A Study on Violation in Gangster Fashion

  • Chung, Se-Hui (Dept. of Clothing and Textiles. Sookmyung Women's University) ;
  • Yang, Sook-He (Dept. of Clothing and Textiles. Sookmyung Women's University)
  • 발행 : 2002.12.01

초록

키워드

참고문헌

  1. Cho, S(1997). A study on game characteristics in gangster movies. Hanyang Univ. Press
  2. Chung, S.(2000). A study on gender identities shown in movie costumes-focused on the period from 1930's through 1990's. Sookmyung Women's Univ Press
  3. Kwon, H., Yang, S.(2001). A study on resistance in rapper fashion, Journal of Fashion Business. 5(1), pp. 53-71
  4. Lee, E., Chung, H.(2002). A study on style of the Hip-hop. Journal of Fashion Business 6(1), pp. 116-127
  5. Gerald, M. P.(1977). The Rise of The American Gangster Film, 1913-1930. p. 14
  6. Cho. op. cit., pp. 14-15
  7. Maria, C(1997). Men's Fashion at the twentieth Century. NY: Costume & Fashion Press. p. 59
  8. Hebdige, D.(1983). Posing.....Threats, striking...poses: youth, surveillance, and display, in Gelder, K. & Thornton. S.(eds)(1997). Resistance Through Rituals, London: Hutchinson. p. 404
  9. After the World War II, the tailors of Savile Row-the traditional, typically conservative arbiters of British upper-class, male dress style-produced a more flamboyant line of menswear which came to be known as 'Edwardian' because it harked back to the golden age of Edward VII. jackets in this style were single-breasted, long, fitted and often featured velvet trim on the color or cuffs. The were worn with narrow trousers and fancy broadcade waistcoat.(Ted, P.(1994), Street Style, London: Thames and hudson, p. 33.)
  10. Maria, C. op. cit., p. 54
  11. Kwon, Yang. op. cit., p. 65
  12. Hebdige, D(1981). Subculture: The Meaning of Style. London: Routledge, p. 63
  13. Brinkley, A., Hwang, H(trans.) (1998). The history of Americans 3. Seoul: Bisul, pp 226-227, 256-258
  14. Zoot style is a upward street fashion worn by African- and Mexican-Americans who couldn't have social and economic benefit in the 1940s. Zoot suit is omposed with sky-blue pants thirty inches a angle-narrowed down to twelve inches at the bottom, a long coat that shoulder padded and waist pinched and flared out below the knees, a broad-brimmed hat and golden chain accessories. The zoot suit, with its extravagant use of expensive fabric and its luxurious accessories, loudly proclaimed the message: "I've got it made'.(Polhemus, T. op. cit., pp. 17-19.)
  15. Kellner, D., Kim, S.& Chung, J.(trans.) (1997), Media Culture. Seoul: Saemulgyul, p. 288
  16. Global Music Video. 1997(3), p. 202
  17. Kellner, D. op. cit., p. 36
  18. Engelmeier, R., Engelmeier. W. P.(1990), Fashion in Film, Prestel-Verlag, p. 7
  19. Fiske, J.(1989). Understanding popular culture, Urwin Hyman, p. 35
  20. Film Nair is a movie characterized by low-key lighting, a bleak urban setting, and corrupt, cynical characters. Film Noir usually describes a hero or notorious rascal's life which can't be away from crimes and corruption
  21. Cohn, J., Yun, H(trans.)(1978). lesus and black revolution. Seoul; Chungsa, p. 82
  22. A movement among Black Americans emphasizing racial pride and social equality through the creation of Black political and cultural institutions: 'Black Power... calls for black people to consolidate behind their own, so that they can bargain from a position of strength' (Stokely Carmichael and Charles Hamilton, http://www.yourdictionary.com)
  23. Brinkley, A. op. cit., pp. 226-227
  24. Kellner, D. op. cit., p. 288
  25. Arnold. R.(2001). Fashion, Desire and Anxiety-Image and Morality in the 20th Century. NJ: University of Rutgers Press, p. 32-34
  26. Hall, S. and Jefferson, T.(1976), Resistance Through Rituals, Youth Culture Identity in Post-War Britain, London. p. 54. in Evans, C.(1997), Dreams That Only Money Can Bye...Or, The Shy Tribe In Flight from Discourse, Fashion Theory, 1(2), pp. 170-171
  27. Strauss, L. C.(1966), The Savage Mind, Chicago, 11: University of Chicago Press., in Barnard, M(1996). Fashion as Communication, Routledge, pp. 166-169
  28. Rosow, E.(1978). Born to Lose: The Gangster Film in America. University of Oxford Press, p. 185
  29. Bruzzi, S.(1997). Undressing Cinema: clothing and identity in the movies. London: Routledge, p. 72
  30. Dargis, M. Quentin Trantino on Pulp Fiction, Sight and Sound 4, 11: November, p.17. in Bruzzi. S.(1997), op. cit., P- 91
  31. Chung, op. cit., p. 34
  32. Steele, V.(197). Anti-Fashion: The 1970s. Fashion Theory, 1(3), p. 40
  33. Hebdige, D. op. cit., p. 115
  34. Thevoz, M.(1985). The Painted Body: The Illusion of Reality. NY: Rizzoli. pp. 76-77
  35. Sanders, C. R. 'Organisational Constraints on Tattoo Images: A Sociological Analysis of Artistic Style.' in Hodder, J.(1989). The Meaning of Things: Material Culture and Symbolic Expression, London: Unwin Hyman. pp. 232-241
  36. The President made the critical remarks in a speech following a New York mes story on 'heroin chic' and the lethal overdose of fashion photographer and heroin addict Davide Sorrenti. Sorrenti, 20, died of a heroin overdose in February. A promising fashion photographer, he was well-known for his photographs of seemingly strung-out heroinaddicted models. The 'heroin chic' look had been popular in the 19908, but was passing and with Sorrenti's death, it may come to an end. The expose of the 'heroin chic' phenomenon in the New York Times article said the trend is over (Spindler, A., 'A Death Tarnishes Fashion's 'Heroin Look', New York Times, May 20, 1997, p. AI)