DOCSLIB.ORG

Italian Style. Fashion & Film from Early Cinema to the Digital Age By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Italian Style. Fashion & Film from Early Cinema to the Digital Age By Italian Style. Fashion & Film from Early Cinema to the Digital Age by Eugenia Paulicelli ([email protected]) Department of European Languages and Literature Italian cinema launched Italian fashion to the world. My forthcoming book Italian Style. Fashion & Film from Early Cinema to the Digital Age is the story of this launch. The creation of an Italian style and fashion as they are perceived today, especially by foreigners, was a product of the post World War II years. Before then, Parisian fashion had dominated Europe and the world. Just as fashion was part of Parisian and French national identity, I argue that the process of shaping and inventing an Italian style and fashion ran parallel to, and at times took the lead in, the creation of an Italian national identity. In bringing to the fore these intersections, as well as emphasizing the importance of craft in cinema, fashion and costume design, the book aims to spotlight the films, directors (Federico Fellini, Michelangelo Antonioni, Luchino Visconti), film stars (Lyda Borelli, Francesca Bertini, Monica Vitti, Marcello Mastroianni and others), costume archives and designers who have been central to the development of Made in Italy and Italian style. Therefore, the single parts of the book, including the images and photographs in both the main body of the book and the appendix, as well as the interviews with the people who have worked and are working in film for the excellence of Made in Italy, complement each other and make up an interconnected whole. However, I have encountered a number of limitations regarding the use of images in the book, not only related to the high cost of the illustrations themselves, but also to the length of the book, which cannot exceed 300 pages according to the publisher’s norms, and the maximum number of 45 images the book can contain. In addition, the fees requested to republish the images are also high. I have agreed with the publisher the creation of an online virtual exhibition to accompany the book where I could post the illustrations and other material that I have not been able to include in the book due to the space constraints. The virtual exhibition would be a companion to the book and a great resource for teaching and learning about film, fashion and costume. Courses on this topic and that also include and rely on online resources are being designed and offered in several universities both in the US and abroad. A project of this kind would put Queens College in the forefront of this expanding field of research and pedagogy. In order to create this resource I need additional funds for travel to Italy to visit again the archives in order to complete my project. Over the years, I have established very good relationships with costume and fashion archives based in Rome, as well as with the son of a photographer, Giuseppe Palmas, a paparazzo during the years of the Dolce Vita in Rome who photographed not only Italian actors but also the American and European stars visiting Rome and Italy (Ava Gardner, Ingrid Bergman, Lauren Bacall, Humphrey Bogart and even the American Ambassador in Rome Clare Booth Luce and many more). Space constraints have again meant that I have been unable to include in my book as much material on this important archive as I would have liked. In the virtual exhibition I would like to dedicate much more space to this photographic archive and recount for the first time the story behind the photographs. In my book but also in the virtual exhibition, the city of Rome will take center stage on account both of its multilayered meanings in the history of Italy and the west and as a city of film (Cinecittà studios, the School of Cinematography) and a city of fashion (especially couture, jewelry etc.). It would be interesting to explore how the intersections between Rome and New York bear on Queens where The Kaufman Studios and the Museum of the Moving Image are located. New York and Rome are both city of film and cities of fashion. With this request, I am applying for funds to develop a project that would also allow our institution to organize film screenings and exhibitions on fashion and film in an international perspective that highlights location and geography. The Tirelli and Annamode Archives (historical costume archives for theatre, opera and cinema with more than 170,000 costumes) are featured in the appendix of my book and are still today the point of reference for filmmakers such Martin Scorsese, Sophia Coppola, Woody Allen and many more. For the appendix, I have also interviewed Massimiliano Attolini whose sartoria from Naples is known in the world for the bespoke suits and for making the costumes for the 2013 Italian Oscar winner film The Great Beauty (La grande bellezza, dir. Paolo Sorrentino). The relationship between fashion, cinema and the arts has occupied many years of my career and research. This book is the result of a passion that has also informed my research and teaching at Queens College and the Graduate Center of the City University of New York (CUNY). I have now delivered the final version of the MS to Bloomsbury Academics with whom I have a contract. The book is scheduled to be published sometime at the end of the summer in the series “Topics on National Cinema” curated by Dr. Armida de La Garza. Let me add a few words about the project itself, which is the first in-depth scholarly study of the intersection of Italian fashion and film, both very powerful industries and media machines that shape and construct equally powerful symbolic narratives and identities. It is hardly surprising, then, that filmmakers have been fascinated by the transformative power of the language of clothing and fashion and the impact it has on style, consumption and behavior. All the films examined in my book are concerned with the negotiation with modernity. Fashion is as much a negotiation with modernity as is film; they both expose the seams of technology. Clothing in film has a highly symbolic charge that affects the wearer and his/her perception in any social space. More specifically, clothing, fabrics, shapes, color and textures frame the apperception of self. Clothing materializes a sentient way of perceiving the body in space. Materializing the dynamics of image and copy, the natural and the technological, costume and clothing in film take on the form of a dense and precise essay on language and signification. Project Budget: Air Travel from NYC to Rome: $1,100 Lodgings for two weeks: $2,000 Cost of Illustrations/Rights: $2,000 Total funds requested: $5,100 EUGENIA PAULICELLI Email: [email protected] EDUCATION 1991 PhD, Department of French & Italian, University of Wisconsin, Madison. Major: Italian Literature/Minor: French Literature PROFESSIONAL EXPERIENCE 2012-present. Appointed to the Faculty of MALS at the City University of New York (CUNY, Graduate School and University Center) 2005-present. Professor, Department of European Languages & Literatures, Queens College, CUNY & the PhD Program in Comparative Literature, The Graduate Center, CUNY March 2002. Appointed to the Faculty of PhD Certificate Program in Women’s Studies at the City University of New York (CUNY) Graduate School, New York 2000-present. Member Film Studies Faculty, Queens College June 1999. Appointed to the Faculty of the Department of Comparative Literature at the CUNY Graduate School, New York June 1997-2005 Associate Professor, Department of European Languages & Literatures, Queens College, CUNY February 1996-June 1997. Assistant Professor, Department of European Languages & Literatures, Queens College, CUNY September 1992-February 1996. Assistant Professor, Department of Romance Languages, Queens College, CUNY July 1991-August 1992. Assistant Professor, Department of Italian, Wellesley College, Wellesley, MA BOOKS Italian Style. Fashion & Film from Early Cinema to the Digital Age (Bloomsbury Academics, London & New York) (forthcoming in 2016). Rosa Genoni: La moda è una cosa seria. Milano Expo 1906 e la Grande Guerra (Fashion is a Serious Business: The Milan World Fair of 1906 and the Great War), in English and Italian, Preface by John Davis; Afterword by Eleonora Fiorani (Milan: Deleyva Edizioni, 2015). * 2015 Enhancement Grant Writing Fashion in Early Modern Italy. From Sprezzatura to Satire (Ashgate: Aldershot, 2014). * 2014 Enhancement Grant 1960: Un anno in Italia. Costume, Cinema, e Cultura, coeditor with Antonio Maraldi (Cesena: Società Editrice Il Ponte Vecchio, 2010) (bilingual edition). The Fabric of Cultures. Fashion, Identity, Globalization (London & New York: Routledge, 2009), co-editor with Hazel Clark, author of introduction & one of the chapters. Moda e Moderno. Dal Medioevo al Rinascimento (Rome: Meltemi, 2006), editor, author of introduction & one of the chapters. Fashion under Fascism. Beyond the Black Shirt (Oxford & New York: Berg, 2004). Parola e immagine. Sentieri della scrittura in Leonardo, Marino, Foscolo, Calvino (Florence: Edizioni Cadmo, 1996). Dimore (Dwellings) (Ragusa: Libro Italiano, 1996), volume of poetry. Lo spreco dei significanti: L’Eros, la morte, la scrittura (Bari: Adriatica, 1983). co-author with Augusto Ponzio & Maria-Grazia Tundo JOURNALS WSQ (Women’s Studies Quarterly), special issue on Fashion (Spring 2013), CUNY Feminist Press, co-editor with Elizabeth Wissinger. Guest Editor for Journal of Modern Italian Studies, special issue on Italian Fashion: Yesterday, Today and Tomorrow, Routledge: Fall 2014. WORKS IN PROGRESS Fashion, Film and Urban Space: Revisiting the 1960s (under consideration, Indiana University Press, co-editor with Louise Wallenberg); co-author of Introduction and one of the chapters. SELECTED ARTICLES & CHAPTERS “Rome: Eternal City of Fashion and Film,” in Joseph Hancock, Toni Johnson-Woods & Vicki Karaminas (ed), Fashion in Popular Culture (Bristol: Intellect, 2012), pp. 243-258. “Fashion: The Cultural Economy of the made in Italy,” in Fashion Practice, special issue dedicated to Italian Fashion, 6:2 (Fall 2014):155-174.
Load more

Recommended publications
  • The Rough Guide to Naples & the Amalfi Coast
    HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index.
    [Show full text]
  • 9780367508234 Text.Pdf
    Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019).
    [Show full text]
  • 31 Days of Oscar® 2010 Schedule
    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
    [Show full text]
  • Sexo, Amor Y Cine Por Salvador Sainz Introducción
    Sexo, amor y cine por Salvador Sainz Introducción: En la última secuencia de El dormilón (The Sleeper, 1973), Woody Allen, desengañado por la evolución polí tica de una hipotética sociedad futura, le decí a escéptico a Diane Keaton: “Yo sólo creo en el sexo y en la muerte” . Evidentemente la desconcertante evolución social y polí tica de la última década del siglo XX parecen confirmar tal aseveración. Todos los principios é ticos del filósofo alemá n Hegel (1770-1831) que a lo largo de un siglo engendraron movimientos tan dispares como el anarquismo libertario, el comunismo autoritario y el fascismo se han desmoronado como un juego de naipes dejando un importante vací o ideológico que ha sumido en el estupor colectivo a nuestra desorientada generación. Si el siglo XIX fue el siglo de las esperanzas el XX ha sido el de los desengaños. Las creencias má s firmes y má s sólidas se han hundido en su propia rigidez. Por otra parte la serie interminable de crisis económica, polí tica y social de nuestra civilización parece no tener fin. Ante tanta decepción sólo dos principios han permanecido inalterables: el amor y la muerte. Eros y Tá natos, los polos opuestos de un mundo cada vez má s neurótico y vací o. De Tánatos tenemos sobrados ejemplos a cada cual má s siniestro: odio, intolerancia, guerras civiles, nacionalismo exacerbado, xenofobia, racismo, conservadurismo a ultranza, intransigencia, fanatismo… El Sé ptimo Arte ha captado esa evolución social con unas pelí culas cada vez má s violentas, con espectaculares efectos especiales que no nos dejan perder detalle de los aspectos má s sombrí os de nuestro entorno.
    [Show full text]
  • Debbie Reynolds & Singin' in the Rain at WHBF 2013
    Meet Legendary Actress, Comedienne, Singer, and Dancer And Join Us for a Very Special Park Stage Screening of Singin' in the Rain to Celebrate Reynolds' New Memoir, Unsinkable Including a Park Stage In-Conversation at 5:30 p.m., Book Soup In-Booth Signing at 6:15 p.m., followed by an Open-to the-Public Park Stage Screening at 7:00 p.m. For more information on schedule and start times, please visit WHBF.org for updates. About Debbie Reynolds and Unsinkable The definitive memoir by legendary actress and performer Debbie Reynolds—an entertaining and moving story of enduring friendships and unbreakable family bonds, of hitting bottom and rising to the top again—that offers a unique and deeply personal perspective on Hollywood and its elite, from the glory days of MGM to the present. In the closing pages of her 1988 autobiography Debbie: My Life , Debbie Reynolds wrote about finding her "brave, loyal, and loving" new husband. After two broken marriages, this third, she believed, was her lucky charm. But within a few years, Debbie discovered that he had betrayed her emotionally and financially, nearly destroying her life. Today, she writes, "When I read the optimistic ending of my last memoir now, I can't believe how naive I was when I wrote it. In Unsinkable, I look back at the many years since then, and share my memories of a film career that took me from the Miss Burbank Contest of 1948 to the work I did in 2012. To paraphrase Bette Davis: Fasten your seatbelts, I've had a bumpy ride." Unsinkable shines a spotlight on the resilient woman whose talent and passion for her work have endured for more than six decades.
    [Show full text]
  • Ava Advocate Membership Please Donate! Follow Usfollow Us
    Ava Advocate Membership The Ava Advocate membership program is designed to help finance the continued operation of the Ava Gardner Museum. With quarterly email newsletters to members, the museum will share information about events and new exhibits, as well as facts about the actress, her life, career, and loves. For a small annual fee, you can help us continue to preserve and share the Ava Gardner Collection for years to come. Become an Ava Advocate today and receive free admission for 12 months as well as 15% off gift shop purchases! Call the museum or go online to purchase your membership. Individual $36.00 Couple $45.00 F amily $60.00 Please Donate! As a non-profit museum, it’s only with the support of Ava’s fans that we can continue to honor and share her legacy. Please call us or donate online: ava-gardner-museum. myshopify.com/products/donations Follow Us Facebook: AvaGardner Twitter: @AvaMuseum Instagram: AvaGardnerOfficial The Ava Gardner Museum is Ava Gardner Museum 325 E. Market Street located in Historic Downtown Smithfield, NC 27577 Smithfield, just one mile Tel: 919-934-5830 [email protected] Smithfield, NC - I-95, Exit 95 from I-95, Exit 95. www.avagardner.org www.avagardner.org New exhibits, special events, and guest speakers are presented throughout Visit the Museum the year, giving Helpful Information Ava Gardner was born on December 24, visitors reasons to • Groups: If you have a group of 10 or more 1922, just seven miles east of Smithfield in a return again and transportation, the museum will provide a crossroads community called Grabtown.
    [Show full text]
  • Final Thesis
    AN EXAMINATION OF INDIVIDUAL DIFFERENCES IN ITALIAN AND AMERICAN FASHION CULTURES: PAST, PRESENT, AND PROJECTIONS FOR THE FUTURE BY: MARY LOUISE HOTZE TC 660H PLAN II HONORS PROGRAM THE UNIVERSITY OF TEXAS AT AUSTIN MAY 10, 2018 ______________________________ JESSICA CIARLA DEPARTMENT OF TEXTILES AND APPAREL SUPERVISING PROFESSOR ______________________________ ANTONELLA DEL FATTORE-OLSON DEPARTMENT OF FRENCH AND ITALIAN SECOND READER TABLE OF CONTENTS Abstract…………………………………………….…………………………………………….…………………………………… 3 Acknowledgements………………………………………….…………………………………………….…………..……….. 4 Introduction………………………………………….…………………………………………….…………………….…….…. 5 Part 1: History of Italian Fashion……...……...……..……...……...……...……...……...……...……...... 9 – 47 AnCiEnt Rome and thE HoLy Roman EmpirE…………………………………………………….……….…... 9 ThE MiddLE AgEs………………………………………….……………………………………………………….…….. 17 ThE REnaissanCE……………………………………….……………………………………………………………...… 24 NeoCLassism to RomantiCism……………………………………….…………………………………….……….. 32 FasCist to REpubLiCan Italy……………………………………….…………………………………….……………. 37 Part 2: History of American Fashion…………………………………………….……………………………… 48 – 76 ThE ColoniaL PEriod……………………………………….……………………………………………………………. 48 ThE IndustriaL PEriod……………………………………….……………………………………………………….…. 52 ThE CiviL War and Post-War PEriod……………………………………….……………………………………. 58 ThE EarLy 20th Century……………………………………….………………………………………………….……. 63 ThE Mid 20th Century……………………………………….…………………………………………………………. 67 ThE LatE 20th Century……………………………………….………………………………………………………… 72 Part 3: Discussion of Individual
    [Show full text]
  • Italian Fashion & Innovation
    Italian Fashion & Innovation Derek Pante Azmina Karimi Morgan Taylor Russell Taylor Introduction In Spring 2008, the Italia Design team researched the fashion industry in Italy, and discussed briefly how it fits into Italy’s overall innovation. The global public’s perception of Italy and Italian Design rests to some degree on the visibility and success of Fashion Design. The fashion and design industries account for a large percentage of Milan’s total economic output— as Milan goes economically, so goes Italy (Foot, 2001). Fashion Design clearly contributes to “brand Italia,” as well as to Italian culture generally. Yet, fashion is not our focus in this study: innovation and design is. Fashion’s goals are not the same as design. For one, fashion operates on “style,” design works on “language,” and style to a serious designer is usually the opposite of good design. Yet to ignore the area possibly creates a blind spot. With the resource this year of some students with great interest in this area it was decided that we should begin to investigate how fashion in Italy contributes to innovation, and how fashion in Milan and other centers in the North of Italy sustain “Creative Centers” where measurable agglomeration (a sign of innovation) occurs. Delving into Italian Fashion allowed us to rethink certain paradigms. For one, how we look at Florence as a design center. Florence has very little Industrial Design and, because of the city’s UNESCO World Heritage designation, has very little contemporary architectural culture. This reality became clear after four years of returning to the Renaissance city.
    [Show full text]
  • First Proofs
    FIRST PROOFS TO BE CITED AS: Lavanga, Mariangela (2018). The role of Pitti Uomo trade fair in the menswear fashion industry. In Reggie Blaszczyk and Ben Wubs (Eds.), The Fashion Forecasters: A Hidden History of Color and Trend Prediction (pp. 191-209). London: Bloomsbury Academic Publishing. 10 THE ROLE OF THE PITTI UOMO TRADE FAIR IN THE MENSWEAR FASHION INDUSTRY Mariangela Lavanga enswear no longer lives in the shadow of women’s wear. According to a recent article from the Business of Fashion website, the growth of menswear has outpaced Mthat of women’s wear since at last 2011.1 Until the 1970s, male fashion in Europe mainly focused on tailoring and smaller-scale production of ready-to-wear, or confection, producing shirts, and underwear. One exception was the famous menswear tailoring industry in Leeds, England, which clothed British working-class and middle-class men in stylish suits for a century until its demise in the late twentieth century. London’s Savile Row traditionally set the trends for the high end of the industry. Aer the 1970s, men’s ready-to- wear and men’s haute couture start to grow elsewhere in Europe. Trends and styles in menswear change much more slowly than in women’s fashion; however, the pace of those changes is increasing. One of the world’s most important players for menswear is the international fashion trade fair Pitti Uomo in Florence, Italy. Pitti Uomo was established in 1972 under the umbrella of the non-prot organization Centro di Firenze per la Moda Italiana (CFMI-Florentine Centre for the Italian Fashion), which today is the holding of Pitti Immagine (ocially born in 1988).
    [Show full text]
  • Narratives of Italian Craftsmanship and the Luxury Fashion Industry: Representations of Italianicity in Discourses of Production
    This is a repository copy of Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/136104/ Version: Accepted Version Book Section: Dallabona, A orcid.org/0000-0002-1051-9389 (2014) Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production. In: Hancock II, JH, Muratovski, G, Manlow, V and Peirson-Smith, A, (eds.) Global Fashion Brands: Style, Luxury and History. Intellect , Bristol, UK , pp. 215-228. ISBN 9781783203574 © 2014 Intellect Ltd. This is an author produced version of a paper published in Global Fashion Brands: Style, Luxury and History. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Alice Dallabona University of Leeds Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production ABSTRACT In the last few years many luxury fashion labels like Gucci have emphasized, in their communication, the various types of craftsmanship involved in the creation of their pieces as a mean of providing history and additional value to their products.
    [Show full text]
  • Ava Gardner – a Star of the Silver Screen
    Ava Gardner – a Star of the Silver Screen Presented by William Markham Her Early Life Born 24 December 1922 Ava Lavinia Gardner in Grabtown, North Carolina Youngest of 7 children Lived on a Tobacco farm then a boarding house Money tight – not “Dirt Poor” At 18, her photo caught attention of MGM Earlier films one line bits or little better First notable film, The Killers, 1946 Photo that got Ava discovered Cover of Time Magazine 1951 Bit parts before she was famous 1941 Fancy Answers Girl at recital 1942 We do it because Girl at party 1943 Du Barry was a lady Perfume Girl 1944 Music for Millions Musician Some of her famous movies 1946 1951 1952 1953 1954 1959 1963 1964 1974 Marriages Mickey Rooney 1942 to 1943 Artie Shaw 1945 to 1946 Frank Sinatra 1951 to 1957 Some of her other romances Howard Hughes Robert Taylor George C Scott Robert Mitchum George C Scott Other Films Robert Taylor Robert Mitchum Lori Martin – National Velvet What Ava said about some actors: “The trouble was Frank and I were too much alike. My sister said that I was Frank in drag”. Frank Sinatra “Till death do us part would have been a whole lot sooner if we had tied the knot”. Howard Hughes “Bogie hated learning lines. He knew every trick in the book to mess up a scene and get a retake if he felt a scene was not going his way”. Humphrey Bogart “When he was loaded, he was terrifying. He would beat the hell out of me and have no idea the next morning what he had done”.
    [Show full text]
  • Pandora-Eve-Ava: Albert Lewin's Making of a “Secret
    PANDORA-EVE-AVA: ALBERT LEWIN’S MAKING OF A “SECRET GODDESS” Almut-Barbara Renger Introduction The myth of the primordial woman, the artificially fabricated Pandora, first related in the early Greek poetry of Hesiod, has proven extremely influential in the European history of culture, ideas, literature, and art from antiquity to the present day. Not only did the mythical figure itself undergo numerous refunctionalizations, but, in a striking manner, partic- ular elements of the narrative in the Theogony (Theogonia) and in Works and Days (Opera et dies) – for example, the jar, which would later be con- ceived as a box – also took on a life of their own and found their place in ever new cultural contexts. Having been drawn out from the “plot” (in the Aristotelian sense of μῦθος), these elements formed separate strands of reception that at times interfered with each other and at other times diverged. In the twentieth century such myth-elements also developed a distinc- tive dynamic of their own in film. Albert Lewin’s Pandora and the Flying Dutchman (1951) offers a particularly original conception of the Pandora myth by interweaving its elements with the legend of the Flying Dutch- man and plotting it into a story that takes place around 1930.1 It is the story of a young American woman, Pandora Reynolds, “bold and beautiful, desired by every man who met her” – so goes the original trailer of 1951, which opens with some introductory remarks about glamour by Hedda Hopper.2 Lewin’s intermingling of the Pandora myth and the Dutch legend in a love story of the 1950s is in many ways bold and original.
    [Show full text]