By Stella Bruzzi
From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino videos, garments is relevant to movie. In Undressing Cinema, Stella Bruzzi explores how faraway from being mere add-ons, outfits are key components within the building of cinematic identities, and he or she proposes new and dynamic hyperlinks among cinema, style and gown heritage, gender, queer thought and psychoanalysis.
Bruzzi makes use of case reviews drawn from modern well known cinema to re-evaluate tested rules approximately dress and style in cinema, and to problem traditional interpretations of the way masculinity and femininity are built via garments. Her wide-ranging learn encompasses:
* high fashion in movie and the increase of the motion picture dressmaker, from Givenchy to Gaultier
* the eroticism of interval gown in motion pictures equivalent to The Piano and The Age of Innocence
* garments the fashionable femme fatale in Single White Female, Disclosure and The final Seduction
* regular male stylish in Goodfellas, Reservoir Dogs, and Leon
* satisfaction, gown and masculinity in `Blaxploitation' motion pictures, Boyz `N The Hood and New Jack City
* drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.
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Extra info for Undressing Cinema: Clothing and identity in the movies
The dressmaker who has most sensible articulated the eroticism of androgynous outfits has been Yves Saint Laurent who, because the first model of his 'Smoking' night jacket for girls in 1966, has produced numerous male-inspired women's seems to be.