Search Results for costume

... costume fashion gender La noire de . . . Les saignantes ...

... subjectivities travel and are ‘re-fashioned’. “refashioned.” Taking the films La noire de . . . (1966), by Ousmane Sembène, and Les saignantes (2006), by Jean-Pierre Bekolo, as its focus, this chapter suggests that material traffic between costume and cinema is a generative rubric through which to examine...

... El Alto is Bolivia’s second-largest city, and the unofficial capital of the Aymara people of the Andes. Chapter 2 describes how a new form of lucha libre , or costumed wrestling, has taken El Alto by storm. Aymara people lucha libre women wrestlers El Alto, Bolivia ...

... Documentary photographs in Las Vegas reveal the many visual tricks used to purposely reveal everything, even the copies of foreign architecture, to be fake. With multiple versions of costumed characters parading the streets, wax figures posing with tourists, advertisements juxtaposed with iconic...

... Josephine Baker invoked islands in her music, and embodied them—in all of their variety—in dozens of unique performances. She costumed and presented herself as a fixture of the oceanic colonial world, of those places where people and power came together outside of the metropole and outside...

... saignantes (2006), by Jean-Pierre Bekolo, as its focus, this chapter suggests that material traffic between costume and cinema is a generative rubric through which to examine the notion of African screen worlds. It argues that the “fashioned” nature of film is an essential formal consideration for the study...

... and life. The chapter unfolds with a significant visual component that connects the visual elements—costuming, sets, lighting–of the music video with various reference works from the canon. The chapter asks about what works of art say about an artist and vice versa. She argues that as artists themselves...

... communities that engage in such performances. It defines performance as something that takes place with an audience and that is culturally and socially understood as a performance. Value is built up privately in preparations for performances (rehearsing, costume-making, instrument-making, etc.) but is only...

... This experimental entry splices descriptions of artist Justin Shoulder’s evening-length proscenium solo Carrion with an interview with curator and scholar Ashley Ferro-Murray. In Carrion , Shoulder inhabits a larger-than-life stuffed tardigrade costume. They call their decade-long...

...’ exploration of art and life. The chapter unfolds with a significant visual component that connects the visual elements—costuming, sets, lighting–of the music video with various reference works from the canon. The chapter asks about what works of art say about an artist and vice versa. She argues...

..., choreographic structures, movement motifs, and costume choices that reference the two most common tropes of Cold War dance history (Graham vs. the Swan) and mirrors back the end result—a reflection on the condition of a K-Pop idol as a product of Cold War culture wars. Martha Graham modern dance ballet...

... city, and the unofficial capital of the Aymara people of the Andes. Chapter 2 describes how a new form of lucha libre , or costumed wrestling, has taken El Alto by storm. Aymara people lucha libre women wrestlers El Alto, Bolivia Chapter 3 provides an in-depth account and analysis...

... on the implications and utility of rethinking the Caribbean and Caribbean studies from a colonial and decolonial archipelagic perspective. Josephine Baker invoked islands in her music, and embodied them—in all of their variety—in dozens of unique performances. She costumed and presented herself as a fixture...

... Press, 1989); Herman Hattaway and Archer Jones, How the North Won: A Military History of the Civil War (Urbana: University of Illinois Press, 1983); H. L. Scott, Military Dictionary (1861; rpt. Westport, CT: Greenwood Press, 1968); Phillis Cunningham and Catherine Lucas, Costumes for Births...

... Press, 1989); Herman Hattaway and Archer Jones, How the North Won: A Military History of the Civil War (Urbana: University of Illinois Press, 1983); H. L. Scott, Military Dictionary (1861; rpt. Westport, CT: Greenwood Press, 1968); Phillis Cunningham and Catherine Lucas, Costumes for Births...

... Press, 1989); Herman Hattaway and Archer Jones, How the North Won: A Military History of the Civil War (Urbana: University of Illinois Press, 1983); H. L. Scott, Military Dictionary (1861; rpt. Westport, CT: Greenwood Press, 1968); Phillis Cunningham and Catherine Lucas, Costumes for Births...

... Press, 1989); Herman Hattaway and Archer Jones, How the North Won: A Military History of the Civil War (Urbana: University of Illinois Press, 1983); H. L. Scott, Military Dictionary (1861; rpt. Westport, CT: Greenwood Press, 1968); Phillis Cunningham and Catherine Lucas, Costumes for Births...