Дизайн костюмов в голливудском кинематографе: историческая перспектива и современные стратегии создания образов
The article addresses certain ways of interpreting a fashionable silhouette of the early 20th century in costume design for period 1930s Hollywood films. Classical Hollywood films set in 1910s are the main focus of this research as they give an interesting perspective of analyzing the case of short historical distance in costume design. The fashion image of this decade was largely ignored by Hollywood costume designers for several reasons. First, the short historical distance between these two decades complicated the process of forming a certain image of the era that could be transmitted to the screen in such a way that the mass audience would easily recognize this particular era. Secondly, despite some radical differences in fashions of these two decades, the films set in 1910s usually didn’t seem historical enough for the audiences in 1930s – again, because of the short time distance. Finally, Hollywood costume designers of 1930s created memorable, sometimes way too extravagant, but nonetheless fashionable costumes, that functioned on screen in a similar way to a fashion show. Thus, the use of outdated clothes that made the impression of being vintage was largely avoided. Analyzing several American films of 1930s would help to explore how these strategies work in particular cases.
The paper Feathers, Fruits and Mallows: Extravagance in 1920s — 1940s Hollywood Costume Design focuses on unusual and over-the-top dress in classic Hollywood movies. Taking a detailed look at the factors behind this phenomenon, the paper also examines the importance of these costumes within the overall structure and plot of specific films. The author sets out by analysing the design of stage and performance costumes for 1930s — 1940s Hollywood musicals, pointing out in particular the influence of Broadway revue shows, primarily the theatrical revues of Florence Ziegfeld, Jr. In the second part of the paper, the author looks at the expressive impact of masquerade costumes in films. The aithor also examines the visualisation of the external transformation of female characters through changes in their external appearance, dress, and style. The paper then discusses the tendency towards symbolism in screen costume design, pointing in particular to the frequent use of animalistic imagery. Sexuality, the author argues, is often portrayed through the incorporation in dress and accessories of edible symbols, such as colourful fruit and berries, or pastries and sweets. The author concludes by stressing that the exaggerated imagery and spectacular effects in Hollywood costume design were not due merely to the specific plot of this or that film, or even to the evolving role of costume at this or that stage in the American film industry’s development. These visual images were also used to attract attention, to produce a vivid impression among the audience, and ultimately, to develop an almost sensory level of film appreciation through a focus on corporeality and fi ne detail in the costumes.