Digitala Vetenskapliga Arkivet

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  • 1. Annola, Johanna
    et al.
    Drakman, AnnelieStockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Tampere University, Finland.Ulväng, MarieStockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Med tvål, vatten och flit: Hälsofrämjande renlighet som ideal och praktik, ca 1870–19302021Collection (editor) (Refereed)
    Abstract [sv]

    Med tvål, vatten och flit: Hälsofrämjande renlighet som ideal och praktik, ca 1870–1930

    Med tvål, vatten och flit handlar om människors förhållningssätt och praktiker kring renlighet och hälsa årtiondena kring sekelskiftet 1900. Vid den här tidpunkten hade de vetenskapliga rönen om hur sjukdomar spreds ringat in människors hem och kroppar som särskilt farliga platser. Renlighet var emellertid mycket mer än bara en hälsofråga – rengöringsivern var en drivande faktor i flera stora samhällsförändringar. Boken bidrar till att fördjupa diskussionen om renlighet i relation till klass, kön, arbete, konsumtion och rumslighet ur ett nordiskt perspektiv.

    Kampen mot den samhällsfarliga smutsen fördes brett och på olika nivåer i samhället. Boken ger inblickar i den långa och komplexa renlighetsprocess som samhället genomgick. Bakom det över tid mer flitiga tvålanvändandet dolde sig förmaningar, förhandlingar och konflikter kring hur renlighetsarbetet skulle utföras och av vem. Tvålens herravälde var inte självklar utan tillkämpad.

    I bokens tio bidrag utforskas särskilt interaktionen mellan debattörer, föreningar, institutioner och enskilda individer. Hur gick renlighetsarbetet till och hur togs det emot? Vem och vad behövde rengöras och på vilka grunder? Vad innebar renlighet i olika sammanhang och för olika individer? Boken synliggör hur förhandlingar kring renlighetens ideal och praktik gått till genom undersökningar av hur renlighetsidealet presenterats, propagerats, uppfattats, ifrågasatts, omsatts och ibland haft andra bevekelsegrunder än avsändaren avsett.

    Bidragen är skrivna av ekonomhistoriker, etnologer, historiker och idéhistoriker från Danmark, Finland, Norge och Sverige. Boken vänder sig till studenter, forskare och andra intresserade av ett historiskt perspektiv på renlighet.

  • 2.
    Asare, Daniëlla
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The representation of plus-size men in high fashion2023Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The introduction of plus-size models in high fashion has been a highly discussed topic in recent years. Plus-size female models are slowly breaking their way through the boundaries of fashion’s standard for thinness and this can be observed through their visibility within major runway shows. However, this change does not seem as prevalent within high fashion menswear shows since plus-size men are barely being included. Nevertheless, plus-size men exist and fashion can no longer choose to ignore them as they deserve to be acknowledged and represented. Therefore, the purpose of this thesis is to include the plus-size male body within the scope of fashion. A multimethodological approach, combining critical visual analysis, semi-structured interviews and critical theory by Susan Bordo, Michel Foucault and Pierre Bourdieu are used as a way to examine to what extent plus-size men are being included in high fashion, and how this influences the field of fashion. The outcome of the visual analysis reveals that there is still a large lack of inclusion of plus-size men. Furthermore, the field analysis reveals that there is an imbalance within the current field of fashion, and this is one of the main reasons why there is a lack of inclusion of plus-size men within (high) fashion.

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    The representation of plus-size men in high fashion
  • 3.
    Babaei, Behnaz
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    “As Long as We Live, They Too Will Live”: A qualitative study on sartorial objects as mediator between deceased and bereaved2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    This thesis investigates the symbolic presence of deceased people through their remaining sartorial objects including their clothes and accessories. Utilizing theories from anthropology, psychoanalysis, fashion studies, and sociology, the study explores different ways in which objects create the presence of a deceased person. Through six semi-structured interviews, the main functionality of sartorial objects as triggers of memories and as bearers of individuals’ traces is examined. The thesis explores how sartorial objects function as repositories of memories, how they influence individuals’ perceptions, how they change in value after death, and how they become mediators between the deceased and the bereaved.

  • 4.
    Berglund, Ulrika
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Medelvägens lyx: Franska hantverkstraditioner och folkhemsvisioner i Sverige kring mitten av 1900-talet2015In: Det svenska begäret: Sekler av lyxkonsumtion / [ed] Paula von Wachenfeldt, Klas Nyberg, Stockholm: Carlsson Bokförlag, 2015Chapter in book (Other academic)
  • 5.
    Bornlöf, Julia
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Bloody Penny Picture Pose: A comparative study on the representation of sexuality and violence within the aesthetics of Victorian Gothic horror2019Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    There is an ongoing fascination with the Victorian era as well as the genre of horror, and the characters originating from the first 18th century Gothic tales still appear in our Western popular culture today. The Victorian Gothic novels contain elements of romanticism and violence which often results in strong undertones of heated sexuality. I argue that it is one of the reasons for the genre’s wide popularity. This thesis examines the representation of femininity and female sexuality within a Victorian horror context by a comparative analyse of illustrations from British 19th century Penny Blood publications with contemporary fashion photographs. The images are analysed by applying Erwin Panofsky’s method of Iconography and with the theoretical framework of feminist visual culture, and historical theories on sexuality, biology and violence. The thesis shows how Gothic visualisations are interpreted and appropriated photographically today, where the latter is darker and more exaggerated than the former. Symbols of sexuality, female agency, dominance and submission are equally found in the Victorian and the contemporary material. However, the Victorian aesthetic has become a platform where a nude, sexual female body in a S&M situation can offer a spectrum of meanings and even symbols of feminism. It is a visual culture where women can fight back, taking revenge on their oppressor and looking fierce when doing so. 

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    fulltext
  • 6. Bucci, Alessandro
    et al.
    Faggella, Chiara
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Parallel universes: Fashion studies education today2018In: International Journal of Fashion Studies, ISSN 2051-7114, Vol. 5, no 1, p. 149-155Article in journal (Other academic)
  • 7.
    Büttner, Sophie
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Vincent Vega in Helmut Lang: Framing Helmut Lang's Coolness in Relation to Cool Movie Characters2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Coolness is a desired but overlooked concept in fashion. The thesis The Vincent Vega in Helmut Lang: Framing Helmut Lang’s Coolness in Relation to Cool Movie Characters sheds light on how coolness is created in Helmut Lang’s spring 2004 collection in relation to movie representations. The thesis frames coolness as a myth and gendered performance. With the method of representation studies, several movies are analysed in how they present coolness. It is discovered that movies continuously reproduce the same myth. With critical visual analysis, Lang’s collection is put in context to these movies. It is shown that Lang’s collection has many similarities to the movie costumes and although he tries to break out the gendered myth, he still reproduces it. The thesis contributes to understand coolness as a concept but also that coolness, at least in Lang’s case, is heavily dependent on the cinematic representations rather than pursuing his own unique approach.

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    Büttner_MA_Lang Coolness
  • 8. Cappellini, Benedetta
    et al.
    Hutton, Martina
    Molander, Susanna
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Elizabeth, Parsons
    Can parents escape the ideology of intensive mothering?: Reflections across social classes and geographical contexts2023In: Routledge Handbook of Identity and Consumption 2nd Edition / [ed] Ayalla A Ruvio, Russell W Belk, London: Routledge, 2023, 2Chapter in book (Refereed)
  • 9.
    Carlberg, Marianne
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Skådespelare, kostymer och kontrakt: en bortglömde del av teater- och kostymhistorien2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study - Actors, costumes and agreements - is to highlight an almost forgotten part of the history of theatre costume and theatre history.  During at least two hundred years actors in Sweden were expected to contribute to the performance by their costumes. The study is divided into three parts: agreements, memoirs and conversation. Nine agreements between theatres and actors from 1778 to 1971 will be analyzed with focus on costumes. What do they express about the period, fashion and repertoire, audience? The theatres demand of the actors could be very detailed and shifting. Three memoire books and conversation with seven actors represent the actors view. Questions arise about actors poor economy, theatre culture and gender. The study will also show periods with connection between fashion and theatre costume.

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    fulltext
  • 10.
    Carlos, Raoul Christian
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    ‘One Dress – One Nation!’: The societal implications of King Gustav III’s National Costume in late eighteenth-century Swedish Court Society2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This thesis explores the societal implications of Gustav III’s national costume in the context of Swedish court society during the late eighteenth century. With the aims of uncovering King Gustav III’s view of the National Costume and its role in Swedish court society, as well as how we can understand the National Costume’s meaning for the aristocracy in late eighteenth-century Sweden, this thesis presents a post-structural textual analysis of Gustav III’s (1806) REFLEXIONER, angående en ny nationel klädedrägt (Reflections concerning a new national costume) in order to uncover King Gustav III’s perception of and ideology behind the national costume. This is then juxtaposed with a similar analysis of a chapter from Hedvig Elisabeth Charlotta’s (1902) journal, representing an aristocratic counter-perspective. This thesis presents a previously unexplored sociological perspective in studying Gustav III’s National Costume. Departing from Norbert Elias’ work around the court society, arguments are made for the interpretation of the National Costume as an instrument in court ceremonial, at the king’s disposal, holding the potential to create a distance in power between the Swedish court nobility and the monarchy. Furthermore, it is argued that the National Costume represents an oppressive force to the Swedish court nobility as a social class. 

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    ‘One Dress – One Nation!’: The societal implications of King Gustav III’s National Costume in late eighteenth-century Swedish Court Society
  • 11.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    A Woman’s Job: Edith Head’s Transformation from School Teacher into Hollywood’s Most Iconic Costume Designer2019Conference paper (Other academic)
  • 12.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Användningen av digitala arkiv inom humaniora2019In: Humanistiska fakulteten 1919-2019: Nedslag i humaniora / [ed] Humanistiska Fakulteten, Stockholm: Stockholms universitet , 2019, p. 47-51Chapter in book (Refereed)
  • 13.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Beyond the Screen: The Perils of Researching Costume Design History2021Conference paper (Other academic)
  • 14.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Edith Head: From Costume Designer to Fashion Expert2019Conference paper (Other academic)
    Abstract [en]

    Costume designer Edith Head has become a symbol of Hollywood costume designers. With more than 50 years of career designing for the big screen, her iconic look has inspired several characters that pay homage to her legacy. Edith Head started her career in 1924 as Howard Greer’s assistant. Without any background in drawing or costume design, Head rapidly ascended to head of the costume department in 1937, when Travis Banton left Paramount and join Howard Greer in his Beverly Hills fashion atelier. Scholars have presented her career as a linear story of costume design success, focusing mostly on her time at Paramount Pictures and basing arguments onHead’s own media declarations. However, Head’s media appearances and the widespread popularity as a public persona demonstrate that a large part of her work for the studio rested on being a promoter by exploiting her role as a mediator of fashion discourses for female audiences. Head used the looks of the stars to educate women into finding “their type” and showed them how to adapt screen looks for real-life situations. This paper looks at the role of Edith Head as a cultural translator of fashion, guiding American woman into the meaning of style and femininity in post-war America, by focusing on Head’s radio segments, books, and her work as the Academy Awards fashion consultant. The presentation will demonstrate that Head was a key PR figure for the studio and that this strategy also worked on her favor to perpetuate her position in the job market after the demise of the studio system.

  • 15.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Exploring the Intersections of Fashion, Film, and Media2018Collection (editor) (Refereed)
    Abstract [en]

    Since the turn of the twentieth century, the film industry has played a key role in the promotion and representation of fashion. Likewise, fashion’s mediated character through newsreels, television, newspapers, magazines, photography, and even paintings has facilitated the study of costume and dress history. Film scholars have dedicated efforts to the study of fashion, film, and media, focusing mostly but not exclusively on matters of representation through costume design. Significant contributions from scholars like Jane Gaines, Stella Bruzzi, Tamar Jeffers McDonald, and Adrienne Munich among others have paved the way for an interdisciplinary approach to study fashion from a film and media perspective and shaped a multitude of intercultural links between cinema and other media practices. Far from being an exhausted topic, however, the intersections between the fashion and film industries offer a vast potential that is increasingly becoming of interest to early career scholars around the globe. This special issue seeks to widen the existing research network, presenting articles from postgraduate students and early career researchers from different background with a dedicated interest in researching the intersections between fashion, film, and media. These papers provide an overview of the ways in which these areas of study overlap and intertwine.

  • 16.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Fashion on the red carpet: A history of the Oscars, fashion and globalisation2021Book (Refereed)
    Abstract [en]

    The Academy Awards’ red-carpet is the most prominent fashion show in media culture. Fashion on the Red Carpet investigates the historical liaison between Hollywood and fashion institutions, to describe how public relations campaigns and the media articulate fashion discourses around the Oscars. The power-shift towards television, the emergence of celebrity culture, the post-war reactivation of transatlantic trade, the growth of fashion journalism, and the increasing circulation of designer names in the media, are converging factors leading to the institutionalisation of the red-carpet as a fashion event in its own right.Departing from archival sources, and tracing discourses of fashion, stardom, and celebrity surrounding Hollywood and the Oscars, this fascinating book explains how the red-carpet became a marquee for the endorsement of high-end fashion brands.

  • 17.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Hollywood In and Out: A Look into the Academy Awards Ceremony's Transition from Private Banquet to Public Spectacle2019Conference paper (Other academic)
    Abstract [en]

    The Academy Awards ceremony is the foremost reference to Hollywood gatherings. Since its inception, in 1929, the event has shifted format and itinerated in different locations, frequently outside the confinements of Hollywood city. Several of these changes of venue bare a close relation with political decisions, the events’ increasing popularity, and the technological developments that turned the ceremony into a media event. Key to this mediatization of the Oscars is how the ceremony transformed from a private banquet into a public spectacle. This paper looks into such a transition from a private gathering into a public spectacle and the consequent spatial reconfigurations.

    It is necessary to problematize the conceptualization of Hollywood, understanding it as a fluid idea that works both as a geographical space and as well as a community striving for prestige. This paper engages with Michel Foucault’s concept of heterotopia to help elucidate how the U.S. film industry’s appropriation of the notion of Hollywood allowed it to function as an abstract conception for the mediascape instead of anchoring the event to a geographical area. The first Oscars ceremony took place at the Roosevelt Hotel, in Hollywood. By 1930, the Academy Awards moved outside Hollywood, at the Ambassador Hotel’s Cocoanut Grove in Los Angeles. A big leap from private gatherings to public spectacle took place in 1944 when the ceremony changed the format and moved into Grauman’s Chinese Theatre. Historical discourses around the event attribute such shift to a search for austerity during wartime. I argue that rather than lowering the event's profile as a gesture of austerity, the move into movie venues turned the ceremony into a grandiose public spectacle that function as the steppingstone for the media event we see today. By 1947, the Oscars had already moved out of Hollywood. Despite the restless migratory patterns that took the ceremony continued carrying its aura as the quintessential spectacle “live from Hollywood.” It was not until the construction of the Kodak Theatre was completed, in 2002, that the ceremony established in Hollywood for good. 

    This presentation provides a historical overview of the Academy Awards Ceremony from a spatial perspective by looking at the venues in which it was organized, their infrastructure, and the arrangements required as a consequence of technological media shifts and the events’ increasing popularity. 

  • 18.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Introduction: Exploring the Intersection of Fashion, Film, and Media2018In: Networking Knowledge: Journal of the MeCCSA Postgraduate Network, ISSN 1755-9944, Vol. 11, no 1, p. 1-6Article in journal (Other academic)
    Abstract [en]

    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.[1]  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.[2] 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 Networking Knowledge 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.

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    fulltext
  • 19.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Newsfilms as Historical Repositories of Fashion and Dress: A Methodological Initiative2021Conference paper (Refereed)
  • 20.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Pedagogies of Perspective: The Challenges and Opportunities of Teaching Moving Images and Gender in a Multicultural Classroom2020Conference paper (Other academic)
    Abstract [en]

    Master level and optional (Fristående) courses represent a challenge for educators insofar as they gather students from a varied set of disciplines and cultural backgrounds. The challenges range from the students’ home country approach to higher education pedagogy, different disciplinary background, or even different levels of academic accomplishments that go beyond the standardization of academic degrees. Sensitive topics addressed in the humanities, such as questions of gender, sexuality, race, ethnicity, or class, can be particularly challenging when students are encouraged to engage in seminar discussions within a multicultural background. This paper looks at the pedagogic ways in which educators can address these challenges by creating safe environments of discussions that directly engage with the cultural perspective of students while integrating the use of historical sources available in digital archives. The case study is based on a pilot experience conducted during the seminars for the course Moving Images and Gender; a free-standing course in the Film section of the Department of Media Studies. The results of this experience showed that students could attain a degree of distance from the object of study if reflecting upon certain film representations from a historical angle. Allowing the students to present historical examples from their cultures using an analytical/critical perspective helped them reflect upon the discussed topics while developing an emotional distance from the cultural baggage. This approach to seminars reduced the affective response to critical analysis. The students shifted their role from subjects immerse in cultural heritage to cultural mediators, guiding their colleagues into a discovery of cross-cultural perspectives.

  • 21.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Pre-Code Hollywood: The Final Sparks of the Insubordinate Screen2016Conference paper (Other (popular science, discussion, etc.))
  • 22.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The most famous costume designer: constructing Edith Head’s narrative from school teacher to Hollywood stardust2019Conference paper (Refereed)
    Abstract [en]

    Costume designer Edith Head has become a symbol of Hollywood costume designers. With more than 50 years career designing for the big screen,her iconic look has inspired several characters that pay homage to her legacy. Edith Head started her career in 1924 as Howard Greer’s assistant. Without any background in drawing or costume design, Head rapidly ascended to head of the costume department in 1937, when Travis Banton left Paramount and join Howard Greer in his Beverly Hills fashion atelier. Scholars have presented her career as a linear story of costume design success, focusing mostly on her time at Paramount Pictures and basing arguments onHead’s own media declarations. However, Head’s media appearances and the widespread popularity as a public persona demonstrate that a large part of her work for the studio rested on being a promoter by exploiting her role as a mediator of fashion discourses for female audiences. Head used the looks of the stars to educate women into finding “their type” and showed them how to adapt screen looks for real life situations. Storytelling became key to Her media appearances rehashed anecdotes from Hollywood’s golden age, building her own celebrity status through the discursively constructed proximity to Hollywood stars.This paper looks at the media construction of Edith Head as symbol of Hollywood success through her media appearances as costume designer and fashion expert. Drawing from archival holdings at the Margaret Herrick Library of the Academy of Motion Pictures Arts and Sciences and the Wisconsin Film and Theater Research center, the study focuses on Head’s battle horse anecdotes that filled in interviews, radio segments, books, as well as her work as the Academy Awards fashion consultant. The presentation will demonstrate that Head was a key PR figure for the studio and that this strategy also worked on her favor to perpetuate her position in the job market after the demise of the studio system by means of her own acquired celebrity flare.

  • 23.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The “Paco Rabanne Myth”: How Archival Research Can Help Us Deconstruct Celebrity Discourses2016Conference paper (Other academic)
  • 24.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Struggles of the Remote Scholar: Creating Opportunities for Archival Access Beyond Broad Digitization2021Conference paper (Other academic)
  • 25.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    When Shallowness Enables Depth: The Oscars as a Scenario for Socio-Political Protest2016Other (Other (popular science, discussion, etc.))
  • 26.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    A quién le importan los mejores vestidos? La lista infame de Mr. Blackwell y el lema toda prensa es buena prensa2014Conference paper (Refereed)
  • 27.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Barbarella: 50 Years of Space Age2018Conference paper (Other (popular science, discussion, etc.))
  • 28.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Barbarella's wardrobe: Exploring Jacques Fonteray’s intergalactic runway2016In: Film Fashion and Consumption, ISSN 2044-2823, E-ISSN 2044-2831, Vol. 5, no 2, p. 185-211Article in journal (Refereed)
    Abstract [en]

    Jane Fonda’s intergalactic adventure, Barbarella (Dino De Laurentiis Cinematografica, 1968), looms large in popular culture despite its mild reception in 1968. Disguised under its sartorial splendor, the film’s narrative clearly negotiates social anxieties of the late ‘60s. Similarly, the production design of the film incorporates contemporary elements from art, architecture and fashion. Paco Rabanne is frequently credited as the creator of Fonda’s onscreen parade of highly stylized costumes. Yet, the Spanish designer only created one of her eight outfits. The paper addresses this misconception by exploring how the film’s mise-en-scène captured the contemporary design trends beyond Rabanne’s participation, perpetuating Barbarella as a symbol of its own times.

  • 29.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Branding the Oscarcast: The public relations strategies that established the academy awards ceremony as a media spectacle2023In: Historical Journal of Film, Radio and Television, ISSN 0143-9685, E-ISSN 1465-3451, Vol. 43, no 1, p. 109-127Article in journal (Refereed)
    Abstract [en]

    The Academy Awards ceremony is the most popular award-giving ceremony in media culture. This article explores the efforts for turning the event into a commercially profitable television product by exploring the public relations activities that shaped it during the 1950s. In doing so, these findings debunk the mythologized conception of television’s longstanding interest in broadcasting the event as allegedly colliding with Hollywood’s resistance to entering the new medium. It argues that the Oscarcast emerged from a trial-and-error strategy, consolidating through the professionalization of public relations tactics that included the year-round communication of activities related to the ceremony, the construction of a press pavilion, the exploitation of a fashion angle to attract female audiences, and a subsequent broadening of their audience strategies to expand its appeal to sponsors.

  • 30.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Comunicación responsable de la violencia de género2016Conference paper (Other academic)
  • 31.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Cuerpos de Emulación Pecuniaria: Estrellas de Hollywood como elemento homogeneizador de la femineidad e identidad nacional en los Estados Unidos2017Conference paper (Refereed)
    Abstract [es]

    El fin del siglo XIX acarreó cambios sustanciales para las mujeres en los Estados Unidos. El cambio de paradigma que permitió a hombres y mujeres compartir la esfera pública, el creciente rol de la mujer en el ámbito laboral, el surgimiento del culto a la “personalidad,” y la consolidación de la industria del cine tuvieron incidencia directa en la reconfiguración de la femineidad y la búsqueda de una identidad nacional entre las jóvenes inmigrantes de la clase trabajadora de los Estados Unidos. Lentamente, las estrellas de cine ganaron prestigio como símbolos de belleza y movilidad social para miles de jóvenes mujeres gracias a la circulación de imágenes en suplementos dominicales y revistas especializadas en cine. En breve, la industria del cine Estadounidense comenzó a replicar los formatos de revistas como Photoplay y Motion Picture Magazine para los países de habla hispana, propagando su hegemonía a lo largo y a lo ancho del continente. Parte fundamental del proceso de identificación está ligado al creciente uso de estrellas de cine en publicidades de productos de belleza y moda. La agencia de publicidad J. W. Thompson fue el eje fundamental de dicha dinámica. La empresa contaba con un grupo de mujeres ejecutivas a cargo de las cuentas correspondientes as productos de belleza. Estas mujeres, en su mayoría pertenecientes al movimiento sufragista de los Estados Unidos, tuvieron un rol fundamental en el desarrollo de productos y campañas orientadas al público femenino. La presentación dará un paneo histórico sobre la transición de estos cuerpos de emulación pecuniaria con el fin de comprender el cambio cultural que llevó a las estrellas de Hollywood de símbolos la “Americanization” de la diáspora en los Estados Unidos a convertirse en sinónimo de glamour y sofisticación para mujeres alrededor del mundo.

  • 32.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Dior Salve a la Reina: Cristina Fernández's Fashionable Pleasures and her Constant War Against the Media2013Conference paper (Refereed)
    Abstract [en]

    Is an austerity discourse compatible with ostentation? And if so, how can the contempt against the middle class be compatible with the veneration of a wealthy leader? Why is Cristina Fernandez’s indulgent luxury forgiven while the working middle class is stigmatized as privileged oligarchs? How does this relate to the controversial and iconic figure of Eva Duarte de Perón? The paper describes the dichotomy between Cristina Fernandez’s national populist discourse and her personal preference for high-end brands that had turned her into a fashion icon, capturing the attention of fashion bloggers, international newspapers, and even Vogue. Theoretically framed by O’Donell’s conceptualization of Delegative Democracies, the presentation will explore how disguised under a veneer of socialism—and pursuing Chavez’s model for Venezuela—Argentina’s president has mobilized a campaign to control the local Media leading to a confrontation with those journalists who persistently try to unmask her luxurious lifestyle, shopping preferences, and unclear finances. This contradiction between luxury and utterance is not new to the Argentine masses. The iconic figure of Evita was often under attack, accused of enjoying the same lifestyle as those she criticized. The parallelism between these two figures draws an interesting conclusion about the role of Media, performance, nostalgia, and fandom in Latin-American politics.

    *Play on words exchanging Dios (God in Spanish) for Dior as in “Dior (God) Save the Queen.”

  • 33.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Exploring Fashion as Communication: The search for a new fashion history against the grain2020In: Popular Communication, ISSN 1540-5702, E-ISSN 1540-5710, Vol. 18, no 4, p. 249-258Article in journal (Refereed)
    Abstract [en]

    This introductory essay calls for a new fashion media history informed by truly interdisciplinary scholarship, nuanced in both fashion and media studies. It reflects upon the ways in which the study of fashion as communication and fashion journalism have been addressed, arguing that fashion studies has laid out a western backbone of this history that invites and deserves to be confirmed and contested. It encourages future authors to find those fashion media discourses, voices, and practices that brought attention to fashion and dress moving past the so-called ‘fashion bibles’ to unravel discourses reaching popular audiences, underrepresented minorities, unlisted geographies, and subcultures.

  • 34.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Exploring Fashion as Communication: The Search for a new fashion history against the grain2020Collection (editor) (Refereed)
  • 35.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Fearless Fashion: Rudi Gernreich2020In: Fashion Theory: The Journal of Dress, Body & Culture, ISSN 1362-704X, E-ISSN 1751-7419, Vol. 24, no 5, p. 783-794Article, review/survey (Refereed)
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  • 36.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    From Scarcity to Abundance: How Digitized Material Demands Academic Cooperation2017Conference paper (Other academic)
    Abstract [en]

    The recent proliferation of free-access digital archives opened a new era of research in which costs decrease as information flourishes. This abundance represents countless possibilities, but as material becomes more vast and accessible, the anxieties for publishing increase, in a profession that already dealt with a haunting “race against time” to present results. In addition, the challenge of accessing larger bulks of material builds up pressure, calling for more precision in arguments, as results derive from a larger amount of primary sources. The use of fan magazines as sources for academic research is vast in film and media studies, but its potential across newer fields—such as fashion and celebrity studies—is increasingly bringing more players into the game. 

    Moving forward with these changes without analyzing the extent of their impact would be awry. In this landscape, Carlo Ginzburg’s Microhistory and Walter Benjamin’s problematization of historical debris need to be revisited, not in metatheoretical manner, but rather in a search for answers in this new reconfiguration. My argument for this workshop is that abundance and time constrains enable a reformulation of research questions and the emergence of a more collaborative research environment; more material also requires more contextual knowledge, making the bulk of work increase exponentially. In addition, I call to not lose from sight that abundance does not imply completion, calling for awareness of the—always-tempting—illusion of historical completion.

    This presentation explores the potentials and anxieties brought by the abundance and accessibility of digital archives, as it also intends to offer an overview of a potential reconfiguration of academic work enabled by these new research platforms. As with every workshop, I bring more questions that answer to open up for debate. How can we get pass the anxiety of abundance? Do we need to “zoom in” deeper when conducting research in this new landscape? How do research networks reconfigure as more material becomes electronically available? Is this new availability of material opening up for historical revisionisms? How do we incorporate these tools in the classroom?

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  • 37.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Hollywood, moda y la alfombra roja: El surgimiento del consultor de moda en los Oscars2014Conference paper (Refereed)
  • 38.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Jaws: Creating the Myth of the Man-Eating Machine2015Conference paper (Refereed)
  • 39.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Oscar Night in Hollywood: the Emergence of the Academy Awards' Fashion Pre-Show2015Conference paper (Other academic)
  • 40.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Reporting fashion: Fashioning moving images from newsreels to web series2022In: Insights on Fashion Journalism / [ed] Rosie Findlay, Johannes Reponen, London: Routledge, 2022, p. 69-87Chapter in book (Other academic)
    Abstract [en]

    Fashion has historically relied on visual culture for representation and promotion. Since the early days of film, moving images mediated culture, functioning as entertainment and style guides for working-class women. The fashion and media industries have crossed paths ever since. Far from stopping this dynamic, the advent of the Internet garnered new opportunities to produce and disseminate fashion-related audio-visual content. In recent years, media companies targeting younger audiences began producing short Web series for free streaming on company websites and platforms such as YouTube. This chapter locates fashion newsfilms and Web series within journalistic discourse through their connection to broadcasting and the printed press. Departing from archival sources and resting on the notion of glocalisation, it argues for the historical role of fashion newsfilms as key to a geopolitical reconfiguration that demarcated the centre and periphery, positioning the West at the centre of an imagined global fashion and beauty culture. In so doing, this chapter situates fashion Web series as the materialisation of early aspirations to expand modern consumer culture within a complex matrix of emerging, dominant, and residual cultural flows, co-opting countercultural discourses of fashion, dress, and beauty and reducing them to branding tags for corporate media products.

  • 41.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Spectacular Costume Design: The Dialectics of Above-the-Line Recognition and Below-the-Line Labor2022Conference paper (Refereed)
  • 42.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Case of Lux Flakes: The Costume Designers as Fashion Experts and Endorsers during the Studio Era2018Conference paper (Other academic)
  • 43.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Future in the Past: Exploring Barbarella’s Intergalactic Catwalk2016Conference paper (Refereed)
    Abstract [en]

    Despite its controversial reception in 1968, Barbarella (Dino De Laurentiis Cinematografica, 1968) looms large in popular culture. Disguised under its sartorial splendor, the film’s narrative clearly negotiates social anxieties of the late ‘60s. Similarly, its production design incorporates contemporary elements present in art, architecture and fashion that stand today as a symbol of the space age design. Arguably, these elements of style, along with its camp representation of the future, played a key role in catapulting the film to its cult status. Spanish designer Paco Rabanne is frequently credited for the creation of Jane Fonda’s onscreen parade of highly stylized costumes. Moreover, fashion magazines oftentimes associate the overall aesthetic of his brand to his past contrubution in the film, which has served for framing runway shows and inspiring collections to date. However, the man responsible for creating fashion for Roger Vadim's vision of the year 40,000 was French costume designer Jacques Fonteray. The case of Paco Rabanne and Barbarella serves as an interesting example of how popular culture appropriates history, contributing to the construction of myths through media. Grounded on archival research, this article explores the role of Jacques Fonteray in the overall creation of the Jane Fonda's costumes, debunking popular misconception regarding Paco Rabanne’s influence on the film’s overall aesthetics.

  • 44.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    What Was Your Question? Deciphering How the Digital Humanities Can Aid to the Study of Fashion2022Conference paper (Other academic)
  • 45.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Who Cares About the Best Dressed?: Mr. Blackwell’s Infamous List and the Art of Self-Branding2014Conference paper (Refereed)
    Abstract [en]

    Before Joan Rivers’s Fashion Police (E! Entertainment, 2002- ), there was a man who made a reputation in Hollywood for his outspoken criticism of celebrity style. Provocative, overopinionated, controversial, admired, hated and feared; self proclaimed fashion’s advocate Richard Blackwell achieved worldwide recognition after launching his annual 10 Worst Dresed List in 1960. His outrageous comments against celebrities catapulted him to stardom, and turned him into a popular culture icon. Yet, the articulation of his list was a clear act of Winchellism rather than a sincere call for style. But, how much did Blackwell know about fashion? How did he become an authority on how American women should dress and behave? Overlooked by the fashion industry, Mr. Blackwell achieved a status among popular audiences that his more knowledgable detractors could not outshine. This paper looks at historical reception of Mr. Blackwell as a victimizer, but also a victim of celebrity culture. A master of performance and self branding rather than a fashion conoceur. A man seeking fame and recognition, who cleverly found a nische in the enterteinment industry through his controversial statements about stars, style and fashion, propelling a skyrocketing career in Hollywood he so longed for, and becoming a symbol for “all publicity is good publicity.”

  • 46.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Who Cares About the Best-Dressed?: Mr. Blackwell's Infamous List and the Art of Self-Branding2014In: : Mr. Blackwell's Infamous List and the Art of Self-Branding, 2014Conference paper (Refereed)
    Abstract [en]

    Before Joan Rivers’s Fashion Police (E! Entertainment, 2002- ), there was a man who made a reputation in Hollywood for his outspoken criticism of celebrity style. Provocative, overopinionated, controversial, admired, hated and feared; self proclaimed fashion’s advocate Richard Blackwell achieved worldwide recognition after launching his annual 10 Worst Dresed List in 1960. His outrageous comments against celebrities catapulted him to stardom, and turned him into a popular culture icon. Yet, the articulation of his list was a clear act of Winchellism rather than a sincere call for style. But, how much did Blackwell know about fashion? How did he become an authority on how American women should dress and behave? Overlooked by the fashion industry, Mr. Blackwell achieved a status among popular audiences that his more knowledgable detractors could not outshine. This paper looks at historical reception of Mr. Blackwell as a victimizer, but also a victim of celebrity culture. A master of performance and self branding rather than a fashion conoceur. A man seeking fame and recognition, who cleverly found a nische in the enterteinment industry through his controversial statements about stars, style and fashion, propelling a skyrocketing career in Hollywood he so longed for, and becoming a symbol for “all publicity is good publicity.”

  • 47.
    Castaldo Lundén, Elizabeth
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Faggella, Chiara
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Editorial Foreword2019In: Film Fashion and Consumption, ISSN 2044-2823, E-ISSN 2044-2831, Vol. 8, no 1, p. 3-8Article in journal (Other academic)
  • 48.
    Castaldo Lundén, Elizabeth
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Faggella, ChiaraStockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Fashion and the Moving Image2019Collection (editor) (Refereed)
  • 49.
    Castaldo Lundén, Elizabeth
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Jeffers McDonald, Tamar
    Romero, Jenny
    Because Fashion Matters: Studying the Intersections of Fashion, Film and Media2015Conference paper (Other academic)
    Abstract [en]

    The increasing interest in the study of fashion has opened up to the emergence of Fashion Studies as an independent field, with programs in several universities around the globe. However, the study of fashion should not be regarded as a new phenomenon. For decades, scholars from varied disciplines in the humanities and the social sciences have immersed themselves in the study of fashion, particularly in relation to film and media. Since the early days of cinema, the film industry played a key role in the promotion and representation of fashion. Likewise, its mediated character through newsreels, television, newspapers, magazines, photography and even paintings has facilitated the study of costume and dress history. Film scholars like Jane Gaines, Stella Bruzzi, and Pamela Church Gibson—among others—have vastly contributed to the interdisciplinary study of these intersections. Furthermore, in order to explore the specificities of these areas, Church Gibson launched the journal Fashion Film and Consumption, though the publishing house Intellect Books in 2011.

    In this contemporary setting, a pertinent and necessary topic to explore is the demands on interdisciplinary approaches, both from the side of Fashion Studies scholars with a purist point of view, and from their counterpoints in Film and Media more likely to envelop fashion in visual culture as a whole.

    As discussions regarding delimitations and canons take place behind close doors in fashion programsthe need to open up such debate to Film and Media scholars is vital to the future of a field that has seen a great part of its development through these neighboring contributions. 

    The workshop will explore the study of Film, Media and Fashion in coexistence with the emergence of Fashion Studies as an independent field, focusing on questions of methodology, theory and practice through the experience of different film and media scholars working with fashion and film. Before opening up the floor for discussion, a brief set of presentations will serve as a framework to address the debate, engaging the audience in reflections surrounding the following questions: 

     

    • What are the challenges and advantages of film and media scholars engaging in fashion research? 
    • Is Fashion Studies an exclusive realm for fashion scholars? 
    • Is there one singular way to study and teach fashion independently from its neighboring disciplines? 
    • What can different approaches used in Film and Media Studies contribute to the study of fashion? 
    • To what extent can Fashion Studies exist as a totally independent field, avoiding connections with Film and Media? 
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  • 50.
    Castelblanco-Pérez, Stefanía
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Crafting Textile Knowledges: A decolonial study of the Iku/Arhuaco material culture in the archives of the National Museum of World Cultures in Gothenburg (Världskulturmuseet)2023Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    The return of objects that belong to ethnographic collections to their places of origin is one of the topics of discussion that, despite not being new, has been gaining more and more relevance today. Taking the Iku indigenous craft collection in the archives of the National Museum of World Cultures in Gothenburg as a case study, I pursue to develop an object-based methodology that increases and deepens the understanding of the notion of ethical stewardship, while joining current debates on indigenous heritage and decoloniality. This work aims to reveal material and immaterial aspects embedded in textile objects. The methodology included field visits to the museum archive, material culture analysis, and semi-structured interviews. The work evokes a decolonial discussion regarding the need to engage with epistemologies from the “South” and with methodologies not fully recognized by the dominant western-modern educational frameworks in order to achieve a more inclusive and assertive production of knowledge. 

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