Suchergebnisse

Año a año, se multiplican las visualizaciones de los fashion films en YouTube y Vimeo. Es deber obligatorio para las grandes marcas contratar realizadores cinematográficos de renombre para generar piezas audiovisuales que logren captar el estilo de vida de la marcay puedan lograr acaparar la mayor cantidad de público posible, sin perder sofisticación y elitismo. Pero ¿qué es realmente un fashion film? y ¿cuáles son los límites de este nuevo lenguaje?. Lo cierto es que hablamos de un producto que se encuentra entre lo cinematográfico y lo publicitario, bordeando los límites del videoarte y lo editorial.

Cet article propose de réfléchir sur l'esthétique du cinéma digital et des nouveaux médias à travers les fashions films . Ces produits médiatiques hybrides se sont développés lors de mutations sociétales majeures, reflets du développement des technologiques numériques du tournant du XXI e  siècle. À travers une discussion sur l'effet de la postmodernité et de l'hypermodernité sur les pratiques culturelles et les pratiques de consommation, comme l'hyperconnectivité, l'hyperconsommation et un nouveau rapport au temps, nous présentons l'esthétique de fashion films comme étant l'esthétique propre aux nouveaux médias.

El arte del cinematógrafo provoca una relación singular de tipificación cultural de la cual sólo pocos logran despegarse. A partir de ahí, el Fashion Film se configura en clave artística combinando ciertas clasificaciones que incluyen directrices normativas bien características: cortas producciones audiovisuales cinematográficas que evidencian por medio de la imagen y el sonido conceptos o estéticas propias de diseñadores de indumentaria. Todo esto llevado a cabo con la intención no sólo de dar a conocer o comercializar una determinada colección, sino con el fin de provocar sentimientos en aquellos espectadores para lograr su identificación, en el mejor de los casos.

Mode directed by Klaus Ehrlich, produced by the state television of the German Democratic Republic (GDR) and aired between 1975 and 1990. The study is focused on the specific features of mise-en-scène of the medium, a multifunctional container capable of holding simultaneously several messages on different levels. The purpose is to highlight the communicative power of the body in a visual representation. The body, together with the dress and the setting are the elements on which is based the composition of a fashion image committed to the propagandising of the values and principles of the Socialist State. At the same time, the same elements are the key to revealing a series of contradictions and complexities, which are intrinsic characteristics of the very peculiar political and social context of those years. ; Il contributo propone una lettura della serie di fashion film Mode diretti da Klaus Ehrlich, prodotti dalla televisione di stato della Repubblica Democratica Tedesca (RDT) e andati in onda tra il 1975 e il 1990. Lo studio si concentra sulle specificità di mise-en-scène del medium, contenitore multifunzionale capace di tenere insieme e in maniera simultanea più messaggi e su livelli differenti. Della narrazione visiva si vuole evidenziare il carattere comunicativo del corpo. Questo, insieme all'abito e allo spazio filmico sono gli elementi su cui si basa la costruzione di un'immagine di moda dedita alla propaganda dei valori e principi dello stato socialista. Allo stesso tempo, gli stessi elementi sono la chiave che consente di svelare una serie di contraddizioni e di complessità, caratteristiche intrinseche del particolarissimo contesto politico e sociale di quegli anni. I fashion film sono qui considerati come degli esperimenti di retorica politica fatta non con le parole, bensì con le immagini in movimento; uno spazio in cui coesistono ambiguità e contraddizioni; un contesto dove poter avvertire un senso di libertà seppur limitato.

Preliminary Material -- Captured Ideologies In Cinematic Spaces: Jacques Tati's Les Vacances De M. Hulot, Mon Oncle and Playtime as Case Studies /Ayşegül Akçay -- Contagious Media: Zombie Criticism of 'Real' Space /Naja Later -- How Place Influences Popular Culture: Finding Meaning in Creative Media /Huston John Gibson and La Barbara James Wigfall -- Micro Cities: Swoon's Architectural Conversation Pieces and the Confrontation of Publics /Lara Bullock -- Group Ginger: Legacy and Place Making through Temporal Use /Sarah Mills and Simon Baker -- All the World Is a Stage: The Transformative Power of Space in Electronic Dance Music /Irina Cvijanović -- Musicking Tourism: Music Performance in Bars in the Tourist Industry in the Contemporary Old Town of Lijiang, Yunnan /Shuo Yang -- Image Thunderstorm: Brazilian Urban Fashion and Music as a Symbolic Web /Maria Carolina Garcia , Sylvestre Luiz Thomaz Gonçalves Netto , Carolina Testoni Parisi Corrêa and Silvana Ventura Ribeiro Bujarski -- 'Pirates' and 'Freetards': The Discourses and Rhetoric of Online Music Consumption /Nick Webber -- Exploring a Digitised, Networked Milieu: The Cardiff Independent Music Sector in the Age of Immaterial Product /Joanne Coates -- Creative Revitalization of the Urban Space: the Residual Areas Project in Turin -- Urban-Architecture as a Battleground of Socio-Cultural Struggle /Murat Çetin -- Reinventing Urban Landscape: 21st-Century Data-Scape Alteration /Tamara Marić , Marina Tolj and Bojana Bojanić Obad Šćitaroci.

PurposeThis study investigates the effect of consumers' brand attitude changes according to the fashion film type. Furthermore, it examines the psychological mechanism by engagement and consumer fantasy proneness. This study is meaningful because it provides a more in-depth understanding of the use of fashion film as a means of consumer-oriented persuasion communication.Design/methodology/approachThis research uses a 2(fashion film type: narrative vs non-narrative) × 2(consumer fantasy proneness: high vs low) mixed factorial design to test the hypotheses. ANOVA and the PROCESS macro mounted on SPSS was used to test hypotheses.FindingsThe group with high consumer fantasy proneness showed more changes in brand attitude when exposed to non-narrative than narrative fashion films, but the group with low consumer fantasy proneness showed no significant difference in brand attitude change according to the fashion film type. In addition, when consumer fantasy proneness is high, media and brand engagement for non-narrative fashion films increase sequentially, resulting in a greater change in brand attitude, whereas these psychological mechanisms do not work in groups with low consumer fantasy proneness.Practical implicationsFashion brands should identify their respective target group when producing fashion films and choose differentiated narrative forms. In the case of pursuing a fantastic aesthetic value, the non-narrative type induces more attention and curiosity from consumers than the narrative type, which affects the feeling of a special bond or relevance with the brand.Originality/valueThis study has value in that it demonstrates the rationale for why a fashion brand needs to select a differentiated content structure according to the aesthetic value pursued when making a fashion film in branding work.

This article examines the representations of fashion and clothing through the history of Copenhagen films and TV shows. Because a comprehensive study of Copenhagen media does not yet exist, we have reviewed, compiled and analysed many examples of historical and contemporary films and television shows that have a special relationship with the city and its fashion. We examine the ways in which the city is mediated, how various film genres (including social realism, historical costume dramas and contemporary lifestyle dramas) and TV shows (ranging from historical and political dramas to Nordic noir crime series) use the characters' clothing as signifiers and representations of class, careers, lifestyles and identities. The clothing and fashion in these works reveal many underlying cultural messages, motivations of the characters, as well as important social, cultural and political commentary on the city as a microcosm for society at large. Our methodology is grounded in cultural history, fashion history and media analysis, with a particular attention to the cultural, political and urban transformations in Copenhagen over the decades, and the role fashion plays in the city's cultural landscape.

Review of: Transorientalism in Art, Fashion, and Film, Adam Geczy (2019)
Great Britain: Bloomsbury Publishing, 232 pp.,
ISBN 978-1-35006-014-2, h/bk, $76.47

Recent scholarship has challenged the assumption that China was an ocean of drab sartorial uniformity during the Cultural Revolution decade. This essay extends this tendency by asking what role cinema played in people's choices about what to wear. Based on data gathered in group interviews in Shanghai, it finds several tendencies: revolutionary history films inspired contemporary military-style clothing, but not only for political reasons; foreign films screened during the Cultural Revolution built up a mental archive of contemporary international fashion that was drawn upon as the strictures of the era were relaxed in the 1970s; and memories of films screened before 1966 provided another mental archive of retro-fashion possibilities, also drawn on as strictures were relaxed. Overall, our research demonstrates that even though socio-political frameworks always condition individual agency, even in the most difficult of times, individual agency continues to be exercised in the interstices of everyday life.