Master Class with Monique Prudhomme: Selected Bibliography
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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. -
Homage to Piero Tosi (Costume Designer)
The Scenographer presents Homage to Piero Tosi (costume designer) When I arrive at the Gino Carlo Sensani costume department accompanied by a student of the National School of Cinema, it does not in the least surprise me that Tosi receives me whilst keeping his back to me, intent on making some adjustment to a student’s problematic sketch. He pronounces a rapid greeting then lets pass a perfect lapse of time, neither too extended nor too brief, before turning to face me. Thoroughbred of the stage and screen, director of himself and in part an incorrigible actor, with an acknowledged debt to Norma Desmond and to those who still know how to descend a staircase with an outstretched arm on the banister, prompting those in attendance to take off their hat. I have known Pierino for many years, less in person, more through the words and the verbal accounts of Fellini, which almost never coincided with those of Tosi, yet traced a portrait with indelible colours. There is also a vague suggestion of witchcraft, from the moment in which the man ceased to change, neither from within nor from without. No sign of ageing, of the passing of time, preserved in a bubble of glass. Immutable, this is how Pierino Tosi appears to me, though he has no need of these compliments, neither does he fish for them, with always a foot placed on that shadowy line beyond which it is so easy to vanish, to fade away. Our mutual long-term acquaintance with Fellini draws us inevitably back to that climate. -
THE FABRIC of DREAMS Master in Costume Design for Movies, TV and Stage
MDC MANIFATTURE DIGITALI CINEMA PRATO ASC ASSOCIAZIONE ITALIANA COSTUMISTI E SCENOGRAFI PIN POLO UNIVERSITARIO CITTA’ DI PRATO THE FABRIC OF DREAMS Master in Costume Design for Movies, TV and Stage 24 FEBRUARY – 2 MAY 2020 About the course The Italian tradition of Costume Design for Movies, TV and Stage structured as an intensive course taught by top Italian experts: Gabriella Pescucci, Carlo Poggioli and Alessandro Lai. “The Fabric of Dreams” Master in Costume Design for Movies, TV and Stage is an educational program for costume design. The aim is to offer a unique experience working with experts, exploring the history of costume through movies, interpreting historical costume as a means of designing contemporary costume, and making extraordinary garments with a view to opening a new museum. A top-tier program consisting of learning and hands-on experience under the guidance of leading professionals, expert craftspeople and internationally renowned companies. Tuscany has a history of thriving in the field of costume design, thanks to the first Grand Duke of Tuscany Cosimo I and his spouse Eleanor of Toledo, icons of the Florentine Renaissance. 500 hours, 64 days and a few weekends in which to learn to observe, design, cut, sew and organise. An intensive lab to achieve your dream to become a costume designer. The teachers Gabriella Pescucci, Carlo Poggioli and Alessandro Lai lead the course. Three renowned costume designers on the Italian and international film scene who vary in their styles and approaches, all conveying Italy’s exceptional flair for costume design. This course is their brainchild, an educational experience aimed at emerging professionals wishing to learn more about the theory and practice of costume design. -
DRAWING COSTUMES, PORTRAYING CHARACTERS Costume Sketches and Costume Concept Art in the Filmmaking Process
Laura Malinen 2017 DRAWING COSTUMES, PORTRAYING CHARACTERS Costume sketches and costume concept art in the filmmaking process MA thesis Aalto University School of Arts, Design and Architecture Department of Film, Television and Scenography Master’s Degree Programme in Design for Theatre, Film and Television Major in Costume Design 30 credits Acknowledgements I would like to thank my supervisors Sofia Pantouvaki and Satu Kyösola for the invaluable help I got for this thesis. I would also like to thank Nick Keller, Anna Vilppunen and Merja Väisänen, for sharing their professional expertise with me. Author Laura Malinen Title of thesis Drawing Costumes, Portraying Characters – Costume sketches and costume concept art in the filmmaking process Department Department of Film, Television and Scenography Degree programme Master’s Degree Programme in Design for Theatre, Film and Television. Major in Costume Design Year 2017 Number of pages 85 Language English Abstract This thesis investigates the various types of drawing used in the process of costume design for film, focusing on costume sketches and costume concept art. The research question for this thesis is ‘how and why are costume sketches and costume concept art used when designing costumes for film?’ The terms ‘costume concept art’ and ‘costume sketch’ have largely been used interchangeably. My hypothesis is that even though costume sketch and costume concept art have similarities in the ways of usage and meaning, they are, in fact, two separate, albeit interlinked and complementary terms as well as two separate types of professional expertise. The focus of this thesis is on large-scale film productions, since they provide the most valuable information regarding costume sketches and costume concept art. -
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. -
Deborah Nadoolman Landis V&A Publishing Contents
HOLLYWOOD Edited by DEBORAH NADOOLMAN LANDIS V&A PUBLISHING CONTENTS 1 THE ART OF BECOMING 2 DEFINING THE CHARACTER Sponsor's foreword 8 What is costume design? 48 The costume of silent comedy Deborah Nadoolman Landis David Robinson Preface n Debbie Reynolds Moving pictures, silent movies Sound comedy: louder and funnier and the art of William Hogarth 56 John Landis Setting the scene: A ileen Ribeiro Silhouettes of seduction 110 a short history of Designing The Last Emperor 68 Jean L. Druesedow Hollywood costume James Acheson design 1912-2012 12 Hollywood and history 126 Deborah Nadoolman Landis The process of transformation 72 Edward Maeder Kristin M. Burke Banton's beauties 132 Designing for the Coen Brothers 76 Deborah Nadoolman Landis Mary Zophres Costume and fashion 138 Transformations: Johnny Depp 80 Valerie Steele Keith Lodwick Beaton's Fair Lady 146 Creative collaborations 84 Keith Lodwick Edith Head and Alfred Hitchcock Unfashioning costume design 150 Martin Scorsese and Sandy Powell Booth Moore Mike Nichols and Ann Roth Tim Burton and Colleen Atwood Transformations: an interview with Robert De Niro 158 Deborah Nadoolman Landis Transformations: an interview with Meryl Streep 162 Deborah Nadoolman Landis Ann Roth in conversation 168 Peter Biskind 3 COLLECTORS & COLLECTING 4 NEW FRONTIERS The exhibition odyssey 178 Afterlife: ensuring the enduring interest Notes 306 Deborah Nadoolman Landis of a web audience 264 Further reading 309 Chris Laverty Looking behind the wizard's curtain 188 Christopher Frayling Why design? 272 Filmography 310 Jeffrey Kurland The treasure hunt 202 Picture credits 314 Keith Lodwick Fantasy, sci-fi and superheroes 280 Acknowledgements Jacob McMurray 315 Showcasing the talent 212 Index Sam Catley The challenges of Mocap and CGI 294 316 Joanna Johnston A collectors'tale 216 Larry McQueen The collecting imperative: a studio perspective 228 Deidre Thieman Actress and collector 236 Debbie Reynolds Blades 242 Christopher Frayling Gunslingers 246 Christopher Frayling 90027, Hollywood is a zip code: the LA connection 252 Beth Werling . -
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. -
Adaptations, Heritage Film & Costume Dramas
source guides adaptations, heritage film & costume dramas National Library adaptations, heritage film and costume drama 16 + Source Guide contents THE CONTENTS OF THIS PDF CAN BE VIEWED QUICKLY BY USING THE BOOKMARKS FACILITY INFORMATION GUIDE STATEMENT . .i BFI NATIONAL LIBRARY . .ii ACCESSING RESEARCH MATERIALS . .iii APPROACHES TO RESEARCH, by Samantha Bakhurst . .iv Introduction...........................................................................................................................................................1 E.M. FORSTER: MERCHANT IVORY ADAPTATIONS.........................................................................................2 A Room With a View.............................................................................................................................................3 Maurice...................................................................................................................................................................5 Howards End..........................................................................................................................................................8 JANE AUSTEN Pride and Prejudice.............................................................................................................................................12 Sense and Sensibility .........................................................................................................................................13 Emma....................................................................................................................................................................14 -
NOMINEES WINNING ALL / NONE [Updated Thru 88Th Awards (2/16)]
NOMINEES WINNING ALL / NONE [Updated thru 88th Awards (2/16)] WINNING ALL [Nominees with 2 or more competitive nominations, winning all] 4 Mark Berger 2 Mark Harris 4 Glen Robinson [plus 2 Sci/Tech Awards] 2 Helen Hayes 3 James Acheson 2 Rabbi Marvin Hier 3 Cecil Beaton 2 David Hildyard 3 Randall William Cook 2 Thomas Howard 3 Jacques-Yves Cousteau 2 Sarah Kernochan 3 Vernon Dixon 2 Barbara Kopple 3 Alex Funke 2 Ring Lardner, Jr. 3 Winton Hoch [plus 1 Sci/Tech Award] 2 Vivien Leigh 3 David MacMillan 2 Andrew Lockley 3 John Meehan (Art Director) 2 Branko Lustig 3 Giorgio Moroder 2 John Mollo 3 Carlo Rambaldi 2 Marc Norman 3 Jim Rygiel 2 Sharmeen Obaid-Chinoy 3 United States Navy 2 Paramount Publix Studio Sound Dept. 3 Saul Zaentz [plus 1 Thalberg Award] 2 Paramount Studio [plus 1 Sci/Tech Award] 2 Ben Affleck 2 Mario Puzo 2 Robert Amram 2 Luise Rainer 2 Manuel Arango 2 Tony Richardson 2 Richard Attenborough 2 Stephen Rosenbaum 2 Karen Baker Landers 2 Albert S. Ruddy 2 Frank Borzage 2 Denis Sanders 2 Simon Chinn 2 Gustavo Santaolalla 2 Pierre Collings 2 Tom Scott 2 Mark Coulier 2 Robert Skotak 2 Michael Douglas 2 Kenneth Smith 2 Robert Epstein 2 Kevin Spacey 2 Freddie Francis 2 John Stears 2 Roger K. Furse 2 Hilary Swank 2 Harry Gerstad 2 John Truscott 2 Sheridan Gibney 2 Marcel Vertes 2 Mel Gibson 2 Christoph Waltz 2 Benjamin Glazer 2 Paul Weatherwax 2 William Goldman 2 Russell Williams II 2 Elizabeth Haffenden 2 Peter Young WINNING NONE [Nominees with 8 or more competitive nominations, winning none] 20 Kevin O'Connell 9 Ingmar Bergman [1 Thalberg Award] 16 Greg P. -
Cross-Pollination and Shifting Research and Practice Trajectories; Expanding the Field in Costume Research
This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Barbieri, Donatella; Pantouvaki, Sofia Cross-pollination and Shifting Research and Practice Trajectories; Expanding the Field in Costume Research Published in: Studies in Costume and Performance DOI: 10.1386/scp.3.1.3_2 Published: 01/06/2018 Document Version Peer reviewed version Please cite the original version: Barbieri, D., & Pantouvaki, S. (2018). Cross-pollination and Shifting Research and Practice Trajectories; Expanding the Field in Costume Research. Studies in Costume and Performance, 3(1), 3-10. https://doi.org/10.1386/scp.3.1.3_2 This material is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. Powered by TCPDF (www.tcpdf.org) SCP 3 (1) pp. 3–10 Intellect Limited 2018 Studies in Costume & Performance Volume 3 Number 1 scp © 2018 Intellect Ltd Editorial. English language. doi: 10.1386/scp.3.1.3_2 Studies in Costume & Performance Intellect 10.1386/scp.3.1.3_2 3 EDITORIAL 1 3 DONATELLA BARBIERI London College of Fashion, University of the Arts London 10 SOFIA PANTOUVAKI Aalto University © 2018 Intellect Ltd 2018 Cross-pollination and shifting research and practice trajectories: Expanding the field in costume research The connecting threads between the texts in issue 3.1 of Studies in Costume and Performance are not found solely through their content. -
The Wholly Family: Terry Gilliam Re-Interprets Italian Cinema for a Pasta Garofalo Per Il Cinema Production
The Wholly Family: Terry Gilliam re-interprets Italian Cinema for a Pasta Garofalo per il Cinema production The award-winning movie director Terry Gilliam invite us to rediscover the magic of Naples and the Italian food traditions with its latest short film “The Wholly Family”, entirely filmed on location in Italy with a full Italian cast and produced by Pasta Garofalo. “The Wholly Family” will be premiered in Italy at the end of this month, before hitting several film festivals around the world. More details and online trailer are available at www.pastagarofalo.it. [Rome, Italy – May 24, 2011] The award-winning film director Terry Gilliam (Brazil, 12 Monkeys), invites us to rediscover the magic of Naples and of Italian food traditions with its latest short film “The Wholly Family”, entirely filmed on location in Italy with a full Italian cast and produced by Pasta Garofalo. The Wholly Family will be opening in Italy tomorrow, on May 25, with a launch event and a national theatre distribution, followed by participation to international short film festivals around the world. More details and online trailer are available at www.pastagarofalo.it. “This film has been produced by an Italian company: Garofalo, who produces pasta”, said award-winning director Terry Gilliam, who directed its latest short film The Wholly Family with an Italian cast and on location in Naples, Italy. “Italy has always been home to the greatest cinema in the world, but now there is a big production void. It’s good to see how this can be fixed when private companies choose to adopt traditional cinema rather than advertising as a channel to communicate their products. -
CAB Cinema D'autore APRILE 2018 Booklet.Cdr
CENTRO AUDIOVISIVI BOLZANO CENTRO TREVI APRILE 2018 Dalle pagine allo schermo Ogni tre mesi il Centro Audiovisivi di Bolzano mee a disposizione questa brochure contenente Proposte, Novità, Ricorrenze. PROPOSTE NOVITÀ RICORRENZE Un’occasione per conoscere La raccolta cinematografica è La ricorrenza della data di e imparare ad amare il in costante aggiornamento nascita di alcuni dei più grande cinema. Ogni mese e comprende film, famosi aori, arici e regis viene proposto un tema documentari e libri a parre della storia del cinema è diverso per suggerire dalle origini della storia del occasione per ricordare ogni araverso la cinematografia cinema fino a oggi. Ogni mese i capolavori che loro Buona visione! d’autore spun di riflessione mese si arricchisce di ulteriori hanno realizzato. Invito tu e valorizzare il patrimonio film di qualità che vengono a rivedere, scoprire e della mediateca del Centro messi a disposizione di tu i riscoprire le loro opere nella Audiovisivi di Bolzano. ciadini interessa. mediateca. L’editore si rende disponibile per eventuali aven dirio sul materiale ulizzato. 2 3 PROPOSTE Dalle pagine allo schermo pagina 6 NOVITÀ Film dalle origini ad oggi pagina 12 RICORRENZE Penélope Cruz Michelle Pfeiffer pagina 18 4 5 PROPOSTE Aprile 2018 1939 Il mago di Oz VICTOR FLEMING 1939 Via col vento Victor Fleming 1943 Per chi suona la campana SAM WOOD 1948 Macbeth ORSON WELLES 1951 Alice nel paese delle meraviglie AUTORI VARI 1955 Guerra e pace KING VIDOR 1956 Il giro del mondo in 80 giorni MICHAEL ANDERSON 1965 Il door Zivago DAVID LEAN