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Film Noir: From Berlin to Sin City

Film Noir: From Berlin to Sin City teresting revelations about the fifty contemporary costumes in this text are based, as each established designer discusses the research, design, and production processes of one of their more noteworthy creations. To make certain the web-spinning silhouette in Spider-Man (2002) had enough definition against the nocturnal sky, James Acheson fitted Tobey Maguire's Millaskin bodysuit with laminated foam pectorals and over seventy silkscreen prints that further reinforced the superhero's musculature. To help audiences distinguish the central Armenians of Ararat (2002), Beth Pasternak gave each ethnic group a defined palette based on the rich spices of the Mediterranean region. And to ensure that the bloody script on the Marquis de Sade's peau de soie suitcoat stayed convincingly crimson in the film Quills (2000), Jacqueline West tempered cow's blood and red tempera with a bit of pinot noir. Rather than disintegrate into trivia, such details serve to emphasize just how painstakingly creative and involved costume design actually is. One has the sneaking suspicion while reading many of the creators' stories, particularly those who are responsible for films set in the contemporary era, that this exhibition was curated partly to remind audiences of this seemingly "invisible" art, as well as to counter the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Film Quarterly University of California Press

Film Noir: From Berlin to Sin City

Allison, Deborah
Film Quarterly , Volume 60 (2) – Jan 1, 2006
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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
ISSN
0015-1386
eISSN
1533-8630
DOI
10.1525/fq.2006.60.2.79.3
Publisher site
See Article on Publisher Site

Abstract

teresting revelations about the fifty contemporary costumes in this text are based, as each established designer discusses the research, design, and production processes of one of their more noteworthy creations. To make certain the web-spinning silhouette in Spider-Man (2002) had enough definition against the nocturnal sky, James Acheson fitted Tobey Maguire's Millaskin bodysuit with laminated foam pectorals and over seventy silkscreen prints that further reinforced the superhero's musculature. To help audiences distinguish the central Armenians of Ararat (2002), Beth Pasternak gave each ethnic group a defined palette based on the rich spices of the Mediterranean region. And to ensure that the bloody script on the Marquis de Sade's peau de soie suitcoat stayed convincingly crimson in the film Quills (2000), Jacqueline West tempered cow's blood and red tempera with a bit of pinot noir. Rather than disintegrate into trivia, such details serve to emphasize just how painstakingly creative and involved costume design actually is. One has the sneaking suspicion while reading many of the creators' stories, particularly those who are responsible for films set in the contemporary era, that this exhibition was curated partly to remind audiences of this seemingly "invisible" art, as well as to counter the

Journal

Film Quarterly – University of California Press

Published: Jan 1, 2006

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