Screen Search Fashion launched this week
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Texts now published online
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Essays from Between Stigma and Enigma Edited by Marketa Uhlirova and Christel Tsilibaris |
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| Hitchcock's Woman of Fashion by Adrian Garvey |
'Lisa...theatrically displays her new dress...establishes the tension between the couple’s highly gendered professional lives...' |
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| Dressing and Undressing by Alistair O'neill |
'...it does not serve primarily as a rise to eroticism; rather, it produces an evocation of seemingly empty time, but one brimming with disconnection.' |
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| Assuming a Pose by Christel Tsilibaris |
'...intrigued by the confusion between the artificial body of the shop dummy and the real one of a poser who is shown in the moving image as momentarily immobilized.' |
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| Shoes, Eroticism and Fetish by Christel Tsilibaris |
'...the seductive powers of female footwear will be explored through the male attraction to the foot dressed in a shoe, as well as through the female fascination with the actual fashionable object.' |
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| Fashion Records by Ed Barber |
'An environment inhabited by highly focussed and energetic people, driven by an obsession with image, style and the look of things. A global community, in fact, with an amazing ability to promote itself.' |
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| The Enigma of the Fashion Object by Marketa Uhlirova |
'The Enigma programme probes in detail the behaviour of the object of fashion in the moving image. It invites clothes to step out of their closets, making their secret lives known.' |
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| Between Stigma and Enigma: The Wonderland of Fig Leaves by Marketa Uhlirova |
'Howard Hawks’s Fig Leaves (1926) tells a story of a marital dispute and a transformation of a female heroine from a wholesome, housebound girl to a refined, sophisticated and independent woman.' |
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| Loving the Alien by Roger K. Burton |
Looking at the work of four diverse directors who dared to turn the camera on that sub-species of “fashion aliens” who exist within our own society. |
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| Dressing the part: Cinema and Clothing by Stella Bruzzi & Pamela Church Gibson |
Film has always had a role in making fashion accessible and it has consistently been a vehicle for designers to showcase their wares, but it has also served to demystify fashion.' |
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| Wardrobe Emergencies by Marketa Uhlirova & Bakri Bakhit |
'What place does fashion occupy during a war conflict? Is there - and can there be - room for fashion at times when poor economic conditions, coupled with great anxiety and uncertainty, permeate people’s lives, turning them upside down?' |
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| Marcel Fabre’s Amor Pedestre by Christel Tsilibaris |
'The lady’s shoe holds a very special position within the film. It is not only a sign of the wearer’s gender and social class, it is also the central element of the plot, the very reason for which passions are ignited.' |
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| Anna-Nicole Ziesche’s States of Mind and Dress by Caroline Evans |
'The clothes themselves spring into action, as if to combat the inertia of their wearers.' |
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| Vera Chytilová’s Ceiling by Peter Hames |
'The fact that these images of women for women are the creation of men is emphasised...Even her subjective thoughts are spoken by a man.' |
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| On Shoes and Kisses by Charles Musser |
'...the viewer an implicit part of a circuit of desire that is centered on the shoe. We lack the tactility of touch enjoyed by the shoe clerk and the customer, but we see all.' |
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| Patricia & Marie-France Martin’s C’est comme être by David Bate |
'Finally, the twins both pull on what look like homemade balaclavas, demonstrating that getting ready is a form of preparation for camouflage and deception.' |
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| Model and the World of Fashion | Quotes compiled by Inga Fraser |
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| Georges Méliès’s Le déshabillage impossible and Ferdinand Zecca’s Monsieur et Madame sont pressées by Lynda Nead |
'Within this context of fashionable layers and the proliferation of fasteners, trimmings and openings, the processes of dressing and undressing took on a particular symbolic significance...' |
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| Richter’s Films and the Role of the Radical Artist 1927-1941 by Marion von Hofacker |
'In the German culture of the nineteenth century, hats that fly from people’s heads were a sign of existential danger looming in the near future.' |
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| Qui Êtes-Vous, Polly Maggoo? by Pamela Church Gibson |
'The questions he [William Klein] raises around identity and masquerade are still resonant - while the excesses of the fashion world and the mania around celebrity are even more relevant today.' |
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| Erwin Wurm’s 59 Positions by Renate Stauss |
'Dress shapes our bodies, makes sculptures of us. Capable of modifying not only the body itself in its proportions, but also our image of it and that of our selves, clothing shapes the self physically and psychologically.' |
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| Four Beautiful Pairs of Legs by Sam Serafy |
'...the film simultaneously exposes the erotic as a constructed illusion, one that these working women do not take at all seriously.' |
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| Warner’s Corset Advertisement by Sam Serafy |
'...a textbook example of product endorsement, employing methods that would later became standard in television commercials.' |
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| Shelly Fox 14 and I Feel by Penny Martin |
'It is the differing circumstances of the films’ production that divide the two, giving each its individual cinematic character and communicating something different about the process of making contemporary fashion imagery.' |
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| The Extinct Globe and the Found Glove by Petra Dominková and Václav Kofro? |
'The performance of (animated) actors and actresses is replaced by a performance of different kinds of gloves.' |
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