Character Costume Research Articles

Silk road heritage: The artistic representation of port trading culture in the images of characters in Qing Dynasty Guangzhou export paintings.

As customized artistic commodities, export paintings mirrored Guangzhou's unique overseas trade culture and social power in a microscopic view, nevertheless, few researchers have delved into the cultural relationship between the use of the painting techniques and the characters of the export paintings. Based on an iconographic approach, this article aims to analyze the historical iconography information of the Qing dynasty export paintings from the perspective of the trade development and cultural exchange between the East and West during the 18th century by the study of the export paintings' characters expressions and costumes colors, providing insights into the exploration of the value of tangible cultural heritage. In the process of our research, shows that: 1) the dominant laboring characters in the export paintings present standing postures, and most of them demonstrate negative emotions; 2) many of the characters of the export paintings show high similarities due to the assembly-line mode of painting during manufacture; 3) the portrayal of the characters in the export paintings reflects a return of a sense of humanity. This is evident in the fact that the subject of the paintings abounds in the scenes showing local folklore, working views, and daily life in Guangzhou. Meanwhile, the characters in the painting are vividly portrayed in a realistic style. The use of mixed colors on the costumes of different characters reflects a universal value of having regard for the equality of all men; 4) Guangzhou export painting decorative art evolution of the development of the dual development of Chinese and Western fusion of veins. Guangzhou export paintings of the Qing dynasty satisfied the customers' reverie for 'Oriental Civilization' and their purpose of seeking novelty of foreign cultures. It also revealed the subtle dynamics of the interplay between Guangzhou's social power, trading capital, and blending art.

Our Princes are in Borrowed Robes: Significance of Expressed Costume Choices by Selected Ghanaian Playwrights

The playwright’s work remains the blueprint upon which all other theatre artists build their craft. This positions playwrights as indispensable artists in theatrical discourse. While some playwrights express specific costume demands in their texts, others leave it to theatre directors and designers to decipher the appropriate costume choices for the plays. The former suggests a stylistic feature by some playwrights; however, less visibility appears to be given to this phenomenon in Ghanaian theatre scholarship. What the significance and implications are for both the costume designer and playwrights is the subject of this exploration. Employing a qualitative approach, this paper samples three Ghanaian playwright educators and their costume choices and examines the dramatic significance of their choices. The findings of the study revealed that the rationale for expressing costume choices was to project major characters, and that the necessity to create special characters, create impression, as well as scene changes and time, all influenced character costume choices. The significance of costume choices was to project a rich tapestry of cultural identity and characters and enforce themes, while the implications of such costume choices were to support costumiers, make issues easier for them and the playwright, and encourage them to be more creative. Ultimately, this study contributes to scholarship on costume usage in theatrical discourse.

Interpretive ironies in More’s translations of two Lucianic dialogues

The Lucianic dialogue Cynicus has often been criticized as an unconvincing (and therefore spurious) defense of the philosophy of its title character. I argue that the dialogue deliberately undercuts its characters in humorous ways that guide us to spot their errors, without letting us dismiss anyone's claims entirely. We are meant to learn to separate the good and true from the false and misleading, which is not the same as picking a character to agree with. Thomas More translates Cynicus along with two other Lucianic dialogues, and, in his dedicatory Letter to Thomas Ruthall, describes Cynicus as a straightforward and successful defense of Christian asceticism. More goes so far as to claim that John Chrysostom based a homily on it. More's letter has been criticized as an accidental or deliberate misrepresentation of Cynicus motivated by a desire to make it palatable to censorious readers. I argue that More's treatment of Cynicus, while sincerely appreciative, does not miss its ironies, and even imitates them in its description of the work. More follows Cynicus with his translation of Lucian's Menippus, whose title character's costume recalls the Cynic and whose penchant for telling ironic lies should make us reconsider the Cynic's credibility, if we had trusted him before. More's own translation of Menippus makes subtle changes that invert his dubious claims about Chrysostom and humorously insert Christian advice into the mouth of Lucian's Tiresias in Hades, ironically baptizing the dialogue in a way that is somehow both Christian and Lucianic after all.

Anthropology of the private world in N. V. Gogol’s Little Russian novels about modernity

The relevance of the article is connected with the application of the method of literary anthropology, the study of anthropological forms, for the first time undertaken to a set of N. V. Gogol's Little Russian novels about modernity: "Ivan Fyodorovich Shponka and His Auntie", "The Old World Landlords", "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich". The problematic question is how a special narrator and a special world are related. The aims and objectives are connected to the analysis of the narrator's image and images of the characters primarily from the verbal portrait’s point of view, which makes it possible to cover important aspects of the writer's humanistic vision. The emphasis is on how the particular narrator creates a private world with all its subjects and details. The peculiarities of the narrator's image are considered as immersed in everyday life and material things, close to an ordinary common man of Mirgorod. The question is raised about the complication of this image, which, however, did not lead to the wholeness and completeness of the image. The private world created by the special narrator is dominated by special laws that determine the portrayal of the characters. The destruction of the boundaries between human and non-human, external and internal, philistine and divine, leads to the destruction of the world’s hierarchical structure. Another consequence of this is the likening of everything to everything else, the tendency to depict the mass, the similar, the echoing, including the accentuation of imaginary pairing. The singular tends to pairing, the paired tends to the mass-shaped. The destruction of the boundaries between the external and the internal leads to the dominance of corporeality, regardless of whether man is shown as flesh or as form. One can speak of Gogol's dominance of the face over the countenance (Florensky), the dismemberment of the body into parts, the autonomisation and independent life of these parts. An excessive importance is given to the character's costume, which can replace the hero. The traditional description is replaced by an expressive representation of the hero in two variants: representation-in-general and representation-in-the-moment.

My Opinion on Urban Figure Ink Painting

There are skillful and clumsy works, and ancient and modern paintings. Since the development of ink and wash figure painting, there have been many themes of ancient costumes, ethnic minorities, and drama, but there are few themes of urban characters. It seems that there are special reasons for this. Traditional Chinese ink and wash character themes generally focus on ancient costumes, with long and complex clothing patterns. Many Chinese character painters nowadays depict a large number of Tibetan people, dance figures, or new ladies. The characters have long clothing patterns and lines, and their shapes are also closer to traditional ancient costume character costumes. Therefore, it is relatively easy to graft traditional pen and ink programs onto the above-mentioned themes, which is quite lazy in the current innovation of ink characters. In the process of socialization today, urban culture is an important representation of modern culture. If we continue to draw contemporary urban characters in a conservative traditional ink style, it will feel out of place. The theme of urban figures is a major challenge and opportunity in the process of Chinese figure painting. How to use more vivid language to depict urban characters is an important topic that contemporary Chinese character painters need to ponder deeply.

Retracted: Research on the Integration Method of Character Costume Culture in Dunhuang Murals Based on Deep Learning Algorithm

Retracted: Research on the Integration Method of Character Costume Culture in Dunhuang Murals Based on Deep Learning Algorithm

Fashion and Contrasting in the contemporary Iraqi theater show

Since its inception, the theatrical performance has been based on the principle of permanence, continuity, renewal and innovation in the structure of its visual elements. These innovations and the effectiveness of continuity cannot be achieved without searching for everything that is new and different at the level (form and content) in order to create an image with innovative and effective features in the theatrical discourse, and from Among the elements of the theatrical performance (theatrical costumes) that have been subject to variation since the beginning of the theater until now, and for this purpose, the current research was conducted with the question of the research problem: What are the variations of costumes in the contemporary Iraqi theatrical performance.And (theoretical framework) the first topic: the concept of contrast in theatrical performance, the second topic: the different vision of theatrical currents, the third topic: the differentiation of costumes in form and content, and indicators of the theoretical framework.The (research procedures) came from the research community and the research method: descriptive analytical or research sample (presentation of a play of revelations). The results came as conclusions, recommendations and suggestions, and the most important results are:1- The events in different costumes are subject to the requirements of the idea of the play and its events, and this is what we find evident in all the costumes of theatrical characters (disclosures) in the characters (Al-Hajjaj, Aisha, and the servant).2- Contrasting with costumes does not mean distortion and lack of clarity in their forms, but rather follow steps in design with scientific and applied dimensions that produce a different costume that is comprehensible and understandable. The search concluded with a list of sources

Research on the Integration Method of Character Costume Culture in Dunhuang Murals Based on Deep Learning Algorithm

Objective. As one of the world’s cultural heritages, Dunhuang murals contain profound cultural, historical, social, and artistic values. In this paper, the evolution and progress of character costumes are analyzed and the development process of Chinese costumes is studied. Methods. This paper compares the characteristics of the costumes in different times; the progress and changes in graphics, styles, and textures; and the different characteristics from the costumes in the modern society. It also compares the coupling degree data of clothing culture in the two periods. Through analysis and research it is found that, compared with traditional algorithms, the integration of clothing culture using deep learning algorithms is more coupling. Through the calculation and analysis of clothing evolution in Dunhuang murals, more design inspiration can be provided for Chinese clothing designers, and more strength and research materials can be contributed to future design and clothing development in combination with ancient and modern clothing culture.

‘Who wants the pressure of being super all the time?’: Mid-century modern fashions and their influence on costume development in The Incredibles and Incredibles 2

In this article, we examine period fashions in character costumes in the two Pixar/Disney computer-animated films, The Incredibles and Incredibles 2. These films have a strong mid-century modern design influence interwoven into the films’ narratives and aesthetic designs. The films have previously raised interest in fashion studies, due to their superhero concept. However, an analysis of the characters’ everyday dress is also valuable for understanding the influence of fashion and pop culture references on contemporary animated film costuming and how those elements embed within the technological development of digital characters’ clothing. We employ historical and visual analysis to highlight the integration of design elements of period-appropriate fashions into character costumes. Additionally, we examine the relationship between animation software development and the films’ design aesthetics to inspect how technological advancements support the behaviour of cloth, narrative progression and characters’ personal emotional arcs by reviewing industry articles as well as animator and designer interviews from the making of the films. This is a unique case study that explores the influences and inspiration of period-specific fashion in constructing costumes for computer-animated films, which are ostensibly set in an environment also inspired by the period and specific cultural zeitgeist.

Archaeology and Virtual Simulation Restoration of Costumes in the Han Xizai Banquet Painting

Abstract Based on 3D virtual fitting technology, this paper simulates and reproduces the fabric patterns and sewing processes of 12 characters’ costumes in different scenes on the basis of completing the archaeology of the characters’ costumes in the painting, so as to realize the 3D virtual sewing and digital simulation restoration of the characters costumes. This paper draws the style diagram, structure diagram and 3D virtual simulation diagram of the character costumes in the painting. The article further improves the research on the costumes of the Five Dynasties and Ten Kingdoms, which has a certain reference value for the study of ancient character costumes and the promotion of Chinese garment culture. At the same time, it provides a reference for the design of artistic works such as character costumes in film and television and games.

한국복식 콜라보레이션 사례 분석

Collaboration marketing has various advantages, such as increasing sales, creating new customers, and changing brand image. In this study, to understand the type and flow, the collaboration cases of Korean costumes were collected from 2011 to 2021, analyzed, and organized by year and subject type. First, the annual analysis of Korean costumes shows that, from 2011 to 2013, it was a fashion picture among Korean costume companies. The collaborations in the form of exhibitions appeared since 2014, and from 2015 to 2016, collaborations with other brands began to expand into various fields. In 2017, collaborations in cultural content appeared, and in 2018, collaborations between K-Pop singers and hanbok designers/brands were made. From 2019 to 2021, the collaborations mentioned above appeared in various ways. Second, the analysis by the collaboration subject of Korean costume could be categorized by Korean costume companies, public agencies, and cultural contents. Korean costume companies, which accounted for the most significant percentage, were Korean costume brands or designers. The public agencies were the Ministry of Culture, the Ministry of Sports and Tourism, affiliated organizations of the Cultural Heritage Administration, KCDF, Hanbok Promotion Center, Korean Cultural Center in each country, and local governments. Other cultural contents included Webtoon writers, illustrators, film producers, game producers, and animation producers. Third, the collaboration types of Korean costume could be analyzed by the collaborations between Korean costume companies and companies/brands in other fields and the collaboration between Korean costume companies and cultural contents. The expression form of the collaboration between Korean costume designers and the companies/brands in other fields were pictorials, exhibitions, fashion shows, and the production inspired by Korean costumes. The expression form of the collaboration between Korean costume companies and cultural contents were pictorial, film and exhibition posters, game character costumes, exhibitions, talk concerts, performances, fashion shows, and animated videos. Korean costumes will create and develop higher value through this study by combining new brands or cultural contents and further help set and present marketing directions for Korean costumes in the future.

A case study using metaverse according to marketing changes in fashion luxury brands

COVID-19 팬데믹으로 인한 ‘사회적 거리 두기’는 디지털 기술과 함께 우리 생활 전반의 변화를 초래하고 있다. 학생들은 온라인 수업에 참여하고 직장인은 재택근무를 하고 있으며, 기업은 디지털 트랜스포메이션 속도를 높이고 있다. 급변하는 디지털 환경 속, 메타버스는 예상보다 더욱 빠른 속도로 우리 일상에 자리 잡고 있다. 이러한 변화와 함께, 패션 명품 브랜드들도 메타버스를 활용하여 다양한 디지털 마케팅을 펼치고 있다. 본 연구의 목적은 패션 명품 브랜드들의 디지털 기술 도입 전, 후의 마케팅 변화를 분석하고 다가올 미래 메타버스를 위한 디지털 마케팅 사례 연구이다. 연구 방법으로 문헌 및 선행 연구를 고찰하였으며 인터넷 보도자료 등을 검색하여 메타버스의 의미와 종류를 분석하였다. 분석 대상으로는 글로벌 패션 명품 브랜드 루이비통, 버버리, 구찌 세 브랜드로 한정하였다. 연구 결과, 패션 명품 브랜드들은 첫째, 메타버스 기반 애드버게임을 출시하여 브랜드를 인지시켰다. 게임을 하는 동안 자발적 참여로 광고라는 인식이 배제되며 브랜드와 친숙해진다. 둘째, 게임 캐릭터 의상과 아이템을 구매할 수 있게 하여 브랜드를 경험하게 하였으며 게임 속 의상을 현실에서도 출시하며 가상세계와 현실 세계를 연결하였다. 셋째, 메타버스 플랫폼 가상세계에서는 오프라인 제품을 디지털화하여 새로운 비즈니스 모델을 구축하였다. 이러한 연구 결과로 넥스트 인터넷 메타버스는 패션 명품 브랜드들의 새로운 패션 산업 영역으로의 확대로 해석되며 현실 세계와 같은 부가가치를 이룰 수 있기를 기대해 본다.The implementation of social distancing due to the COVID-19 pandemic has changed our lives along with digital technology. Students participate in online classes, office workers work from home, and companies are speeding up digital transformation. In the rapidly changing digital environment, ‘Metaverse’ is settling in our daily lives at a faster-than-expected rate. Along with these changes, fashion luxury brands are also conducting various digital marketing using Metaverse. The purpose of this study is to analyze marketing changes before and after the introduction of digital technology by fashion luxury brands and to study digital marketing cases for future metaverse. Literature and previous studies were reviewed as a research methods,, and the meaning and type of metaverse were analyzed by searching for Internet press releases. The analysis targets were limited to three global fashion luxury brands, Louis Vuitton, Burberry, and Gucci. As a result of the study, 1st, fashion luxury brands have recognized the brand by launching Metaverse-based advergames. Voluntary participation during the game excludes the perception of advertising and becomes familiar with the brand. 2nd, by allowing users to purchase game character costumes and items, they experienced the brand, by releasing costumes in the game in reality, the virtual world and the real world were connected. 3rd, a new business model was built by digitizing offline products in the virtual world of the metaverse platform. As a result of these studies, Next Internet Metaverse is interpreted as an expansion of fashion luxury brands into new fashion industries and is expected to achieve the same added value as the real world.

INTRINSIC REVIEW AND MISE-EN-SCÈNE STUDY OF GOOD WILL HUNTING MOVIE

Mise-en-scène plays an important role to convey many things in a film or movie such as conveys message or moral value, build a narrative, etc. Based on those facts, this research tries to analyze the elements of mise-en-scène in Good Will Hunting movie, how mise-en-scène can work to communicate mood and meaning in Good Will Hunting Movie. The method used is qualitative. In the method of collecting data by doing observation data, document data, and audiovisual data that the primary data used the movie of Good Will Hunting. Analyze data based on its structural elements from movie, individual’s observation by observing movie and conducted the data analysis to describe mise-en-scène of the movie. The result of the research shows that applying of camera technique used in this movie is so many varieties. Long shot contains landscape but gives the viewers more specific idea of setting. A long shot may show the viewers the building where the action will be taken. Full shot contains a complete view of the characters. From this shot, viewers can take in the costumes of characters and may also help to demonstrate the relationships between characters. Close-up contains just one character’s face. This enables viewers to understand the actor's emotions and also allows them to feel empathy for the character. Overall the composition and cinematography techniques used in this movie are good.

Visual Elements of Kabasaran Character on Web Comic Nusantara Droid War

Comics are popular, comics contain stories that are published through images and text and contain information. Comics contain knowledge and entertainment. Comic stories and depictions come from creativity resulting in a variety of stories and visual styles. The visual style and content of the story influenced the interest of the audience and raise many comic genres. Many comics in Indonesia take inspiration from Indonesian culture both from their stories and visualizations. Many research on comics has been carried, but research on the visualization of Indonesian culture in comics is limited, as in previous research is still research on characters and their traits, but many character studies are associated with elements of Indonesian culture. Based on this, research on the content of Indonesian culture in a web comic entitled Nusantara Droid War needs to be carried out. Nusantara Droid War is one of the web comics that contains visualizations of Indonesian culture. The visualization used in this comic uses elements that represent the culture of an Minahasa North Sulawesi. The study aims to find out the cultural elements of North Sulawesi contained in the visualization of the character Droid Kabasaran in the Nusantara Droid War comic. It uses the descriptive qualitative method to describe and visually discover the object of study. The results of the study obtained a visualization of the character of Droid Kabasaran containing visualizations from the Minahasa culture, namely the Kabasaran dance. The visualization of Kabasaran dance elements is obtained from the results of character descriptions, character visuals and character costume elements. The visualization of Kabasaran characters in this comic is shown through skills (abilities) taken from three acts of Kabasaran dance, namely: Cakalele, Kumoyak, and Lalayaan. This research is expected to increase knowledge, increase the amount of research related to character visualization, enrich the science of visual communication design

An Analysis on Main Character's Costume in the film <Sherlock Holmes: A Game of Shadows> from the Perspective of Genre Mix

An Analysis on Main Character's Costume in the film <Sherlock Holmes: A Game of Shadows> from the Perspective of Genre Mix

VALUE OF DESCRIPTION OF CLOTHES IN ANNA KARENINA’S CHARACTER DYNAMICS

The purpose of this article is to investigate Leo Tolstoy’s descriptions of Anna Karenina’s clothes in his novel «Anna Karenina» and how the descriptions of clothes reflect changes in the life of the main character. The object of this study is the tokens (lexemes) used by Leo Tolstoy for describing the outfits of Anna Karenina. The subject of the research is the transfer of character dynamics by changing the description of clothing of this character as a significant artistic detail. The material of study is the descriptions of the heroine’s clothes and the tokens used in them throughout the text of the novel. Elements of costumes of other characters are also involved for analysis. As a result of the study, the author comes to the following conclusions. Leo Tolstoy carefully describes the heroine’s clothes, presenting them as an important detail that complements the character. In the descriptions of outfits, the «lace» (Rus. «kruzhevo») token, acquiring a certain symbolism, plays an important role. Clothing is the frame that conveys Anna’s grace and naturalness in contrast to other characters. The description of clothes changes reflecting the dynamics of the character. But Anna always stands in the foreground. And only in the last scene before death, Anna, who has lost herself, is not visible, but only her clothes are conspicuous.

KAJIAN PAKAIAN SEBAGAI PESAN DALAM FILM STUDI KASUS KOSTUM KARAKTER KYLO REN DALAM FILM STAR WARS : THE FORCE AWAKENS

The clothes worn by a person can express who and how a person's character without having to express verbally. Clothing, which in particular use such as in the film termed a ‘costume’, is a channel for communicating the "message" given by the signs that implied. The sign is arranged to raises a meaning according to its creator desires. Diverse identification signs that use communication semiotic approach concluded that the emergence of new characters Kylo Ren at the teaser movie Star Wars: Episode VII may pose a high curiosity in the minds of the audience; but the identification of signs that use conotative semiotic approachconcluded that the "Star Wars" as the film succeeded beyond temporality space (era) and time because it has the consistency of styling in costumes both for the character of the antagonist and / or protagonist is characterized by the style of Japanese feudal also showed the ‘novelty’ that trying raised through Kylo Rencharacter has consistently been at the same time pose a ‘familiarity’ and ‘similarity’ in the minds of the audience. Consistency built by George Lucas in styling visual character costumes in the movie "Star Wars" has successfully positioned clothes (costumes) becomes an act of communication that are persistent can bring nostalgia for fans of the movie "Star Wars" and the visual sensation of innovative nuanced tradition for the new audience this film to do further exploration in the long history of making the film "Star Wars". Keyword : Star Wars, Kylo Ren, Semiotika Barthes, George Lucas

디지털 게임 속 의상기호에 관한 연구 - '페르소나5'의 캐릭터 의상을 중심으로

The costumes of digital games are not only an important visual tool that reveals the personality of a character, but also objects that help the player express emotion and personality. In media contents, costume has a function of expressing the social and psychological changes of the characters from the practical meaning and symbolically represents the inflection point of the narrative. Nonetheless, the research on game cost up to now focuses mainly on analyzing the design characteristics and improving the expression system, and the attempts to explore the semiotic meaning of the character costumes were insufficient. In this paper, we tried to analyze game costumes from the viewpoint of costume symbol, and to explore its meaning and role. To do this, we examined preceding studies on game costume and their symbol. In the online multiplayer game, the game costume was used as a means of creating social meaning and expressing the players' personalities. This is interpreted as reflecting the characteristics of online games that emphasize free choice of players and social interaction. On the other hand, in the case of a single-player game in which the narrative experience is emphasized, it has been shown that the game dress can serve as a symbol for symbolizing the character's position, role or personality. In other words, the costume in the game contents also functions as a cost symbol for text interpretation. Since then, this article analyzed the dress message of the game costume through the console game <Persona 5> released in 2017. As a result of the analysis, the game costume symbolically expressed the character's condition and psychological situation, and it was shown through the dress plot that the characters' growth process and awareness were visually transmitted.

Closing traps: Emotional attachment, intervention and juxtaposition in cosplay and International Relations

This article explores the everyday emotional attachments to martial discourses through the embodiment of popular culture representations of war(rior) bodies in cosplay. In cosplay – the (re)creation and wearing of costumes of characters from popular culture – the cosplayer is able to express and experience behaviours and emotions normally unavailable to them. This enables a radical, empathetic form of identity exploration, wherein the cosplayer is able to express and develop an understanding of their own and others’ experiences. Building on autoethnographic fieldwork in cosplay as Black Widow, I posit three links between cosplay and the study of emotions in International Relations (IR): the first, going through the everyday constitutive character of popular culture; the second, linking the embodiment of representations of war(rior) characters in cosplay with the feminist IR challenge to study the human experience of war; and the third, arguing that the study of something so seemingly random can engender exciting insights, like a collage. I argue that cosplay can be used to understand our emotional attachments to violent, gendered discourses found in popular culture narratives, but that in the (re)enactment of these upon the body – in their embodiment – there is a space for resistance.

Fashion and Costume Design in Electronic Entertainment—Bridging the Gap between Character and Fashion Design

The purpose of this article is to shed light on the history of costume design in computer and video games, and to examine the representation of clothing in the medium. It attempts to establish a classification of dress by examining the most representative genres and titles, and it classifies and describes various genres with regards to costume, and their historic preoccupation with certain styles of clothing. I examine costume design in video games, i.e. what is mostly observed in period character design, science fiction character design, and some avatar design by players; I also examine fashion design in the form of contemporary or post-modern character design, as well as avatar design by players when preoccupied with the production of individual styles based on line, color, detailing and anything else outside character costume design considerations, which usually place a character in a narrative, world or era. Therefore, the article follows a trajectory starting with the exploration of costume design and moving towards the exploration of fashion design in the medium, eventually indicating ways in which video games and fashion can become mutually beneficial.