![]() This methodological shift is reflected in this article – the examination of Shakespeare in Love (Madden 1998) adopts a predominantly textually centred approach focusing on the cinematic representation of Viola / Thomas (Gwyneth Paltrow) in which I argue that costume functions as both a spectacular intervention and a visual narrative of gender transformation and sexual fluidity. ![]() In examining the role of costume and fashion as a source of meaning and pleasure this article forms part of my wider research project, which includes a forthcoming monograph and adopts both textually centred and interdisciplinary cross-media methodological approaches. As contemporary cinema intersects with both celebrity (Church Gibson 2011) and convergence culture (Jenkins 2006), it is vital that the academic analysis of screen costuming moves beyond the film text to consider the wider institutional processes and consumption practices connected to fashion and spectators.
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