Networking Knowledge: Journal of the MeCCSA Postgraduate Network <p>This is the official publication of the MeCCSA Postgraduate Network. It is a journal run exclusively by, and&nbsp;featuring content solely from,&nbsp;postgraduate and early career researchers.</p> MeCCSA Postgraduate Network en-US Networking Knowledge: Journal of the MeCCSA Postgraduate Network 1755-9944 Introduction <p>This special issue belongs to a series of activities under the umbrella denomination “Studying and Exploring the Intersections of Fashion, Film, and Media Studies,” created in 2014 by film scholar Anne Bachmann and I. Our goal was to promote an interdisciplinary perspective to the study of fashion, film, and media. This venture was launched with two activities at the 2015 edition of the annual conference of the Society for Cinema and Media Studies, in Montreal. The first activity consisted of a panel featuring the on-going projects of four Ph.D. students working with these combined fields.<a href="#_ftn1" name="_ftnref1">[1]</a>&nbsp; The second activity consisted of a workshop, in which presentations opened to discussions addressing how the use of archival material and film fan magazines, combined with film studies’ methodological approach to history, could benefit fashion research.<a href="#_ftn2" name="_ftnref2">[2]</a> This workshop expanded into a Symposium at Stockholm University featuring established scholars who pioneered research in these fields of studies combined. This special issue of <em>Networking Knowledge</em> seeks to include early career researchers in such conversation, broadening the network of scholars and the combined field of expertise. Since its inception, a historical approach has been encouraged by the founders of this project. Yet, the semiotic roots used for textual analysis of costume design shall not be overlooked. In this sense, this special issue intends to present a panorama of the heterogeneous nature of studies in these interconnected fields.</p> <p>&nbsp;</p> <p><a href="#_ftnref1" name="_ftn1">[1]</a> The panel was titled “Industry Crossovers: Key Women in Fashion, Film, and Media,” with Michelle Tolini Finamore as respondent, SCMS Conference, Montreal.</p> <p><a href="#_ftnref2" name="_ftn2">[2]</a> The workshop featured presentations by Tamar Jeffers McDonald, Jenny Romero, and Elizabeth Castaldo Lundén. <em>Because Fashion Matters: Studying the Intersections of Fashion, Film, and Media</em>, SCMS Conference, Montreal, 29<sup>th</sup> March 2015.</p> Elizabeth Castaldo Lunden ##submission.copyrightStatement## 2018-04-30 2018-04-30 11 1 1 6 Elizabeth Taylor and Illness as a Negotiation of Femininity in Fan Magazines, 1960-1965 <p>Fan magazines, primarily aimed at female audiences, provide a lens through which to analyze attitudes about female sexuality. In the 1960s, Elizabeth Taylor was one of the most popular stars in fan magazines. While coverage of her often focused on issues related to her marriages and children, another narrative about her health dominated headlines in the early part of the decade. Speculation about Taylor’s illnesses stood in for a larger discourse about female appetites, ambition, and containment. This illness discourse gave fans graphic access to Taylor’s body in ways that were gruesome rather than erotic as descriptions of her physical maladies reached ecstatic proportions. Public discourse about Taylor’s health functioned in complex ways that affirmed and challenged ideologically conservative constructions of femininity and motherhood. This essay explores Taylor’s appearances in fan magazines during the period 1960-1965 to examine the relationship between the star and notions of ambition, illness, and domesticity.</p> Julie Nakama ##submission.copyrightStatement## 2018-04-30 2018-04-30 11 1 7 19 The Career Woman and the Princess <p>Fashioning is critical to explorations of television identities and American melodrama-thriller series <em>Scandal</em> (2012-17) provides opportunities to explore representations of ethnicity together with depictions of interracial romance and intercourse. Utilising semiotics I explore the contribution of costume designer Lyn Paolo to the construction of the Black-American heroine of the series, Olivia Pope, successful career woman and lover of a white, male President. Arguing for the potential of female spectacle and soft-core pornography as progressive I consider Paolo’s influences, suggesting that Olivia’s fashioning transformations illustrate her as dandy-flâneuse, one controlling the visualisation of her identity.</p> Rachel Velody ##submission.copyrightStatement## 2018-04-30 2018-04-30 11 1 20 37 Stereo Imaging In Fashion Photography <p>Fashion photographs are generally two-dimensional images showing one side of a three-dimensional model. This paper, however, deals with far less well-known <em>stereoscopic</em> fashion photographs. Stereoscopy is a technique that creates the illusion of a 3-D image. Based on the image collection of Swiss textile and clothes company HANRO, the article analyzes the composition of 3-D pictures by putting them in a broader media-historical context. The archived stereoscopic photographs date back to the 1950s and show a series of women’s fashion. In the same period, Hollywood experienced a 3-D-boom that may have had a technical and aesthetical impact on these photographs. Although fashion is not mediated in moving images in this case study, codes or formal languages of a film are inscribed in the images, as will be shown in the following text. Building on these findings, this paper further discusses the influence of cinematography and other media practices on the fashion industry’s attempt to free its fashion imagery from the confines of a two-dimensional page.</p> Leonie Häsler ##submission.copyrightStatement## 2018-04-30 2018-04-30 11 1 38 55 Lifestyle and fashion in Mario Camerini’s romantic comedies Il Signor Max and I Grandi Magazzini <p>Between the years 1922 and 1943, Italian Fascism revealed quite an ambivalent attitude towards lifestyle.<a href="#_ftn1" name="_ftnref1">[1]</a> While the regime tried to impose standards of nationalistic moderation, popular entertainment of the time reveals that different aspects of culture never surrendered completely to the diktats of the regime. This article discusses the ways in which two films, <em>Il Signor Max</em> (Astra Film, 1937) and <em>I Grandi Magazzini</em> (Amato-Era Film, 1939) can provide a perspective into the consumer culture of Fascist Italy and its ambivalences. By presenting recurrent references to lifestyle commodities and fashion, the experiences of consumption in the two films take center stage in spite of the regime’s campaigns for modesty.</p> <p>&nbsp;</p> <p><a href="#_ftnref1" name="_ftn1">[1]</a> The use of the capital ‘f’ is employed to specifically indicate the totalitarian regime led by Benito Mussolini, which occurred in Italy between the years 1922 and 1943, and to distinguish it from additional national variations (e.g. Spanish Falangism).</p> Chiara Faggella ##submission.copyrightStatement## 2018-04-30 2018-04-30 11 1 56 66 Dress as a Reflection of Social Identity and Differentiation in the Soviet Cinema in the 1950s-1980s <p>The paper is based on the visual and sociological interpretation of the specific element of the Soviet everyday life within the period from 1950s till 1980s. From the very beginning, clothing styles and images were used by Communist authorities to impose some important ideological trends on society. There was collectivism, modesty, simplicity, unselfishness, obedience, respect for authority, and hard work in addition to a variety of features of Soviet morality, as well as even more controversial Soviet ideas. Popular culture in the Soviet Union, especially cinema and television, contained both entertainment and propaganda in different proportions. The presented analysis of stories from the selected Soviet movies concerns the specific perspective of the social identity creation, lifestyle construction and imitation strategies of the common Soviet citizens. Social differentiation within clothing styles as symbols of status is shown rather frequently in the movies, especially in the earlier period, as a way to delineate social and moral borders between working class, on the one side, and intelligentsia, on the other.</p> Kateryna Novikova ##submission.copyrightStatement## 2018-04-30 2018-04-30 11 1 67 78