Fabrications: Costume and the Female BodyJane Gaines, Charlotte Herzog Fabrications begins with a single germ in feminist film theory--the "to-be-looked-at" aesthetic described by Laura Mulvey--and pushes it further, considering the pleasures women derive from consumer culture against the social costs they have paid as wife, mother, and worker. Here, American feminist film theory converges with British cultural studies; critics survey the connections between the female consumer and the female viewer, the motion picture industry and the ready wear industry, the fashion in critical theory and the fashion in clothes. Contributors: Jeanne Allen, Sarafina K. Bathrick, Charles Eckert, Jane M. Gaines, Charlotte Herzog, Angela McRobbie, Betsy Holdsworth Nielson, Laurie Schulze, Gaye Studlar, Maureen Turim, Elizabeth Wilson. |
Contents
The Emergence of the New Sweetheart Line | 212 |
Notes | 250 |
Bibliography | 278 |
Copyright | |
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actress Adrian's advertising aesthetic American analysis Angela McRobbie audience beauty Blonde Venus camera character Chierichetti cinema classical clothes constructed consumer culture contemporary Costume Design courtesy critical dance Deleuze Dietrich discourse display dominant dress Edith Head erotic Fame fantasy fashion show Fashions Of 1934 female body female bodybuilder feminine feminist film feminist film theory fetishism fetishistic Fig Leaves Figure film theory Fiske Flashdance gender girls gown Hollywood ideal ideology image of Woman industry interview Joan Crawford key costumer lesbian London look magazines male manufacturing Mary Ann Doane masochism masochistic masquerade mass mother motion picture Movies Mulvey Mulvey's muscles narrative Orry-Kelly patriarchal phallic popular position Press production representation Richard Dyer role Sacher-Masoch's scene screen sexual social spectator star status studio style subculture suggests sweetheart line Television theater tie-up tion union Venus in Furs viewer Visual Pleasure wardrobe Warner wear women York