Unattributed French fashion film frame showing a dissolve, 1925. Image courtesy of the Fashion in Film Festival, London.
"We must mobilise everything [we] can find in terms of intellectual resources in order to understand what keeps making the lives we live and the societies we live in profoundly and deeply anti-humane."
— Stuart Hall
— Stuart Hall
Journal of Visual Culture is an international refereed journal that welcomes compelling, critically engaged contributions that explore and expand trans-disciplinary global visual cultures.
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DECEMBER 2020: ARCHAEOLOGIES OF FASHION FILM AFTER A DIGITAL CULTURE
The December 2020 issue (19.3) of Journal of Visual Culture is out! Entitled ‘Archaeologies of Fashion Film after a Digital Culture’, it’s guest edited by Caroline Evans (University of the Arts London) and Jussi Parikka (Winchester School of Art, University of Southampton). In their Introduction the guest editors ask:
‘Where was (and is) fashion film in the contexts of the avant-garde, the experimental and the popular? How is it that fashion film is more or less invisible in the histories and archaeologies of cinema and fashion? And why look at archaeologies of fashion film now in particular, at a moment of radical change in the fashion industry, mediascapes, data economies and participatory cultures?’
Engaging with these questions, and others, are contributions by: Marketa Uhlorova (University of the Arts London) who excavates a media archaeology of fashion film; Wanda Strauven (Goethe University Frankfurt) who considers sewing machines and weaving looms as devices and materialities that change the order of things; Marie-Audre Baronian (University of Amsterdam) who investigates the interconnectedness of film and fashion through their mutual concern with the processes of crafting and dressing; Lucy Moyse Ferreira (London College of Fashion) who positions Sonia Delaunay’s early work as a form of proto-cinema; and Nick Rees-Roberts who offers a critical interrogation of ‘fashion film’ as a commercial phenomenon which evidences how moving images on social media foreground the visual dynamic of the feed (of marketing snd data) over and at the expense of the aesthetic framework of cinema.