Importance Of Costume And Makeup In Film Pdf
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Costume and make up in cultural development
David Resha. Abstract: Costume designers, like many artists working in Hollywood, were required to master their own craft while also understanding how their creative decisions would impact others working on the same film. This was particularly true when designing for a black-and-white film. Designers needed to understand the sensitivities of film stock to ensure the desired onscreen appearance of the costume. Some scholars have suggested that costume designers were not knowledgeable about the relationship between costume design and film stock. The impact of film stock on costume design should consequently shape our understanding of the form and function of costumes in Hollywood cinema.
Western theater tradition has its foundations in the Greek celebrations performed in the sixth century b. The revels dances, songs, and choral responses evolved into spoken drama in b. The result was dialogue. Another playwright, Aeschylus — b. It consisted of a long, sleeved, patterned tunic, a stylized mask for instant character recognition, and a pair of high-soled shoes called corthunae. All of these garments were exclusively for theatrical use.
Thousands of years ago, people in many parts of the world discovered that powdered pigments mixed into a base of wax or grease could be used to create striking effects of personal adornment and transformation. The survival of that practice is reflected in a common term for theatrical makeup, "grease-paint. The latter often included performative aspects, such as dance and reenactments of mythical events. Modern theatrical makeup therefore is heir to a very ancient performance tradition. Some ancient theatrical traditions have relied on masks for the creation of visual characters; others have relied on makeup for the same purpose. In Asia, for example, one can point to the masked theater of Java and the elaborately made-up Kathakali dance theater of southwestern India, or the masked religious dances of Tibet and the strikingly masklike makeup of the Peking Opera and related theatrical forms in China.
Theatrical makeup is the practice of painting , enhancing , or altering the face, hair, and body of the actor with cosmetics, plastic materials, and other substances; it is also the collective term for the materials used in making up. Actors have used makeup in the theatre for a long time, not only to look their best and to transform their appearance but also to ensure that they will be seen and recognized by the entire audience. How well an actor is seen depends upon the distance between the actor and the farthest spectator as well as the amount of available light. Distances blur the features and make recognition of the actors extremely difficult for the spectators. It is impossible to say when the first actor daubed paint on his face in an attempt to make his performance more effective. Some maintain that Thespis , the first actor to step out of the chorus in Greek theatre in the 6th century bce , smeared his face with white lead and red cinnabar. He may have done so, but the very large size of some of the Greek theatres containing up to 15, spectators made the use of the masks a more practical solution.
camera. It is important to recognize the need in all departments for training to For other make-up and costume staff working on the film, the contract would.
Theatrical makeup is makeup that is used to assist in creating the appearance of the characters that actors portray during a theater production. In Greek and Roman theatre, makeup was unnecessary. Actors wore various masks, allowing them to portray another gender, age, or entirely different likeness. Performers who portrayed God painted their faces white or gold; actors playing angels painted their faces red. They used lamb's wool for false beards and flour as face paint.
You'll need to be a creative powerhouse to succeed as a production designer, with a flair for visual arts that sets you apart from the rest. Production designers are responsible for the visual concept of a film, television or theatre production. They identify a design style for sets, locations, graphics, props, lighting, camera angles and costumes, while working closely with the director and producer. Once the concept is decided, designers usually appoint and manage an art department, which includes a design and construction team. They often form a strong partnership with a particular director, who they'll then work with on many productions.
While the bare-bones basic components of theater are nothing more than actors and a script, most theater productions are incomplete without the addition of costumes and makeup. Costumes and makeup play an important role in the drama, character creation, visual aesthetic and even practical elements in a production. Beyond setting and character, costumes and makeup play an important role in visibility and aesthetic. Costumes perform a similar function, since a skilled costume designer will avoid colors and designs that are too pale or intricate to be distinguished by the audience. Good costumes and makeup will give the audience key information about a character at first sight.
Господи Исусе. Раздался телефонный звонок. Директор резко обернулся. - Должно быть, это Стратмор. Наконец-то, черт возьми. Бринкерхофф поднял трубку: - Канцелярия директора. Фонтейн протянул руку.
Он спокойно подошел к двери, выглянул на площадку лестницы и всмотрелся в темноту. Хейла нигде не было. Тогда он вернулся в кабинет и прикрыл за собой дверь, затем заблокировал ее стулом, подошел к столу и достал что-то из выдвижного ящика.
Доедешь до конечной остановки, приятель. Через пять минут автобус, подпрыгивая, несся по темной сельской дороге. Беккер повернулся к панку. - Этот тарантас когда-нибудь остановится.
- Ну и мерзавец этот Танкадо. ГЛАВА 110 Невидящими глазами Джабба смотрел на распечатку, которую ему вручила Соши. Он побледнел и вытер рукавом пот со лба. - Директор, у нас нет выбора.
О Боже, я вам так благодарна. Беккер растерялся. Очевидно, он ошибался. Девушка обвила его руками. - Это лето было такое ужасное, - говорила она, чуть не плача.