[ecrea] CFP: Global Intersections and Artistic Interconnections: Italian Cinema and Media Across Time and Space

*Call for papers for the International Conference:*

*
*

* “Global Intersections and Artistic Interconnections: Italian Cinema 
and Media Across Time and Space” Journal of Italian Cinema and Media 
Studies, The American University in Rome,14-15 June 
2019:*http://www.wellesley.edu/italian/jicms-rome2019 
<http://www.wellesley.edu/italian/jicms-rome2019>

**

**

*Title: Italian Film/Costume Design/Fashion from the silent era to the 
present. *

**

Fashion and film share a highly interactive quality. As two of the most 
popular and widespread commercial industries to grow out of modernity, 
cinema and fashion have always had a synergetic relationship, both using 
the technology of the camera and that of the body and performance. 
Costume is integral both to the actor’s performance and to the cinematic 
rendition of visual narratives and experience. Since the birth of cinema 
in the late nineteenth century, the film scene has constituted a virtual 
shopping window for clothes, exhibiting and making desirable the newest 
fashions and goods available at the department stores. Film costume has 
not only borrowed from fashion and haute couture; it has also inspired 
the production of the newest fashions. Costumes in cinema have also been 
used as narrative tools for telling stories on screen that emphasize 
character identity and development while also attracting a larger 
audience. More recently, the digital genre of “fashion film” has become 
a widespread advertising and storytelling tool for fashion luxury brands 
as Ferragamo, Prada, Louis Vuitton, Dior amongst the others.

Although fashion and film costume have always been vital to the totality 
of the cinema industry, they did not attract academic attention until 
the 1990s. That is not to say that the topic was completely neglected, 
however, as one of the first books on the relationship between fashion 
and cinema, La moda e il costume nel film, was published in 1950 in 
Italy, edited by the university professor and critic Mario Verdone, 
father of actor Carlo Verdone. The book contains a homage to the costume 
designer Gino Carlo Sensani, who was praised by Antonioni. Costume 
design only began to be recognized as a profession in the world of 
Italian cinema in the 1930s, but costume/cinema and fashion were soon to 
establish a close link with the global launch of Italian fashion in the 
post-war years.

In the United States, film scholars Jane Gaines and Charlotte Herzog 
edited their landmark collection Fabrications in 1990, and in 1996 and 
1997, UK-based film scholars Pam Cook and Stella Bruzzi published 
monographs on fashion in British cinema (Cook: 1996) and on film, 
gender, and identity (Bruzzi: 1997). These seminal books offered a 
reflection on methodology and histories (of gender and nation), and 
paved the way for new interpretations of film, body and performance, 
masculinities, fashion, popular culture, and stardom and, at the same 
time, challenged age-old hierarchies in the humanities.

The intersection between fashion and film and the growing scholarship 
dedicated to it are now becoming a very fertile terrain. More attention 
is now being dedicated to the role of costume and costume design in 
cinema and its interrelation with fashion, Italian style and the made in 
Italy. Nevertheless, the combined study of fashion and film and the 
particular focus on Italy is still at an early stage of development 
within film studies and especially Italian cinema and media studies.

We invite scholars, costume and fashion designers, archivists, museum 
scholars and experts to participate in panels focusing on 
film/fashion/costume design with the aim of mapping the intermedial and 
transnational history of Italian film/costume design/fashion and screen 
media from the silent era until the present. All film genres are of 
interest.

Topics to be considered include but are not limited to are:

Early cinema and costume

Italy and Hollywood

Hollywood in Italy

Italian actors in Hollywood

Transnational impact of cinema-mediated fashion

Italian costume designers in Hollywood and elsewhere

Fashion Houses, sartorie and archives in Italy

Film and photographic archives in Italy and elsewhere

Cities of film and cities of fashion

Branding and film/fashion/costume

Fashion film in historical perspectives

International stars in Italy

Well known and less known costume designers

The role of craftsmanship in costume and fashion

Costume drama

Women directors and the work of women whose work has been neglected

Film/Costume/Fashion and pedagogy, interdisciplinary courses; designing 
curriculum

Please send a 250 words proposal with a Bio by*September 30^th **2018*to 
the co-organizers:

Prof. Eugenia Paulicelli, Queens College and The Graduate Center, The 
City University of New York, email 
address:(Eugenia.paulicelli /at/ qc.cuny.edu) 
<mailto:(Eugenia.paulicelli /at/ qc.cuny.edu)>and Prof. Giuliana Muscio, 
University of Padua, Emerita, email address:(giulianamuscio /at/ gmail.com) 
<mailto:(giulianamuscio /at/ gmail.com)>











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