italian-studies: Scholarly discussions in any field of Italian studies
*Call for papers for the International Conference: “Global Intersections
and Artistic Interconnections: Italian Cinema and Media Across Time and
Space” Journal of Italian Cinema and Media Studies, The American University
in Rome, 14-15 June 2019: *http://www.wellesley.edu/italian/jicms-rome2019
*Title: Italian Film/Costume Design/Fashion from the silent era to the
present. *
Fashion and film share a highly interactive quality. As two of the most
popular and widespread commercial industries to grow out of modernity,
cinema and fashion have always had a synergetic relationship, both using
the technology of the camera and that of the body and performance. Costume
is integral both to the actor’s performance and to the cinematic rendition
of visual narratives and experience. Since the birth of cinema in the late
nineteenth century, the film scene has constituted a virtual shopping
window for clothes, exhibiting and making desirable the newest fashions and
goods available at the department stores. Film costume has not only
borrowed from fashion and haute couture; it has also inspired the
production of the newest fashions. Costumes in cinema have also been used
as narrative tools for telling stories on screen that emphasize character
identity and development while also attracting a larger audience. More
recently, the digital genre of “fashion film” has become a widespread
advertising and storytelling tool for fashion luxury brands as Ferragamo,
Prada, Louis Vuitton, Dior amongst the others.
Although fashion and film costume have always been vital to the
totality of the cinema industry, they did not attract academic attention
until the 1990s. That is not to say that the topic was completely
neglected, however, as one of the first books on the relationship between
fashion and cinema, La moda e il costume nel film, was published in 1950 in
Italy, edited by the university professor and critic Mario Verdone, father
of actor Carlo Verdone. The book contains a homage to the costume designer
Gino Carlo Sensani, who was praised by Antonioni. Costume design only began
to be recognized as a profession in the world of Italian cinema in the
1930s, but costume/cinema and fashion were soon to establish a close link
with the global launch of Italian fashion in the post-war years.
In the United States, film scholars Jane Gaines and Charlotte
Herzog edited their landmark collection Fabrications in 1990, and in 1996
and 1997, UK-based film scholars Pam Cook and Stella Bruzzi published
monographs on fashion in British cinema (Cook: 1996) and on film, gender,
and identity (Bruzzi: 1997). These seminal books offered a reflection on
methodology and histories (of gender and nation), and paved the way for new
interpretations of film, body and performance, masculinities, fashion,
popular culture, and stardom and, at the same time, challenged age-old
hierarchies in the humanities.
The intersection between fashion and film and the growing
scholarship dedicated to it are now becoming a very fertile terrain. More
attention is now being dedicated to the role of costume and costume design
in cinema and its interrelation with fashion, Italian style and the made in
Italy. Nevertheless, the combined study of fashion and film and the
particular focus on Italy is still at an early stage of development within
film studies and especially Italian cinema and media studies.
We invite scholars, costume and fashion designers, archivists, museum
scholars and experts to participate in panels focusing on
film/fashion/costume design with the aim of mapping the intermedial and
transnational history of Italian film/costume design/fashion and screen
media from the silent era until the present. All film genres are of
interest.
Topics to be considered include but are not limited to are:
Early cinema and costume
Italy and Hollywood
Hollywood in Italy
Italian actors in Hollywood
Transnational impact of cinema-mediated fashion
Italian costume designers in Hollywood and elsewhere
Fashion Houses, sartorie and archives in Italy
Film and photographic archives in Italy and elsewhere
Cities of film and cities of fashion
Branding and film/fashion/costume
Fashion film in historical perspectives
International stars in Italy
Well known and less known costume designers
The role of craftsmanship in costume and fashion
Costume drama
Women directors and the work of women whose work has been neglected
Film/Costume/Fashion and pedagogy, interdisciplinary courses; designing
curriculum
Please send a 250 words proposal with a Bio by *September 30th* *2018* to
the co-organizers:
Prof. Eugenia Paulicelli, Queens College and The Graduate Center, The City
University of New York, email address: [log in to unmask] and
Prof. Giuliana Muscio, University of Padua, Emerita, email address:
[log in to unmask]
*--*
*Eugenia Paulicelli, PhD/*Professor at Queens College & The Graduate
Center,
The City University of NewYork/ www.eugeniapaulicelli.com / Director of Fashion
Studies <http://cuny.is/fashionstudies> / and
http://fabricofcultures.qwriting.qc.cuny.edu / Twitter
<https://twitter.com/CUNYFashion> | Facebook
<https://www.facebook.com/CUNYFashion>
*Author of:*
Italian Style: Fashion & Film
<http://www.amazon.com/Italian-Style-Fashion-Digital-National/dp/1441189157>
(2016 and 2017) / Fashion is a Serious Business
<http://www.deleyvaeditore.com/shop/la-moda-e-una-cosa-seria/> / La Moda é
una Cosa Seria
<http://www.deleyvaeditore.com/shop/la-moda-e-una-cosa-seria/> (2015) / Writing
Fashion in Early Modern Italy: From Sprezzatura to Satire
<http://ashgate.com/default.aspx?page=637&calcTitle=1&isbn=9781472436030&lang=cy-GB>
(2014 and 2016) / Fashion under Fascism
<http://www.bloomsbury.com/us/fashion-under-fascism-9781859737781/> (2004)
**********************************************************************
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