FAVz094 Costume from Script to Screen: History and analysis of costume and wardrobe in the James Bond films

Filozofická fakulta
podzim 2021
Rozsah
2/0/0. 5 kr. Ukončení: zk.
Vyučující
Dr. Llewella Chapman (přednášející)
Mgr. Tereza Bochinová (pomocník)
Mgr. Kateřina Šrámková (pomocník)
Garance
Mgr. Šárka Jelínek Gmiterková, Ph.D.
Ústav filmu a audiovizuální kultury – Filozofická fakulta
Dodavatelské pracoviště: Ústav filmu a audiovizuální kultury – Filozofická fakulta
Rozvrh
Čt 25. 11. 16:00–17:40 C34, Pá 26. 11. 14:00–15:40 C34, Čt 2. 12. 14:00–17:40 Virtuální místnost, Pá 3. 12. 13:00–15:40 C34, Čt 9. 12. 14:00–17:40 Virtuální místnost, Pá 10. 12. 13:00–15:40 C34, Čt 16. 12. 14:00–17:40 Virtuální místnost
Omezení zápisu do předmětu
Předmět je nabízen i studentům mimo mateřské obory.
Předmět si smí zapsat nejvýše 65 stud.
Momentální stav registrace a zápisu: zapsáno: 6/65, pouze zareg.: 0/65, pouze zareg. s předností (mateřské obory): 0/65
Mateřské obory/plány
předmět má 18 mateřských oborů, zobrazit
Cíle předmětu
Research on costume in film has previously been afforded to Hollywood (for example Edward Maeder and Tamar Jeffers McDonald): British cinema and its relationship with costume is still in its infancy by way of comparison. This is likely due to the perception that Hollywood costume is more ‘glamourous’ than the ‘drab’ costumes of British social realist film, for example. This lecture series will focus on the formation of the wardrobe department, how a costume specification is achieved by different members of the wardrobe department, and an analysis of the designs and costumes themselves as they appear on screen to further understand how costume contributes to the production and marketing of film, and how costume forms a vital part of the British film industry both in terms of creativity and economics, with an emphasis on the James Bond film franchise.

This lecture series will offer students the opportunity to understand the labour, creativity and authorship that goes into costume making decisions from a film’s director, producer, script writer, star, and the various costume personnel themselves. To do this, students will have the opportunity to access and critically review relevant primary sources, for example scripts, budgets, correspondence, marketing materials and critical reception.
Výstupy z učení
By the end of the course, students should be able to:
(1) Analyse specific primary sources in relation to understanding a film’s production history in relation to costume and wardrobe
(2) Understand the process of designing and creating costumes for film from script to screen
(3) Gain knowledge on the different wardrobe roles within the film industry
(4) Develop textual analysis tools with which to analyse costume on screen
(5) Critically evaluate how costume and wardrobe contributes to film in relation to plot, narrative, character and design.
Osnova
  • Session 1: Costume and wardrobe – an introduction
  • Reading: Elizabeth Nielsen, ‘Handmaidens of the Glamour Culture: Costumers in the Hollywood Studio System’, in Jane Gaines and Charlotte Herzog (eds), Fabrications: Costume and the Female Body, (New York: Routledge, 1990) pp. 160-179.
  • Sue Harper, ‘Costume Designers’, Women in British Cinema: Mad, Bad and Dangerous to Know, (London: Continuum, 2000) pp. 213-221.
  • Session 2: Script writing, sources and costume design
  • Reading: Melanie Williams, ‘The Girl you Don’t See: Julie Harris and the Costume Designer in British Cinema’, Feminist Media Histories, (Vol. 2, Issue 2), Spring 2016, University of California Press, pp. 71-106.
  • Primary source: Dr No fifth draft screenplay (8 January 1962).
  • Session 3: Costs, wardrobe personnel and budgets
  • Reading: Llewella Chapman, ‘“My tailor… Savile Row”: Sean Connery and Dr. No (1962)’, Fashioning James Bond: Costume, Gender and Identity in the World of 007, (London: Bloomsbury, 2021) pp. 7-32.
  • Screening: Dr. No (1962).
  • Primary sources: Dr. No budget (c.1961) and cost reports (c.1962).
  • Session 4: Costume, character and textual analysis
  • Reading: Stella Bruzzi, ‘Introduction: Clothing and cinema’, Undressing Cinema: Clothing and Identity in the Movies, (London: Routledge, 1997), pp. xiii-xxi.
  • Elisabeth Ladenson, ‘Pussy Galore’, in Christoph Lindner (ed.), The James Bond Phenomenon: A Critical Reader, (Manchester: Manchester University Press, 2003) pp. 184-201.
  • Screening: Goldfinger (1964).
  • Primary source: Press book and press cuttings (c.1964-1965).
  • Session 5: Marketing and reception
  • Reading: Alexis Albion, ‘Wanting to Be James Bond’, in Edward P. Comentale, Stephen Watt and Skip Willman, Ian Fleming & James Bond: The Cultural Politics of 007, (Bloomington: Indiana University Press, 2005) pp. 202-220
  • Screening: On Her Majesty’s Secret Service (1969).
  • Primary sources: Press book and press cuttings (c.1969-1970).
  • Session 6: Stardom and costume
  • Reading: Pam Cook and Claire Hines, ‘“Sean Connery Is James Bond”: Re-Fashioning British Masculinity in the 1960s’, in Rachel Moseley (ed.), Fashioning Film Stars: Dress, Culture, Identity, (London: British Film Institute, 2005) pp. 147-159.
  • Sarah Gilligan, ‘Branding the New Bond: Daniel Craig and Designer Fashion’, in Robert G. Wiener, B. Lynn Whitfield and Jack Becker (eds), James Bond in World and Popular Culture: The Films are Not Enough, 2nd edition, (Newcastle: Cambridge Scholars Publishing, 2011) pp. 76-85.
  • Screening: Spectre (2015).
  • Primary sources: Spectre shooting script (17 October 2014) and revised shooting script (1 December 2014).
Literatura
    povinná literatura
  • Jane Gaines and Charlotte Herzog (eds), Fabrications: Costume and the Female Body, (New York: Routledge, 1990)
  • Llewella Chapman: Costume, Gender and Identity in the World of 007, (London: Bloomsbury, 2021)
  • Robert G. Wiener, B. Lynn Whitfield and Jack Becker (eds), James Bond in World and Popular Culture: The Films are Not Enough, 2nd edition, (Newcastle: Cambridge Scholars Publishing, 2011)
  • Women in British Cinema: Mad, Bad and Dangerous to Know, (London: Continuum, 2000)
  • Edward P. Comentale, Stephen Watt and Skip Willman, Ian Fleming & James Bond: The Cultural Politics of 007, (Bloomington: Indiana University Press, 2005) pp. 202-220 Screening: On Her Majesty’s Secret Service
  • Melanie Williams, ‘The Girl you Don’t See: Julie Harris and the Costume Designer in British Cinema’, Feminist Media Histories, (Vol. 2, Issue 2), Spring 2016, University of California Press, pp. 71-106.
  • Fashioning film stars : dress, culture, identity. Edited by Rachel Moseley. 1st pub. . London: BFI, 2005, x, 188. ISBN 9781844570676. info
  • BRUZZI, Stella. Undressing cinema : clothing and identity in the movies. First published. London: Routledge, 1997, xxi, 226. ISBN 0415139562. info
Výukové metody
This module consists of six lectures, all of them live and online on MS Teams platform.
Students are required to read all the items from the reading list and go through primary materials for each lecture. All of the required materials will be provided in the study materials in the IS system. Films will be screened in the screening room C34 at designated times in the schedule; their attendance is not obligatory.
SCHEDULE:
Lesson 1: Thursday 2. 12. 14:00 - 15:50
Lesson 2: Thursday 2. 12. 16:00 - 17:50
Lesson 3: Thursday 9. 12. 14:00 - 15:50
Lesson 4: Thursday 9. 12. 16:00 - 17:50
Lesson 5: Wednesday 15. 12. 8:00 - 9:50
Lesson 6: Wednesday 15. 12. 10:00 - 11:50

SCREENINGS:
- Dr.No: Thursday 25.11., starting 16:00
- Goldfinger: Friday 26. 11., starting 14:00
- On Her Majesty’s Secret Service: Friday 3.12., starting 13:30
- Spectre, Friday 9. 12., starting 13:30.
Metody hodnocení
Apart from the compulsory attendance students will have to pass two test. First test is a preliminary one and it will take place just before the start of the first lecture. With two questions, the test will check the knowledge of the required items from the reading list (will be specified). The other test is final, consisting of three questions testing both students' acquaintance with the reading list as well as their knowledge and skills gained throughout the course itself. Ten points maximum can be gathered from both of the test; five points are the necessary minimum in order to pass the course successfully.
Vyučovací jazyk
Angličtina
Informace učitele
Llewella Chapman took her BA (Hons) in Performance Design and Production, specializing in costume design, at the University of Leeds, her MA in Adaptation by Independent Study at De Montfort University and her PhD in Film and Media at the University of East Anglia. Her PhD thesis researched the relationship between film, television and Hampton Court Palace (1911-2016), where she used to work as a State Apartment Warder. Llewella is currently a Visiting Scholar in the School of History at the University of East Anglia. Her research interests include film history, British cinema, gender and costume. Her first monograph, Fashioning James Bond: Costume, Gender and Identity in the World of 007, will be published by Bloomsbury in 2021. It researches the costumes designed and produced for the Eon Productions James Bond film franchise. Llewella is also contracted to edit a collection, Raiding Indiana Jones: Histories, Franchises, Legacies (Manchester University Press, 2022) and author a BFI Film Classic on From Russia With Love (Bloomsbury, 2022). She is currently the IAMHIST Blog editor, and the webmaster/online community manager for the IAMHIST website.


PLEASE NOTE: For any questions or queries concerning the course please contact Tereza Bochinová: 449128@mail.muni.cz, or Šárka Gmiterková: gmiterkova@phil.muni.cz

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