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Best Supporting Actress Best Director Patricia Arquette, Boyhood Wes Anderson, The Grand Budapest Hotel Laura Dern, Wild Alejandro Gonzalez Inarritu, Birdman Keira Knightley, The Imitation Game Bennett Miller, Foxcatcher Emma Stone, Birdman Morten Tyldum, The Imitation Game Meryl Streep, Into the Woods Richard Linklater, Boyhood 2015 Academy Awards ! ! Best Original Song Best Actress Everything Is Awesome, The Lego Movie Marion Cotillard, Two Days One Night Best Supporting Actor Glory, Selma Felicity Jones, The Theory of Everything Robert Duvall, The Judge Grateful, Beyond the Lights Julianne Moore, Still Alice Ethan Hawke, Boyhood I’m Not Gonna Miss You, Glen Campbell… Rosamund Pike, Gone Girl Edward Norton, Birdman I’ll Be Me Reese Witherspoon, Wild Mark Ruffalo, Foxcatcher Lost Stars, Begin Again ! J.K. Simmons, Whiplash ! ! Best Actor Best Adapted Screenplay Steve Carell, Foxcatcher Best Costume Design American Sniper Benedict Cumberbatch, The Imitation Game Milena Canonero, The Grand Budapest The Imitation Game Bradley Cooper, American Sniper Hotel Inherent Vice Michael Keaton, Birdman Mark Bridges, Inherent Vice The Theory of Everything Eddie Redmayne, The Theory of Everything Colleen Atwood Whiplash ! Anna B. Sheppard and Jane Clive, Maleﬁcent ! Jacqueline Durran, Mr. Turner Best Picture ! Best Original Screenplay Boyhood Birdman The Grand Budapest Hotel Best Animated Feature Film Boyhood The Imitation Game Big Hero 6 Foxcatcher Selma Song of the Sea The Grand Budapest Hotel The Theory of Everything The Boxtrolls Nightcrawler American Sniper How To Train Your Dragon 2 Birdman The Tale of Princess Kaguya ! Whiplash.

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THTR 433A/ '16 CD II/ Syllabus-9.Pages
USCSchool of Costume Design II: THTR 433A Thurs. 2:00-4:50 Dramatic Arts Fall 2016 Location: Light Lab/PDE Instructor: Terry Ann Gordon Office: [email protected]/ floating office Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Contact Info: [email protected], 818-636-2729 Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers, supervisors and crew. Emphasis will be placed on all aspects of the Costume process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design.
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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.
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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.
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Nominations by Film and Distributor
EE BRITISH ACADEMY FILM AWARDS IN 2015 NOMINATIONS BY FILM/DISTRIBUTOR BY FILM (40 films) ‘71 2 Into the Woods 2 20 Feet From Stardom 1 Kajaki: The True Story 1 20,000 Days on Earth 1 The Lego Movie 1 American Sniper 2 Leviathan 1 Big Eyes 2 Lilting 1 Big Hero 6 1 The Lunchbox 1 Birdman 10 Mr. Turner 4 The Boxtrolls 1 Nightcrawler 4 Boyhood 5 Northern Soul 1 Citzenfour 1 Paddington 2 Dawn of the Planet of the Apes 1 Pride 3 Finding Vivian Maier 1 Still Alice 1 Foxcatcher 2 The Theory of Everything 10 Gone Girl 2 Trash 1 The Grand Budapest Hotel 11 Two Days, One Night 1 Guardians of the Galaxy 2 Under the Skin 2 The Hobbit: The Battle of the Five Armies 1 Virunga 1 Ida 2 Whiplash 5 The Imitation Game 9 Wild 1 Interstellar 4 X-Men:Days of Future Past 1 BY DISTRIBUTOR Alchemy (1) Soda Pictures (1) Kajaki: The True Story 1 Finding Vivian Maier 1 Altitude (1) Sony Pictures (5) 20 Feet From Stardom 1 Whiplash 5 Artificial Eye (8) Studio Canal (15) Citizenfour 1 ‘71 2 Ida 2 The Imitation Game 9 Leviathan 1 Paddington 2 Lilting 1 Under the Skin 2 The Lunchbox 1 Twentieth Century Fox (26) Still Alice 1 Birdman 10 Two Days, One Night 1 Dawn of the Planet of the Apes 1 Disney (5) Gone Girl 2 Big Hero 6 1 The Grand Budapest Hotel 11 Guardians of the Galaxy 2 Wild 1 Into the Woods 2 X-Men: Days of Future Past 1 Entertainment Film (2) Universal (17) Big Eyes 2 The Boxtrolls 1 Entertainment One (10) Boyhood 5 Foxcatcher 2 The Theory of Everything 10 Mr.
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A Content Analysis of the Gender of Academy Award Nominees and Winners for Films
A Content Analysis of the Gender of Academy Award Nominees and Winners for Films Released between 1927 and 2010 A thesis presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the Master of Science Katie E. Labovitz June 2011 © 2011 Katie E. Labovitz. All Rights Reserved. This thesis titled A Content Analysis of the Gender of Academy Award Nominees and Winners for Films Released between 1927 and 2010 by KATIE E. LABOVITZ has been approved for the E.W. Scripps School of Journalism and the Scripps College of Communication by _______________________________________________ Joseph P. Bernt Professor of Journalism _______________________________________________ Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT LABOVITZ, KATIE E., M.S., June 2011, Journalism A Content Analysis of the Gender of Academy Award Nominees and Winners for Films Released between 1927 and 2010 (92 pp.) Director of Thesis: Joseph P. Bernt Using a coding instrument designed specifically for this study, the researcher analyzed the gender of Academy Award nominees and winners in all categories in which potential for direct competition between women and men existed. This study examined if there was gender discrepancy in terms of whose work was recognized in the film industry by the Academy of Motion Pictures Arts and Sciences. Data from 83 Academy Awards ceremonies honoring the films released from 1927 to 2010 yielded 1,471 cases that, when analyzed, supported the statement that more men than women have been nominated for, and winners of, Academy Awards in every category other than Costume Design. Examining the results by year of nominations, wins, and categories showed trends in the numbers of women and men nominees and winners.
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Corso Di Sartoria Teatrale Programma Delle Selezioni
CORSO DI SARTORIA TEATRALE PROGRAMMA DELLE SELEZIONI A.F. 2021/2022 Gentile candidata, gentile candidato, le selezioni rappresentano un momento molto importante, in cui abbiamo la possibilità di incontrarti e capire se la nostra offerta formativa coincide con le tue aspettative. Desideriamo sviluppare le potenzialità che ti permetteranno di affrontare adeguatamente una futura carriera professionale, per questo motivo vogliamo essere sicuri di condividere gli stessi obiettivi. Il numero limitato di studenti che selezioniamo assicura non solo un alto livello della didattica e un rapporto diretto con i docenti, ma permette anche un’organizzazione efficace delle esercitazioni pratiche, componente fondamentale della nostra metodologia. Siamo consapevoli che i colloqui possono essere stressanti e faticosi ma ci impegneremo per rendere la tua esperienza il più possibile interessante e stimolante! Quando e dove? Le selezioni del corso di Sartoria Teatrale si terranno presso la nostra Accademia in via S. Marta 18, Milano, indicativamente dal 27 settembre al 1 ottobre 2021. Dopo la chiusura delle iscrizioni, riceverai una mail con data e orario in cui presentarti. Le prove saranno articolate in 3 fasi distinte: la prima dedicata a due prove scritte, la seconda a una prova pratica e la terza dedicata a un colloquio motivazionale. I test scritti avranno la durata di 60 minuti cui seguirà la prova pratica della durata di 60 minuti max. Nei giorni immediatamente successivi sarai convocato per effettuare un colloquio individuale della durata di circa 20 minuti. L’Accademia è in una zona centrale di Milano, non molto distante da Piazza Duomo e dal Teatro alla Scala. È raggiungibile facilmente: le fermate della metropolitana più vicine sono Cordusio, Duomo e Missori.
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Chapter 1 1850-1890: the Dawn of Modern Clothing
Chapter 1 1850-1890: The Dawn of Modern Clothing This Teacher’s Guide, compiled with the assistance of Stephanie Kramer, is designed to provide you with a summary of the key points in the development of fashion during the period/decade covered in this chapter. It also provides a concise survey of the significant designers of the time, essay and discussion questions, and further reading and research suggestions. Objective The main objective of this chapter is to study the development of fashion during the second half of the 19th century, particularly the establishment of those aspects of the fashion system that are still in place today. Fashion in this period reflected the latest developments in engineering, chemistry, and communication and witnessed development of the role of the “fashion designer.” Key Teaching Points The following teaching points have been arranged thematically and highlight the important topics that need to be covered in order to meet the main objective of the chapter. Social and Economic Background • Britain o reign of Queen Victoria (1837-1901); stress on propriety and etiquette o rapid industrialization o expanding overseas empire • United States o impact of Civil War (1861-1865) on global trade o emergence as industrial power • France o reestablishment of court during Second Empire (begins 1852, ends with Franco-Prussian war 1870) o transformation of Paris into fashionable modern city • Japan o opens borders (1853-1854) o goods enter the Western market and impact Western tastes The Arts • Orientalism and Academic
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NICOLAO ATELIER by Stefano Nicolao
NICOLAO ATELIER by Stefano Nicolao FROM 1983 HISTORICAL COSTUMES from Venice to the World H e was born as an actor in 1970 and in 1974 his passion for theatre and his artistic studies and his desire for colour and matter led him to shift his attention to the background and to frequent set designers and costume design- ers of national and international fame. After an experience as a director of tailoring at the Teatro Stabile Friuli Venezia Giulia Ros- setti in Trieste, under the direction of Sergio D’Osmo, in 1980 he was appointed to follow the costume designer Enrico Sabbatini for the television production Marco Polo for which he took care of scenes and costumes of the Tibetan uni- ty on the Himmalayan chain. Af- ter this wonderful experience and with the occasion of the rebirth of the carnival, he decided to found in Venice in 1983 his own theatri- cal tailoring “Nicolao Atelier”. A work based on a continuous re- search: research of the treated material, imbued with elaborated history, dyed and patinated. PRIZES MAM - MAESTRO D’ARTE E MESTIERE (MAESTRO D’ARTE AND MESTIERE), award given to Stefano Nicolao for the excellence of Italian craftsmanship on Monday 4 June 2018 Triennale di Milano , trade fair of honour PELLICOLA D’ORO , 75th Venice International Film Festival , Lifetime Achievement Award for the Crafts and Crafts of Cinema , 7 September 2018 CONFARTIGIANATO , Venice as part of the prestigious exhibition Homo Faber - Craft- ing A More Human Future, recognition of excellence 2018 COSTUME INSTITUTE OF METROPOLITAN MUSEUM OF ART NEW YORK 1995 ABITO PER BALLO MASCHERATO of Venetian inspiration, embroidered with Murano glass beads, collar and cuffs in curled and woven capon feather in imitation of antique Venetian lace.
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And the Oscar Goes to Milena Canonero Published on Iitaly.Org (
And the Oscar Goes to Milena Canonero Published on iItaly.org (http://ftp.iitaly.org) And the Oscar Goes to Milena Canonero Natasha Lardera (February 24, 2015) Oscar night is not complete if there isn't at least one Italian winner: and this year the honor went to Costume Designer Milena Canonero, for the costumes of Wes Anderson's The Grand Budapest Hotel. Although it didn't take home the top honors The Grand Budapest Hotel tied the winning film, Birdman, for the number of wins with four. The 87th Academy Awards were the Oscars of Birdman, the film by Mexican director Alejandro González Iñárritu about a washed out actor (played by nominee Michael Keaton) who wants to redeem himself by starring in a serious play, that opened the latest edition of the Venice Film Festival. Birdman won four of the coveted statuettes: Best Film, Best Director, Best Original Screenplay and Best Cinematography, yet in order to be a real victory Michael Keaton should have been awarded the Oscar for Best Actor in a Leading Role. Page 1 of 3 And the Oscar Goes to Milena Canonero Published on iItaly.org (http://ftp.iitaly.org) The winner was Eddie Redmayne for his intense portrait of Stephen Hawking , the famous physicist afflicted of SLA, in The Theory of Everything. But an Oscar night is not complete if there isn't at least one Italian winner: and this year the honor went to Costume Designer Milena Canonero, for the costumes of Wes Anderson's The Grand Budapest Hotel. Although it didn't take home the top honors The Grand Budapest Hotel tied the winning film, Birdman, for the number of wins with four: in addition to Costumes, it won for Original Score (Alexandre Desplat), Production Design (Adam Stockhausen's production design and Anna Pinnock's set decoration) and Makeup and Hairstyling.
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Saffron Cullane Costume 0044 (0)7957455901
Saffron Cullane Costume 0044 (0)7957455901 [email protected] Education [email protected] B.A. Honours Costume Interpretation Wimbledon College of art (First class) Features/TV 2019 Censor Director Prano Bailey-Bond Designer Costume designer Saffron Cullane 2019 Little Birds Director Stacie Passon Cutter/Maker Costume designer Jo Thompson 2018 The Capture Director Ben Chanan Buyer Costume designer Hayley Nebauer 2017 Dumbo Director Tim Burton Maker Costume designer Colleen Atwood 2016/17 The Crown 2 Director Various Workroom Supervisor Costume designer Jane Petrie 2016 Justice League Director Zack Snyder Cutter (Batsuit) Costume designer Michael Wilkinson 2015 Bridget Jones Baby Director Sharon Maguire Assistant Costume designer Steven Noble 2015 The Living And The Dead Director Alice Troughton Cutter Costume designer Phoebe DeGaye 2015 King Arthur Director Guy Ritchie Cutter Costume designer Annie Symons 2014/15 Genius Director Michael Grandage Cutter Costume designer Jane Petrie 2014 Nasty (short) Director Prano Bailey-Bond Designer Costume designer Saffron Cullane 2014 Road Games Director Abner Pastel Designer Costume designer Saffron Cullane 2014 Our World War –BBC interactive Directors Scott Rawsthorne/Jon Shaikh Designer Costume designer Saffron Cullane 2014 Suffragette Director Sarah Gavron Maker Costume designer Jane Petrie 2013/14 Exodus Director Ridley Scott Cutter/Maker Costume designer Janty Yates 2013 Cinderella Directors Kenneth Branagh Cutter/Maker Costume designer Sandy Powell 2013 Guardians of the Galaxy Director
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The Current Table of Contents
ARTICLE TYPE ARTICLE NUMBER ARTICLE WORDS IMAGES ASSIGNED CONTRIBUTOR VOLUME 1 Ed-in-Chief Articles Ed-in-Chief Articles 1.1.1 Editor-in-Chief’s Preface 1000 1 Deborah Nadoolman Landis Ed-in-Chief Articles 1.1.2 Visual Timelines by Genre 2000 40 Deborah Nadoolman Landis 1.1.3 Introduction to the History of Costume in Television Ed-in-Chief Articles and the Movies 7000 5 Deborah Nadoolman Landis 1.1.4 The Process of Costume Design, from Script to Ed-in-Chief Articles Screen in Film and Television 3000 5 Deborah Nadoolman Landis 1.1.5 Flow charts: on-set, off-set, process of costume Ed-in-Chief Articles design, costume department 250 4 Deborah Nadoolman Landis Themes and Issues Articles - Film & Television Themes and Issues Articles - Film & Television 1.2.1 History of Costume, Film Themes and Issues Articles - Film & Television 1.2.2 The Rise of the Specialist Costume Designer 2000 5 Michelle Tolini Finamore Themes and Issues Articles - Film & Television 1.2.3 Studio Production 2000 2 Natasha Rubin Themes and Issues Articles - Film & Television 1.2.4 Director/Designer Collaborations 1500 1 Drake Stutesman Themes and Issues Articles - Film & Television 1.2.5 Costume Department Directors 2000 2 Edward Maeder Themes and Issues Articles - Film & Television 1.2.6 Classical Hollywood 2000 2 Elizabeth Castaldo Lunden Themes and Issues Articles - Film & Television 1.2.7 Postwar Hollywood 2000 2 Edward Urquilla Themes and Issues Articles - Film & Television 1.2.8 Film Noir 2000 2 Kimberly Truhler Themes and Issues Articles - Film & Television 1.2.9
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1 USC Costume Design Syllabus 2018 Copy
Costume Design II: THTR 433A USCSchool of Thurs. 2:00-4:50 Fall 2018 Dramatic Arts Location: Light Lab/PDE Office: adjunct office MMC Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers. Emphasis will be placed on all aspects of the Costume design process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design.
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