back Page a look at what cultural awards Got an idea for a transmedia project? mean for the business bottom line Arcana’s Sean Patrick O’Reilly charts a course for success Cover note: This issue’s cover features Smokebomb Entertainment’s State of Syn.
    [Show full text]
  • During the 1930-60'S, Hollywood Directors Were Told to "Put the Light Where the Money Is" and This Often Meant Spectacular Costumes
    During the 1930-60's, Hollywood directors were told to "put the light where the money is" and this often meant spectacular costumes. Stuidos hired the biggest designers and fashion icons to bring to life the glitz and the glamour that moviegoers expected. Edith Head, Adrian, Walter Plunkett, Irene and Helen Rose were just a few that became household names because of their designs. In many cases, their creations were just as important as the plot of the movie itself. Few costumes from the "Golden Era" of Hollywood remain except for a small number tha have been meticulously preserved by a handful of collectors. Greg Schreiner is one of the most well-known. His wonderful Hollywood fiolm costume collection houses over 175 such masterpieces. Greg shares his collection in the show Hollywoood Revisited. Filled with music, memories and fun, the revue allows the audience to genuinely feel as if they were revisiting the days that made Hollywood a dream factory. The wardrobes of Marilyn Monroe, Elizabeth Taylor, Julie Andrews, Robert Taylor, Bette Davis, Ann-Margret, Susan Hayward, Bob Hope and Judy Garland are just a few from the vast collection that dazzle the audience. Hollywood Revisited is much more than a visual treat. Acclaimed vocalists sing movie-related music while modeling the costumes. Schreiner, a professional musician, provides all the musical sccompaniment and anecdotes about the designer, the movie and scene for each costume. The show has won critical praise from movie buffs, film historians, and city-wide newspapers. Presentation at the legendary Pickfair, The State Theatre for The Los Angeles Conservancy and The Santa Barbara Biltmore Hotel met with huge success.
    [Show full text]
  • Introduction
    THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.
    [Show full text]
  • Denis Villeneuve Director / Screenwriter ————— FILMOGRAPHY
    Denis Villeneuve Director / Screenwriter ————— FILMOGRAPHY Blade Runner 2049 To be released October 6, 2017 Feature film Director Dune in development Feature film Director The Son in development Feature film Director Arrival 2016 Feature film Director AWARDS Academy Awards - Won Oscar Best Achievement in Sound Editing Sylvain Bellemare - Nominated Oscar Best Motion Picture of the Year Shawn Levy, Dan Levine, Aaron Ryder, David Linde/ Best Achievement in Directing Denis Villeneuve/ Best Adapted Screenplay Eric Heisserer/ Best Achievement in Cinematography Bradford Young/ Best Achievement in Film Editing Joe Walker/ Best Achievement in Sound Mixing Bernard Gariépy Strobl, Claude La Haye/ Best Achievement in Production Design Patrice Vermette (production design), Paul Hotte (set decoration), 2017, USA BAFTA Awards - Won, BAFTA Film Award Best Sound Claude La Haye, Bernard Gariépy Strobl, Sylvain Bellemare/ Nominated BAFTA Film Award Best Film Dan Levine, Shawn Levy, David Linde, Aaron Ryder/ Best Leading Actress Amy Adams/ Nominated David Lean Award for Direction Denis Villeneuve/ Nominated, BAFTA Film Award Best Screenplay (Adapted) Eric Heisserer/ Best Cinematography Bradford Young/ Best Editing Joe Walker/ Original Music Jóhann Jóhannsson/ Best Achievement in Special Visual Effects Louis Morin, UK, 2017 AFI Awards – Won AFI Awards for Movie of the Year, USA, 2017 ARRIVAL signals cinema's unique ability to bend time, space and the mind. Denis Villeneuve's cerebral celebration of communication - fueled by Eric Heisserer's monumental script - is grounded in unstoppable emotion. As the fearless few who step forward for first contact, Amy Adams, Jeremy Renner and Forest Whitaker prove the imperative for finding a means to connect - with awe- inspiring aliens, nations in our global community and the knowledge that even the inevitable loss that lies ahead is worth living.
    [Show full text]
  • Cinematic Fashionability and Images Politics
    Journalism and Mass Communication, Mar.-Apr. 2021, Vol. 11, No. 2, 73-80 doi: 10.17265/2160-6579/2021.02.002 D DAVID PUBLISHING Cinematic Fashionability and Images Politics Chan Ka Lok Sobel Hong Kong Baptist University, Hong Kong SAR, China The marriage of cinema and fashion? When, where and how their interaction and origin is begun? There should be no glamor and red carpet when The Lumière brothers short films like Workers leaving the Lumière factory, The Gardener, Baby’s Breakfast on the birth of cinema in 1895. However, we notice that artificially costumes are tailor-made for A Trip to the Moon in Georges Méliès and D. W. Griffith’s Intolerance. Suddenly, it adds the aesthetical and modernist elements into the blood of cinema beside the raw-realism of how the daily life of the common people is represented on the silver screen. Some kinds of bourgeois ideology and middle class value is enhanced. It is so unbelievable that some ordinary actress like Mary Pickford transforming into a movie star after beautifully dressing up. Not only the audience feel the power of movie magic but also the fashion magic. This paper explores the different perspective of movie and fashion in terms of fashion and film costumes, movie stars icon, fashion trends influenced by movies, and how fashion designers changes the look of cinema as well, etc. Keywords: ideology, movie images, stardom, fashionability Introduction Cinema is somehow like a showcase of fashion. General audiences are fans of movie stars not just because of their personal charisma, but because of the fashion they wear.
    [Show full text]