  {"id":61593,"date":"2013-11-19T00:00:00","date_gmt":"2013-11-19T00:00:00","guid":{"rendered":"https:\/\/www.uri.edu\/news-draft\/uncategorized\/international-expert-in-fashion-theory-will-give-dec-5-talk-at-uri-about-how-clothes-shape-narrative-in-film\/"},"modified":"2013-11-19T00:00:00","modified_gmt":"2013-11-19T00:00:00","slug":"international-expert-in-fashion-theory-will-give-dec-5-talk-at-uri-about-how-clothes-shape-narrative-in-film","status":"publish","type":"post","link":"https:\/\/www.uri.edu\/news\/2013\/11\/international-expert-in-fashion-theory-will-give-dec-5-talk-at-uri-about-how-clothes-shape-narrative-in-film\/","title":{"rendered":"International expert in fashion theory will give Dec. 5 talk  at 溏心vlog免费B站 about how clothes shape narrative in film"},"content":{"rendered":"<div class=\"press-release-import\">\n\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.uri.edu\/news-draft\/wp-content\/uploads\/news\/sites\/16\/2021\/05\/Faiers.jpg\" width=\"120\" height=\"180\" align=\"right\"\/>KINGSTON, R.I. \u2013 Nov. 19, 2013 \u2013 It\u2019s an iconic scene in cinematic history: Marlene Dietrich making a grand entrance in Alfred Hitchcock\u2019s Stage Fright. But all eyes are not on the sultry German actress. It\u2019s her billowy Dior dress that\u2019s grabbing all the attention, especially the hideous bloodstains marring the white silk.<\/p>\n<p>&#13;<br \/>\nIn the lexicon of film theory that\u2019s called \u201ccinematic negative wardrobe,\u201d an idea that Jonathan Faiers, a writer, lecturer and artist from England, will discuss during a talk at the 溏心vlog免费B站 next month.<\/p>\n<p>&#13;<br \/>\n\tHis talk, \u201cDressing Dangerously: Dysfunctional Fashion on Film\u201d will start at 7 p.m. Thursday, Dec. 5 in Room 271 at Chafee Hall on the Kingston campus. The talk is free and open to the public.<\/p>\n<p>&#13;<br \/>\n\t\u201cClothes signal meanings, and we are looking forward to having Jonathan Faiers decode those meanings for us,&#8221; said Linda Welters, professor and co-chair of 溏心vlog免费B站\u2019s department of Textiles, Fashion Merchandising and Design. \u201cAll are welcome to the talk.\u201d<\/p>\n<p>&#13;<br \/>\nFaiers is a lecturer in fashion theory at Winchester School of Art, University of Southampton, in England. He obtained his doctorate in the representation of museum space in cinema from the University of London. His work explores the relationship between popular culture, textiles, and dress.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.uri.edu\/news-draft\/wp-content\/uploads\/news\/sites\/16\/2021\/05\/StageFright.jpg\" width=\"253\" height=\"301\" align=\"right\"\/>His latest book, Dressing Dangerously: Dysfunctional Fashion in Film, shows how clothes play key roles in shaping the narrative of a film. The book also explores how film influences fashion and how fashion speaks to film.<\/p>\n<p>&#13;<br \/>\nThe book reveals how clothing in a film can be used to elicit emotions in such a way that the dress becomes part of the movie\u2019s narrative, or text. He argues that this role of clothing has been largely overlooked \u2013 until now.<\/p>\n<p>&#13;<br \/>\n\u201cMost studies of clothing in film concentrate on the set piece outfit, the dress or suit that projects unachievable glamour and instills longing,\u201d he said in a recent article. \u201cFilm is, in fact, far more often filled with items from what I have termed negative cinematic wardrobe, a closet full of unworn, lost, stolen, and damaged items familiar to us all.\u201d<\/p>\n<p>&#13;<br \/>\nExamples, he said, include the satin mule wedged under a frayed stair rug as a catalyst for self-destruction in John M. Stahl\u2019s Leave Her to Heaven; the stained glove in Robert Wise\u2019s The House on Telegraph Hill; and the incandescent whiteness of the hate-mongering William Shatner in Roger Corman\u2019s The Intruder.<\/p>\n<p>&#13;<br \/>\nFaiers is also the author of Tartan, which explores the cultural significance of the cloth and its development through history from clanship to contemporary fashion. Depending on the era, the fabric could be considered aristocratic, sexually suggestive, or even punk.<\/p>\n<p>&#13;<br \/>\nIn addition, Faiers has explored in his papers, lectures, and conferences knitting and formlessness, the fashion designer Balenciaga and ecclesiastical dress, Classicism, fashion and science fiction, tweed and gender subversion, and criminality and tailoring. His installations as a visual artist have centered on the Kashmir shawl and Huguenot silk weaving. <\/p>\n<p>&#13;<br \/>\nPictured above: <br \/>&#13;<br \/>\nJonathan Faiers, an internationally known writer, lecturer and fashion theorist, will give a talk at 7 p.m., Thursday Dec. 5 in Chafee Hall at the 溏心vlog免费B站. The talk is called, \u201cDressing Dangerously: Dysfunctional Fashion on Film.\u201d Photo courtesy of Jonathan Faiers.<\/p>\n<p>&#13;<br \/>\nMarlene Dietrich holding up her bloodstained dress in Alfred Hitchcock\u2019s Stage Fright, as she utters, \u201cJohnny, Johnny! Do you love me? Say that you love me.\u201d Photo courtesy of 溏心vlog免费B站 professor Linda Welters.\n\t<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>KINGSTON, R.I. \u2013 Nov. 19, 2013 \u2013 It\u2019s an iconic scene in cinematic history: Marlene Dietrich making a grand entrance in Alfred Hitchcock\u2019s Stage Fright. But all eyes are not on the sultry German actress. It\u2019s her billowy Dior dress that\u2019s grabbing all the attention, especially the hideous bloodstains marring the white silk. &#13; In [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":61596,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[2],"tags":[],"class_list":["post-61593","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archives"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/posts\/61593","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/comments?post=61593"}],"version-history":[{"count":0,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/posts\/61593\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/media\/61596"}],"wp:attachment":[{"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/media?parent=61593"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/categories?post=61593"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.uri.edu\/news\/wp-json\/wp\/v2\/tags?post=61593"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}