List of Illustrations Acknowledgments 1 Fashion, Film, Modernity a. Nostra Dea: the goddess of fashion b. Pirandello, cinema, and clothing: elective affinities c. "The Tight Frock-Coat": performing dress d. Film, costume, fashion, and intermediality e. Italian style: fashion and film 2 Italian Fashion and Film in the 1910s: From the Futurists to Rosa Genoni a. The Futurists, fashion, film, and performance b. Rosa Genoni: Per una moda italiana: fashioning the diva 3 From the Body of the Diva to the Body of the Nation a. The Italian divas and the "gowns of emotions" b. Lyda Borelli (1887-1959): the ethereal melancholic beauty and Ma l'amore mio non muore! (love everlasting) c. The veil: modernity in motion in Nino Oxilia's Rapsodia Satanica d. Francesca Bertini (1892-1985): the glamorous embodied e. Nino Oxilia's Sangue Bleu (1914) and Gustavo Serena's Assunta Spina (1915) f. Pina Menichelli (1890-1981): "the other woman" and the end of an era 4 Fashion, Film, Modernity, under Fascism a. Fashion in motion: the LUCE newsreels b. Rhythms of the modern city: fashion in Corrado D'Errico's Stramilano (1929) c. Contessa di Parma (Alessandro Blasetti, 1937): a manifesto for the promotion of Italian fashion and Turin as a fashion city d. Grandi Magazzini (1939, Mario Camerini): fashion consumption, gender roles, and work in Milan e. Epilogue: towards a new dawn 5 Launching Italian Style in Cinema and Fashion: The Films of Michelangelo Antonioni a. The fabric of film: Sette canne, un vestito (1949) b. The 1950s: Cronaca di un amore, La signora senza camelie and Le amiche c. The fashion show in Cronaca: a narrative mise en abyme d. "Was I a good femme fatale?" (Lucia Bose (Clara) in La signora senza camelie) e. The fashion show in Le amiche: the end of the game f. The 1960s: from costume to fashion. L'Avventura and beyond g. Outsiders, doubles, wanderers h. Conclusion: a visual tactility 6 Rome, Fashion, Film a. From "Hollywood on the Tiber" to La Dolce Vita b. Rome as a fashion city in the postwar years 161 c. La Dolce Vita d. La Dolce Vita and its discontents e. Roma (Fellini, 1971): space and time f. The broken watch of history g. The ecclesiastical fashion show 7 After La Dolce Vita: La Grande Bellezza (2013) by Paolo Sorrentino a. Fashion, film, and Rome today: national identity revisited Appendices: a. The Photographic Archive by Giuseppe Palmas (1918-1977) b. Interview with Fernanda Gattinoni, Rome, June 16, 2000 c. Dressing the Dreams: Interview with Dino Trappetti-Tirelli Costumi Rome, December 2015 d. Interview with Teresa Allegri, founder of Annamode, Rome, Fondazione Annamode, June 6, 2013 e. Adriana Berselli f. Some notes on the set of L'avventura (1960) by Michelangelo Antonioni g. "Cesare Attolini" and La Grande Bellezza: Interview with Massimiliano Attolini, Son of Cesare and Grandson of Vincenzo, Founder of the Sartoria Selected Bibliography Filmography Index
Provides an historical and theoretical framework to understand the different typologies and meanings of costume in film, going beyond content and identity of a character.
Eugenia Paulicelli is Professor of Italian, Comparative Literature and Women's Studies at Queens College and The Graduate Center, The City University of New York (CUNY), USA. At The Graduate Center she directs Fashion Studies in the Master of Arts in Liberal Studies (MALS) and the PhD Concentration. Among her books: Fashion under Fascism: Beyond the Black Shirt (2004); Moda e Moderno (editor, 2006); The Fabric of Cultures: Fashion, Identity, Globalization (co-editor, 2009); Writing Fashion in Early Modern Italy (2014); Rosa Genoni: Fashion is a Serious Business (2015). Visit her website at www.eugeniapaulicelli.com.
The insight at the heart of Paulicelli's earnest and unflashy book
is that dress cultivates mood and can variously intimate the
languor or lasciviousness of a specific moment or the state of an
entire country ... [Paulicelli is] knowledgeable and unafraid to
wade deep into obscure Italian films and textile history. * Times
Literary Supplement *
This critically elegant and highly readable book tackles anew how
fashion and cinema combine social history with aesthetics.
Impressively well researched, Italian Style is a compelling
exploration of how the fashion industry and its costume designers
shaped the cultural context of national identity. With vigor and
clarity, Paulicelli illuminates such films as Fellini's
Roma, Antonioni's Le amiche, and Sorrentino's La
grande bellezza. A must-read for anyone with an interest in
cinema and passion for this glorious art. * Gaetana Marrone,
Professor of Italian, Princeton University, USA *
"Paulicelli's book is a tour de force of film and fashion
scholarship, a beautifully written and authoritative exploration of
Italian national identity that will appeal to a wide readership. In
mapping out Italy's rich cultural heritage from early twentieth
century modernism, through the economic miracle years to the
present day, this book sets out to do nothing less than define
Italian style as embodied by the dialogue between fashion and film.
That Italian Style achieves this is testament to its
brilliance." * Stella Bruzzi, Professor of Film and Television
Studies, University of Warwick, UK *
An important initial assessment of the intertwined destinies of
fashion and film in Italy from the start of the twentieth century
to the present ... Well researched, theoretically grounded, and
densely argued, this book is an important read for scholars and
students of fashion and/or film. * Journal of Modern Italian
Studies *
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