The question of whether movies can deliver philosophical content is a leading topic in the cognitive and analytic debate on film. But instead of turning to the well-trodden terrain of narrative and emotional engagement, this is the first time fashion and costume choices are analyzed to demonstrate how movies can be said to be doing philosophy. Considering how fashion and costumes can deliver the epistemic content of a film and act as a guidance to the interpretation of the philosophical content of a film, Laura T. Di Summa examines fashion and costume choices in classical and contemporary films. She discusses a number of cinematic examples, and the costumes and fashion elements within them, illustrating the importance of issues such as the performative side of fashion, the alteration between novelty and repetition, the pivotal role of the body, and the relation between fashion, style, and individual as well as collective identity. Featuring close examinations of 1950s melodramas, Hollywood blockbusters and documentaries such as All That Heaven Allows, Mad Max Fury Road, and McQueen, Di Summa uses an innovative new lens to provide fresh philosophical analysis of films. The result is not only an advancement of our understanding of the aesthetic means through which film can do philosophy, but the first insights into a philosophy of fashion.
Laura T. Di Summa is Assistant Professor of Philosophy at William Paterson University, USA. She is a co-editor of The Palgrave Handbook of the Philosophy of Film and Motion Pictures (2019).
AcknowledgmentsIntroduction1. Defining FashionFashion: An Item PerformsFashion and the NewFashion and Bodily IdentityPerformance and StyleFashion as a Performance and the MoviesConclusions: Towards a Definition of Fashion2. Repetition and the NewFashion: What’s New The Dynamic of Repetition and the New: Designing FashionThe Power of Repetition: Three MoviesCary's grey lady suit and the promise of the red dress A homage to Doug Sirk: Two Movies by Todd HaynesTwenty QipaosConclusions: Rethinking Repetition3. The BodyExploring the BodyFashion and the Body: Staring and Strategies for Aesthetic ExplorationFuriosa’s StrengthBlack Panther: Carter’s Superhero Costumes, Worn EverydayMoonlight: The Gold GrillConclusions: Aesthetic Explorations4. Couture and CostumesAcknowledging Costume DesignCostumes?Fashion and Costumes: Avenues of ConversationPhantom Thread: Filming the CouturierFashion and Costume Designers: Tom Ford and Arianne PhillipsHistorical Accuracy and Imaginative Freedom: Dressing Marie Antoinette30 Years of Geoffrey BeeneConclusions: Two Industries5. On Fashion and IdentityThe Episodic Self: Fashion and IdentityNarrative Identity and its ShortcomingsAll Chanel: Personal ShopperMcQueen: The RunwayL’Année dernière à Marienbad: Fashion or Identity?Conclusions: Episodes and Fashion6. Closing Thoughts: A Philosophy of Fashion – Through FilmWhat is Fashion?Moving Pictures and Moving BodiesReassessing IdentityFashion, Off-ScreenEpilogueNotesReferencesIndex
In her exciting new book, Laura T. Di Summa opens a new subject for the philosophy of film - movie fashion. Through enlightening discussions of costume design, accessories, and prosthetics as both elements of film style and prompts for questions of personal identity, Di Summa weaves an intricate text of her own.