Auswahl der wissenschaftlichen Literatur zum Thema „Costumier“
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Zeitschriftenartikel zum Thema "Costumier"
Reid, Ellie. „Dressing the Pageanteers: The Local People and Theatre Professionals who Costumed Edwardian Historical Pageants“. Costume 58, Nr. 1 (März 2024): 21–47. http://dx.doi.org/10.3366/cost.2024.0285.
Der volle Inhalt der QuelleDennis, Albert. „Artistic expressions with the use of costumes in selected Ghanaian video films: The freedom and responsibilities of the costumier as an artist“. Journal of African History, Culture and Arts 2, Nr. 3 (05.09.2022): 176–88. http://dx.doi.org/10.57040/jahca.v2i3.268.
Der volle Inhalt der QuelleNoiseux-Gurik, Renée. „François Barbeau, costumier : une esthétique ambivalente“. L’Annuaire théâtral: Revue québécoise d’études théâtrales, Nr. 22 (1997): 57. http://dx.doi.org/10.7202/041330ar.
Der volle Inhalt der QuelleGurik, Renée Noiseux. „Laure Cabana, Pionnière du Métier de Costumier“. Theatre Research in Canada 8, Nr. 1 (Januar 1987): 36–48. http://dx.doi.org/10.3138/tric.8.1.36.
Der volle Inhalt der QuelleHenry King, Lorraine. „Black skin as costume in Black Panther“. Film, Fashion & Consumption 10, Nr. 1 (01.04.2021): 265–76. http://dx.doi.org/10.1386/ffc_00024_3.
Der volle Inhalt der QuelleKjellmer, Viveka. „Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)“. Studies in Costume & Performance 4, Nr. 2 (01.12.2019): 179–91. http://dx.doi.org/10.1386/scp_00003_1.
Der volle Inhalt der QuelleHackett, Lisa J., und Jo Coghlan. „The mad kings of The Royals: Fashioning transgressions in royal popular culture television“. Film, Fashion & Consumption 11, Nr. 2 (01.11.2022): 139–53. http://dx.doi.org/10.1386/ffc_00044_1.
Der volle Inhalt der QuelleDwiantari, Scorina. „Pengaruh Citra Merek dan Kualitas Produk terhadap Loyalitas yang Dimediasi oleh Kepuasan“. Jurnal Ilmiah Aset 22, Nr. 1 (31.03.2020): 51–62. http://dx.doi.org/10.37470/1.22.1.161.
Der volle Inhalt der QuelleAstuti, Hesti Dwi. „KENDALA PENYELESAIAN SENGKETA KONSUMEN MELALUI BADAN PENYELESAIAN SENGKETA KONSUMEN (BPSK)“. Jurnal Hukum Mimbar Justitia 1, Nr. 2 (11.10.2017): 572. http://dx.doi.org/10.35194/jhmj.v1i2.41.
Der volle Inhalt der QuelleGorbunova, Anastasiya A., und Rimma A. Timofeeva. „COSTUMED IMAGES À LA TURQUE IN RUSSIAN PAINTING OF THE 18TH CENTURY“. RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies 1, Nr. 1 (2022): 116–42. http://dx.doi.org/10.28995/2073-6401-2022-1-116-142.
Der volle Inhalt der QuelleDissertationen zum Thema "Costumier"
Arzatian, Céline G. „Mode et cinéma en france de 1896 à 1930. Comment habille-t-on les actrices et acteurs ?“ Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030022.
Der volle Inhalt der QuelleThrough a general study of organisation and evolution of costumes in cinema in France, from the birth of the cinematograph to the end of the silent film era, the ambition of this thesis is to study the created links between fashion and cinema, looking at fashion houses participating in creating the costumes of the main movie star. It is also about highlighting what the impact of the costume designer in the costume conception of a character is. This thesis analyses the creation and the evolution of the costume in cinema, through the historical, human, economical and aesthetical perspectives.The first part tackles the birth of the cinematograph and the Lumiere’s operators capturing their first shots, created with the methods inherited from the theatre. Then, this thesis highlights how Georges Méliès styled his stars and extras at the Star Film. Moreover, it points out to the first movie stars realizing that their costumes begin to create their characters for Max Linder, Charles Chaplin and Pearl White. The second part addresses the way French cinema used fashion to try and compete with the American cinema. Then, in a third and fourth part, the analysis focuses on the work of the fashion house when it is called to create and lend (in response to the director) or to only execute (in response to the costume designer) the clothes of the lead actress, for costume movies or with a contemporary subject.Finally, the fifth part points out the convergence points between these two arts: fashion and cinema at a specific time, the end of WW1 where arts stimulate each other and create together the new style of this era. It’s also Louis Delluc’s project, inspired by a fashion review to create a cinema magazine, it’s the introduction of the Fashion Autumn Salon followed by the cinema one, it’s the realization that L’Inhumaine is the tilted point towards this new style and it’s the Art Deco Exhibition confirming fashion and cinema as arts, in this era called the Années folles
Chu, Hoi-shan. „Museum for traditional Chinese garment“. Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956875.
Der volle Inhalt der QuelleBaker, Terry. „Sing for Your Costumes: A Costume Design Thesis on The Boys from Syracuse“. OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2345.
Der volle Inhalt der QuelleRigdon, Jessica. „THE STORY OF THE COSTUMES: A COSTUME DESIGN THESIS ON TUCK EVERLASTING: THE MUSICAL“. OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2850.
Der volle Inhalt der QuelleRocha, Rosane Muniz. „A trajetória de Gianni Ratto na indumentária“. Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13052009-161645/.
Der volle Inhalt der QuelleThis research focus and analyses costume creation, from Italy to Brazil, of Gianni Ratto, director, set, light and costume designer, also author and a very important person in both Brazilian and Italian theater. The cataloguing, organization and the creation of photo archives of the images rescue part of the theater history. Together with the investigation of varied bibliographical sources and considering oral history as documental information, the analysis of his collection becomes not only historical, but also cultural. A comparative study of three different mise-en-scènes of the same play (LElisir DAmore) in different moments of his career with Giorgio Strehler, in Teatro alla Scala, in 1951; at the Theatro Municipal de São Paulo, in 1971; and under Antonio Pedros direction, in the Teatro Municipal do Rio de Janeiro, in 1983 makes it possible to reflect on the different creative processes in his process of creation. In terms of costume creation.
Burrington, David J. „Dancing Around Costuming: A Symbiotic Relationship of Disciplines, Costume Design for Dance 2011: Parallel and Intersect“. Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334347548.
Der volle Inhalt der QuelleNguimfack-Perault, Sylvie. „Une approche ethnologique du costume de spectacle, de ceux qui le portent à ceux qui le fabriquent : identité, savoir faire et transmission“. Paris 7, 1999. http://www.theses.fr/1999PA070117.
Der volle Inhalt der QuelleWe recognize the artist in the way he's dressed. We can't confuse between an acrobat and a dancer or a tragedian and a clown. The stage costume associated to a body attitude constitutes a strong indicator about the represented character. In the domain of dance, Music Hall is particularly interesting because of the extravagance of the stage costume. It will be our reference. The formation to become Girl is similar to an initiation. The observer will find all ingredients : emotional shock (audition), loneliness (during fomation) regression (being a Girl means depend on somebody), the new personality and the dull consciousness, the baptism as a sign of belonging to a new community. As a link of this particular formation, the body will have a new memory going beyond the fact of knowing dancing. This fact starts when one wears the stage costume and it's according to this fact that dancing bodies built specific memory. The making of these stage costumes needs a specific knowledge. Specialized handcrafts men possess it. They represent old french corporation of XIIIth century. They adapted ancient knowledge to new raw material. They are the only one to live the birth estate of creation : the transition of raw material to an object, from the esquiss to the volume. All handcrafts men depend on the others to see their creation in a full existence when the artist gathers and wears each part of the costume. However, workshops close one by one because of inadaptated economy. How will creation be going on ? How will knowledge be transmitted ?
Coulon, Anne. „Du maniaque à l'insouciance, la stratégie du costume chez les chorégraphes contemporains“. Paris 1, 2000. http://www.theses.fr/2000PA010585.
Der volle Inhalt der QuelleFrançozo, Laura de Campos. „Lume teatro: trajes de cena e processo de criação“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13112015-101124/.
Der volle Inhalt der QuelleThe objective of this research is to analyze the creative process behind the costumes used by Lume Teatro. Since Lume Teatro is first and foremost a research center, this study aims to find out whether the research lines of the group influence or change the means of production of their costumes. The analysis was carried out in three phases. First, the writings of Lume Teatro\'s masters were examined in order to understand their thoughts on costumes. The second phase was to interview Lume\'s seven actors and two costume designers who often work for them. The third phase was to describe the creative process behind each spectacle of three of their research lines. We were then able to point out recurrent characteristics in each research line. The result of this study was guided by a comparison of Lume Teatro\'s costume practices with their masters thoughts on the subject.
Viémont, Gaëlle. „Les costumiers, ces orfèvres d'un art dramaturgique sans nom : assises, enjeux et perspectives d'un secteur professionnel méconnu“. Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC016.
Der volle Inhalt der QuelleThis work aims at analyzing the historical, social, cultural and gender factors responsible for the current undermining of the costume designers and makers profession. The first part consists in a historical research onthe theoretical origins of the Art of Costume starting with the appearance of the professional vocable - Costumier - invented by Pierre-Nicolas Sarrazin, as well as a study of the means this latter used to promote his field of work during the 18th century and how he came to fail. The second part is an interview-collection (2013 to 2016) - based reflection on the order nature of the work, the gender characterization of the workers and « care » as a creative motivation. It demonstrates how these specifics are potential ways to oppress the costume designers and makers and to deny them the appreciation and salary they deserve. The third part is an a esthetic critique of Costume Designer Dominique Fabrègue’s career, and the « Cut in one piece » Artwork she specialized in. This section argues that the discipline of designing costumes is an Art in full, and as it may come second in the process of putting on a play, is not for all that secondary and shouldn’t be considered assuch
Bücher zum Thema "Costumier"
1951-, Lacroix Christian, Pinasa Delphine, Kahane Martine und Centre national du costume de scène et de la scénographie (France), Hrsg. Christian Lacroix, costumier. Paris: Mécène, 2007.
Den vollen Inhalt der Quelle findenJean-Marie, Lhôte, Hrsg. Maîtres d'art: Jean-Claude Duplessis, couvreur-ornemaniste : Antoine Leperlier, verrier : Jacques Beaujoin, costumier de théâtre : Pascal Thomasset, lapidaire : Pierre Lallier, imprimeur en taille-douce. Paris: Réunion des musées nationaux, 1997.
Den vollen Inhalt der Quelle findenRoger, Jouan, Baude-Defontaine Alain und Bibliothèque historique de la ville de Paris., Hrsg. Les bâtisseurs de rêves: Grands décorateurs de théâtre, 1950-1980 : [exposition], Bibliothèque historique de la ville de Paris, [Paris, 8 avril-7 juin 2003]. Paris: Paris bibliothèques, 2003.
Den vollen Inhalt der Quelle findenColleen, Seeley, Hrsg. Doll costuming: How to costume French & German bisque dolls. Livonia, MI: Scott Advertising and Pub. Co, 1989.
Den vollen Inhalt der Quelle findenAmerican costume, 1915-1970: A source book for the stage costumer. Bloomington: Indiana University Press, 1989.
Den vollen Inhalt der Quelle findenVogt, Anke. Fancy dress for children's parties. Hartlebury: D-Books International, 1988.
Den vollen Inhalt der Quelle findenHouse, Deborah. 30 super déguisements pour les enfants: Faciles à réaliser, rigolos à porter. Montréal: Sélection Reader's Digest, 2007.
Den vollen Inhalt der Quelle findenRogers, Barb. Costuming made easy: How to make theatrical costumes from cast-off clothing. Colorado Springs, Colo: Meriwether, 1998.
Den vollen Inhalt der Quelle findenWilliam-Alan, Landes, Hrsg. Men's 17th & 18th century costume, cut & fashion: Patterns for men's costumes. Australia: Players Press, 2000.
Den vollen Inhalt der Quelle findenCostume, Inc Roma. Roma costume 2013. Burbank, CA: Roma Costume, 2013.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Costumier"
King, Emerald L. „Creating the Body Beautiful Cosplay: Crossdressing, Cosplay, and Hyper Femininity/Hyper Masculinity“. In Gender in Japanese Popular Culture, 209–40. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12942-1_8.
Der volle Inhalt der QuelleMasura, Nadja. „Costuming“. In Digital Theatre, 79–95. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_4.
Der volle Inhalt der QuelleFinamore, Michelle Tolini. „Costumes and Gowns: The Rise of the Specialist Film Costume Designer“. In Hollywood Before Glamour, 107–40. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9780230389496_5.
Der volle Inhalt der QuelleEscolme, Bridget. „Costume“. In Shakespeare and the Making of Theatre, 128–45. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-28493-8_8.
Der volle Inhalt der QuelleMackenzie, S. C. „Costume“. In Handbook for History Teachers, 1028–29. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-179.
Der volle Inhalt der QuelleManning, E. M. Rosalind. „Costume“. In Handbook for History Teachers, 447–50. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-56.
Der volle Inhalt der QuelleDickinson, Carol, und A. K. Dickinson. „Costume“. In Handbook for History Teachers, 649–52. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-95.
Der volle Inhalt der QuelleMullis, Eric C. „Digital Costuming“. In Instruments of Embodiment, 123–44. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003124740-7.
Der volle Inhalt der QuelleMonks, Aoife. „Introduction“. In Costume, 1–6. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_1.
Der volle Inhalt der QuelleMaclaurin, Ali. „Writing about Costume“. In Costume, 7–35. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_2.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Costumier"
Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva und Nazerke Kairbekkyzy. „Innovative Trends in Ethno-Costumology in the Modern Theater Process“. In 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.
Der volle Inhalt der QuellePaula, Suélen Carolini de. „BEYOND THE OLD AND THE NEW IN FASHION: THE UPCYCLING BELLY DANCE COSTUME DEVELOPMENT“. In ENSUS2023 - XI Encontro de Sustentabilidade em Projeto. Grupo de Pesquisa Virtuhab/UFSC, 2023. http://dx.doi.org/10.29183/2596-237x.ensus2023.v11.n1.p229-239.
Der volle Inhalt der QuelleCabral, Alexandra, und Carlos Manuel Figueiredo. „Costume Design: Ergonomics in Performance Art“. In Applied Human Factors and Ergonomics Conference. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100820.
Der volle Inhalt der QuelleМокина, А. Ю., und Е. А. Химичева. „SYNTHESIS OF MATERIALS AND TECHNIQUES IN MODERN ARTISTIC TEXTILES AND COSTUME“. In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.20.
Der volle Inhalt der QuelleBîzgu, Tatiana. „The enigma of Holiday in Moldova transmitted through the mask and the folk costume“. In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.20.
Der volle Inhalt der QuelleMaurhofer, Christoph, Gokcen Cimen, Mattia Ryffel, Robert W. Sumner und Martin Guay. „AR costumes“. In VRCAI '18: International Conference on Virtual Reality Continuum and its Applications in Industry. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3284398.3284402.
Der volle Inhalt der QuelleElias, Larissa, und Maria Luisa Garrido. „The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.
Der volle Inhalt der QuelleKirkland, Arden, Michael Lesk und Allison Steffmann. „Context for costumes: faceted access to historic costumes“. In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.11.
Der volle Inhalt der QuelleNa, Yoonhee, und Sook Jin Kim. „A Study on the Production of 3D Virtual Costumes for Building Virtual Costume Museum – Focusing on Fashion in the 1980s -“. In Breaking Boundaries. Iowa State University Digital Press, 2022. http://dx.doi.org/10.31274/itaa.13752.
Der volle Inhalt der QuelleHonauer, Michaela. „Designing Interactive Costumes“. In DIS '17: Designing Interactive Systems Conference 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3064857.3079166.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Costumier"
Seybold, Patricia. Want Costumner-Contributed Content? Boston, MA: Patricia Seybold Group, September 2009. http://dx.doi.org/10.1571/bp09-01-09cc.
Der volle Inhalt der QuelleLennon, Sharon J., Aziz Fatnassi und Zhiying Zheng. Sexualization of Halloween Costumed Women. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1423.
Der volle Inhalt der QuelleArthur Bradley, Linda. Mounting a Costume Exhibit:. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-609.
Der volle Inhalt der QuelleJablon-Roberts, Sara, und Eulanda Sanders. Historical Accuracy in Costume Design: Experiences and Perceptions of Broadway Costume Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1745.
Der volle Inhalt der QuelleMartin, Kathi, Nick Jushchyshyn und Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.
Der volle Inhalt der QuelleRobayo Pinzon, Oscar, und Magda Páez Torres. La generación hiperconectada. Universidad del Rosario, September 2022. http://dx.doi.org/10.12804/dvcn_10336.35988_num6.
Der volle Inhalt der QuelleSatinsky, Emily, und Denise Green. The Furry Fandom: constructing a costumed society for identity exploration. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-158.
Der volle Inhalt der QuelleBright, Megan Elizabeth, und Jinhee Nam. A Case of Interdisciplinary Course Project: Costuming in Historically based Film. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1484.
Der volle Inhalt der QuelleRhee, Jongeun, und Susanna Bordelon. �Choli�: Re-Design and Engineering Functional Belly Dancing Costume. Ames (Iowa): Iowa State University. Library, Januar 2019. http://dx.doi.org/10.31274/itaa.8283.
Der volle Inhalt der QuelleMcCracken, Arienne, April Elisha Stanley, Huanjiao Dong und Sara Marcketti. Survey of Historic Costume Course Redesign Using Bloom's Taxonomy. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-368.
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