2017/2 – #Dress

Browsing 2017/2 – #Dress by Issue Date

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  • Review
  • Review
    Marx at the Movies / Cartographies of the Absolute
    Bianchi, Pietro (2017) , S. 269-274
  • Article
    Only a groomed woman deserves her name: Fashion, emancipation, and stardom in the Czechoslovak film musical THE LADY OF THE LINES
    Gmiterková, Šárka; Papežová, Miroslava (2017) , S. 123-141
    Socialist Czechoslovakia in the 1960s witnessed substantial changes in terms of lifestyle. The film musical DÁMA NA KOLEJÍCH (THE LADY OF THE LINES, 1966) addresses these shifts through female emancipation and fashion. Therefore the film articulates a utopian space of couture fashion as a vehicle for equality of the sexes. The seductive vision of a stylish, empowered lady was presented as accessible to any working class woman. Also, the pages of period lifestyle magazines, the musical form, and the bitter finale tell a different story of a very limited transferability to everyday reality.
  • Article
    Editorial Necsus
    NECSUS Editorial Board (2017) , S. 1-3
  • Article
    Womanliness as animal masquerade
    Freda, Isabelle (2017) , S. 143-158
    This essay examines the intersection of femininity as masquerade and the status of the animal through an investigation of two examples: the film DONKEY SKIN by Jacques Demy and the web series GREEN PORNO by Isabella Rossellini. In both instances the stars masquerade as both woman and animal, thereby providing an opportunity to critique the position of both as objectified ‘other’ within dominant culture and its philosophical and cultural norms.
  • Article
    Intertextuality, cybersubculture, and the creation of an alternative public space: ‘Danmu’ and film viewing on the Bilibili.com website, a case study
    Yeqi, Zhu (2017) , S. 37-54
    I will examine the film-viewing experience influenced by ‘Danmu’ (literally barrage), particularly popularised in China by the website Bilibili.com. As a combination of private and public film screening-viewing-transformation systems, Danmu allows the viewer to develop a ‘paracinematic’ reading. It is also used by the audience as a way of constructing a ‘public space’, making the website function as an alternative to limited offline screening and discussion spaces. I will argue that film viewing by appropriating the cybersubcultural platform creates a sphere where the ‘modern’ and ‘postmodern’ receptions of films join hands.
  • Article
    The ghost is just a metaphor: Guillermo del Toro’s Crimson Peak, nineteenth-century female gothic, and the slasher
    Kindinger, Evangelia (2017) , S. 55-71
    This article proposes a feminist reading of Guillermo del Toro’s horror-ghost film CRIMSON PEAK (2015) that is based on the film’s allusions to nineteenth-century female gothic writing and the slasher’s final girl trope. Del Toro utilises the ghost as a metaphor that mirrors the precarious position of women in patriarchal societies (in general) and in horror narratives (in particular). The film simultaneously sketches the development of the genre as such, from literary fiction to film. CRIMSON PEAK is thus a highly self-referential film that borrows from its predecessors and sheds light on the ghostliness of horror as such.
  • Review
  • Article
    The dress is the screen: Dancing fashion, dancing media
    Baronian, Marie-Aude (2017) , S. 159-180
    This essay reflects upon the intimate interrelation between fashion, media, and dance. In particular, it looks at designer Rabih Kayrouz’s 2017 summer collection fashion show (and its filmic version), which features a performance by ballet dancer Marie-Agnès Gillot. Drawing freely from Loïe Fuller’s famous Serpentine dances, the aim is not only to substantiate – historically and ontologically – the fascination for bodily movement from which both the film and fashion industries have emerged, but also to epitomise the inherent choreographic features of both dress and screen.
  • Article
    Dressing the surface
    Bruno, Giuliana (2017) , S. 91-97
    This text presents some key issues that drive the author’s ongoing investigation of materiality, hapticity, and surface conditions, in the realm of media, contemporary art, and visual culture. What is the place of materiality in our contemporary visual world of rapidly changing materials and media? Engaging this haptic ‘matter’, the text focuses on the fabrics of the visual, their surfaces, weaves, and textures. In arguing for textural models of ‘fashioning’ images, it exposes patterns of wearing and wearing out. Particular attention in this regard is given to the fabric of the screen, and the material transformations that occur in the surface tension of media.
  • Review
  • Article
    Providing evidence for a philosophical claim: The Act of Killing and the banality of evil
    Wartenberg, Thomas E. (2017) , S. 73-90
    This article extends the thesis that films can do philosophy from narrative fiction film to documentary, a film genre whose philosophical significance has been underappreciated. It argues that documentary films are capable of doing philosophy by providing empirical support for a philosophical thesis. Focusing on the innovative use of reenactment in THE ACT OF KILLING (2012), the argument is that the film confirms Hannah Arendt’s thesis concerning the banality of evil articulated in EICHMANN IN JERUSALEM (1964).
  • Review
    Social Media – New Masses / Updating to Remain the Same
    Zeeuw, Daniël de (2017) , S. 257-267
  • Review
    Promenade through the theatre of illusion: Dioramas in Palais de Tokyo
    Chefranova, Oksana (2017) , S. 217-232
  • Article
    LA GRANDE BELLEZZA: Adventures in transindividuality
    del Río, Elena (2017) , S. 19-36
    This essay examines Paolo Sorrentino’s LA GRANDE BELLEZZA (THE GREAT BEAUTY, 2013) as a film where the conjunction of human and milieu maps the immanent links between individual and collective. I draw on Gilbert Simondon’s concept of transindividuality as simultaneously a spatial and temporal process of collective individuation. In making the city and its human inhabitant indiscernible, the film preserves the link between solitude and the collective. The collective arises in a preindividual zone of affects that inscribes a non-conscious form of intimacy among bodies in a shared milieu. I examine two major aspects of the film’s expressions of transindividuality: the artwork as a catalyst for the affirmation of disparate forces coalescing around the dynamic disparation of sacred and profane realities, classical and contemporary art; and the conjoined image of city and human crystallising as successive existential territories that are shown in paradoxical simultaneity. The city-human spectacle shows the body passing through endless processes of individuation. It is the dephasing of temporalities in the city-human body, rather than a judgmental opposition between sacred past and profane present, that energises the film in its ability to capture preindividual forces and affective singularities.
  • Review
    Mapping the fashion film festival landscape: Fashion, film, and the digital age
    Seixas, Mariana Medeiros (2017) , S. 181-188
  • Article
    The journeys of a film phenomenologist: An interview with Vivian Sobchack on being and becoming
    Hanich, Julian (2017) , S. 5-17
    In this interview Vivian Sobchack, a leading film phenomenologist and Professor Emerita at UCLA, looks back at her career as a film and media scholar. She relates how she first wanted to become a novelist – as well as an astronomer – before academia and the study of film attracted her attention. She describes how she became interested in existential phenomenology, how her groundbreaking book THE ADDRESS OF THE EYE took shape, and how it has influenced film studies since its first publication 25 years ago. She also reflects on the value of phenomenology as a research method and responds to criticism of it as a philosophy that is too subjectivist and apolitical.
  • Review
  • Review
    A new era of Maghrebi-French cinema: Two perspectives
    Strohmaier, Alena (2017) , S. 249-256
  • Review
    Urban Now: City Life in Congo
    Sinnige, Sanne (2017) , S. 233-242