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The Interaction of 'Originary Practi...

Galindo Wright, Elizabeth.

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The Interaction of 'Originary Practices' and Costume Design in the Development of Historical Film Genre in 21st Century Hollywood Cinema.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Interaction of 'Originary Practices' and Costume Design in the Development of Historical Film Genre in 21st Century Hollywood Cinema./
作者:	Galindo Wright, Elizabeth.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2011,
面頁冊數:	731 p.
附註:	Source: Dissertation Abstracts International, Volume: 73-07(E), Section: A.
Contained By:	Dissertation Abstracts International73-07A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3499435
ISBN:	9781267238689

The Interaction of 'Originary Practices' and Costume Design in the Development of Historical Film Genre in 21st Century Hollywood Cinema.
Galindo Wright, Elizabeth.

The Interaction of 'Originary Practices' and Costume Design in the Development of Historical Film Genre in 21st Century Hollywood Cinema. - Ann Arbor : ProQuest Dissertations & Theses, 2011 - 731 p.

Source: Dissertation Abstracts International, Volume: 73-07(E), Section: A.

Thesis (Ph.D.)--University of California, Davis, 2011.

This item is not available from ProQuest Dissertations & Theses.

The purpose of my dissertation is to explore and argue that the relationship between the director and costume designer working on late 20th and 21st century historic Hollywood films who attempt to use 'originary practices'---the self-conscious and deliberate practice of constructing costume through historically accurate hand crafts and skills---generates an acutely felt sensory world for the actor wearing the costumes and the audience watching the film. The felt sensory world, or material culture, generated by the use of 'originary practices' helps convey the 'aura' of historical authenticity.

ISBN: 9781267238689Subjects--Topical Terms:

2122736
Film studies.

The Interaction of 'Originary Practices' and Costume Design in the Development of Historical Film Genre in 21st Century Hollywood Cinema.
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500 $a Adviser: Lynette Hunter.
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520 $a The purpose of my dissertation is to explore and argue that the relationship between the director and costume designer working on late 20th and 21st century historic Hollywood films who attempt to use 'originary practices'---the self-conscious and deliberate practice of constructing costume through historically accurate hand crafts and skills---generates an acutely felt sensory world for the actor wearing the costumes and the audience watching the film. The felt sensory world, or material culture, generated by the use of 'originary practices' helps convey the 'aura' of historical authenticity.
520 $a My research examines the archives, methodologies and practice of craft in haute couture and Hollywood costume design from past to present. This has proved to be a challenging journey as there are no research models for historical costume crafts in film. In my research I could not find sound archival practices that looked at the art of costume craft in film either at a conceptual level or in an academic context. Because my work is part archival, I had to examine historically based case studies. And because my work is also practice based, I had to rely on late 20th and 21st century films themselves and carve out a research methodology to apply---a methodology that others could use in future analyses.
520 $a I employed three distinct media of archive sources researching films from the past: one, photographic; two, personal drawings; and three, art as objects. These three media helped with the methodology and analytical studies to understand costume designer Jacqueline West's present-day work and her use of original, authentic and historically accurate costume craft practices.
520 $a This dissertation presents three films as case studies and gives a detailed methodology behind the creation of costumes using 'originary practice.' I discuss specific costumes that create an aura that provides the audience with a sense of authenticity. The films I examine are all costume designed by Jacqueline West, a colleague with whom I have worked. The three films are 'Quills' (2000); 'The New World' (2005); and 'The Curious Case of Benjamin Button' (2009). I chose her films because each one represents historical changes in social, material and cultural studies. Each film also represents her dedication to and respect for 'originary practices.'.
520 $a The dissertation bases its study in 20th to 21 st-century historical filmmaking and costume design as a system of groups, individuals, events and practices that contribute to the making of costume. The research attempts to link the structural process in the production of historical costume through the relationships between 'above the line' (director, actor, producer, production designer) and 'below the line' (director of photography, make-up and hair stylist, art director) individuals. I begin this investigation by looking at the history of clothing, fashion, costume, photography and film from the start of the Industrial Revolution to help me better understand the technologies that advanced the world of fashion, costume design and cinema as we know it today.
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