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4 books about Hair
4 books about Hair
Costume, Makeup, and Hair
McLean, Adrienne L
Rutgers University Press, 2016
Movie buffs and film scholars alike often overlook the importance of makeup artists, hair stylists, and costumers. With precious few but notable exceptions, creative workers in these fields have received little public recognition, even when their artistry goes on to inspire worldwide fashion trends.
From the acclaimed Behind the Silver Screen series, Costume, Makeup, and Hair charts the development of these three crafts in the American film industry from the 1890s to the present. Each chapter examines a different era in film history, revealing how the arts of cinematic costume, makeup, and hair, have continually adapted to new conditions, making the transitions from stage to screen, from monochrome to color, and from analog to digital. Together, the book’s contributors give us a remarkable glimpse into how these crafts foster creative collaboration and improvisation, often fashioning striking looks and ingenious effects out of limited materials.
Costume, Makeup, and Hair not only considers these crafts in relation to a wide range of film genres, from sci-fi spectacles to period dramas, but also examines the role they have played in the larger marketplace for fashion and beauty products. Drawing on rare archival materials and lavish color illustrations, this volume provides readers with both a groundbreaking history of film industry labor and an appreciation of cinematic costume, makeup, and hairstyling as distinct art forms.
From the acclaimed Behind the Silver Screen series, Costume, Makeup, and Hair charts the development of these three crafts in the American film industry from the 1890s to the present. Each chapter examines a different era in film history, revealing how the arts of cinematic costume, makeup, and hair, have continually adapted to new conditions, making the transitions from stage to screen, from monochrome to color, and from analog to digital. Together, the book’s contributors give us a remarkable glimpse into how these crafts foster creative collaboration and improvisation, often fashioning striking looks and ingenious effects out of limited materials.
Costume, Makeup, and Hair not only considers these crafts in relation to a wide range of film genres, from sci-fi spectacles to period dramas, but also examines the role they have played in the larger marketplace for fashion and beauty products. Drawing on rare archival materials and lavish color illustrations, this volume provides readers with both a groundbreaking history of film industry labor and an appreciation of cinematic costume, makeup, and hairstyling as distinct art forms.
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Knots, or the Violence of Desire in Renaissance Florence
Emanuele Lugli
University of Chicago Press, 2023
An interdisciplinary study of hair through the art, philosophy, and science of fifteenth-century Florence.
In this innovative cultural history, hair is the portal through which Emanuele Lugli accesses the cultural production of Lorenzo il Magnifico’s Florence. Lugli reflects on the ways writers, doctors, and artists expressed religious prejudices, health beliefs, and gender and class subjugation through alluring works of art, in medical and political writings, and in poetry. He considers what may have compelled Sandro Botticelli, the young Leonardo da Vinci, and dozens of their contemporaries to obsess over braids, knots, and hairdos by examining their engagement with scientific, philosophical, and theological practices.
By studying hundreds of fifteenth-century documents that engage with hair, Lugli foregrounds hair’s association to death and gathers insights about human life at a time when Renaissance thinkers redefined what it meant to be human and to be alive. Lugli uncovers overlooked perceptions of hair when it came to be identified as a potential vector for liberating culture, and he corrects a centuries-old prejudice that sees hair as a trivial subject, relegated to passing fashion or the decorative. He shows hair, instead, to be at the heart of Florentine culture, whose inherent violence Lugli reveals by prompting questions about the entanglement of politics and desire.
In this innovative cultural history, hair is the portal through which Emanuele Lugli accesses the cultural production of Lorenzo il Magnifico’s Florence. Lugli reflects on the ways writers, doctors, and artists expressed religious prejudices, health beliefs, and gender and class subjugation through alluring works of art, in medical and political writings, and in poetry. He considers what may have compelled Sandro Botticelli, the young Leonardo da Vinci, and dozens of their contemporaries to obsess over braids, knots, and hairdos by examining their engagement with scientific, philosophical, and theological practices.
By studying hundreds of fifteenth-century documents that engage with hair, Lugli foregrounds hair’s association to death and gathers insights about human life at a time when Renaissance thinkers redefined what it meant to be human and to be alive. Lugli uncovers overlooked perceptions of hair when it came to be identified as a potential vector for liberating culture, and he corrects a centuries-old prejudice that sees hair as a trivial subject, relegated to passing fashion or the decorative. He shows hair, instead, to be at the heart of Florentine culture, whose inherent violence Lugli reveals by prompting questions about the entanglement of politics and desire.
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Medusa's Hair
An Essay on Personal Symbols and Religious Experience
Gananath Obeyesekere
University of Chicago Press, 1981
The great pilgrimage center of southeastern Sri Lanka, Kataragama, has become in recent years the spiritual home of a new class of Hindu-Buddhist religious devotees. These ecstatic priests and priestesses invariably display long locks of matted hair, and they express their devotion to the gods through fire walking, tongue-piercing, hanging on hooks, and trance-induced prophesying.
The increasing popularity of these ecstatics poses a challenge not only to orthodox Sinhala Buddhism (the official religion of Sri Lanka) but also, as Gananath Obeyesekere shows, to the traditional anthropological and psychoanalytic theories of symbolism. Focusing initially on one symbol, matted hair, Obeyesekere demonstrates that the conventional distinction between personal and cultural symbols is inadequate and naive. His detailed case studies of ecstatics show that there is always a reciprocity between the personal-psychological dimension of the symbol and its public, culturally sanctioned role. Medusa's Hair thus makes an important theoretical contribution both to the anthropology of individual experience and to the psychoanalytic understanding of culture. In its analyses of the symbolism of guilt, the adaptational and integrative significance of belief in spirits, and a host of related issues concerning possession states and religiosity, this book marks a provocative advance in psychological anthropology.
The increasing popularity of these ecstatics poses a challenge not only to orthodox Sinhala Buddhism (the official religion of Sri Lanka) but also, as Gananath Obeyesekere shows, to the traditional anthropological and psychoanalytic theories of symbolism. Focusing initially on one symbol, matted hair, Obeyesekere demonstrates that the conventional distinction between personal and cultural symbols is inadequate and naive. His detailed case studies of ecstatics show that there is always a reciprocity between the personal-psychological dimension of the symbol and its public, culturally sanctioned role. Medusa's Hair thus makes an important theoretical contribution both to the anthropology of individual experience and to the psychoanalytic understanding of culture. In its analyses of the symbolism of guilt, the adaptational and integrative significance of belief in spirits, and a host of related issues concerning possession states and religiosity, this book marks a provocative advance in psychological anthropology.
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The Theater Will Rock
A History of the Rock Musical, from Hair to Hedwig
Elizabeth L. Wollman
University of Michigan Press, 2010
"A much-needed study of the impact of rock music on the musical theater and its resulting challenges, complexities, failures, and successes. Anyone interested in Broadway will learn a great deal from this book."
---William Everett, author of The Musical: A Research Guide to Musical Theatre
"As Wollman weaves her historical narrative, she compellingly returns to . . . the conflict between the aesthetics and ideologies of rock music and the disciplined and commercial practices of the musical stage."
---Theatre Research International
"This well-written account puts the highs and lows of producing staged rock musicals in New York City into perspective and is well worth reading for the depth of insight it provides."
---Studies in Musical Theatre
The tumultuous decade of the 1960s in America gave birth to many new ideas and forms of expression, among them the rock musical. An unlikely offspring of the performing arts, the rock musical appeared when two highly distinctive and American art forms joined onstage in New York City. The Theater Will Rock explores the history of the rock musical, which has since evolved to become one of the most important cultural influences on American musical theater, and a major cultural export.
Despite the genre’s influence and fame, there are still some critics who claim that the term “rock musical” is an oxymoron. The relationship between rock and the musical theater has been stormy from the start, and even the comparatively recent success of Rent has done little to convince theater producers that rock musicals are anything but highly risky ventures. Elizabeth L. Wollman explores the reasons behind these problematic connections and looks at the socioeconomic forces that underlie aesthetic decisions. She weighs the influence on the rock musical by mass media, sound, and recording technology, and the economic pressures that have affected New York theater in general over the past three decades. Finally, Wollman offers a meditation on the state of the musical, its relation to rock, and, ultimately, its future.
Packed with candid commentary by members of New York's vibrant theater community, The Theater Will Rock traces the rock musical’s evolution over nearly fifty years, in popular productions such as Hair, The Who's Tommy, Jesus Christ Superstar, The Rocky Horror Picture Show, Little Shop of Horrors, Rent, and Mamma Mia!—and in notable flops such as The Capeman.
Elizabeth L. Wollman is Assistant Professor of Music at Baruch College of the City University of New York.
Despite the genre’s influence and fame, there are still some critics who claim that the term “rock musical” is an oxymoron. The relationship between rock and the musical theater has been stormy from the start, and even the comparatively recent success of Rent has done little to convince theater producers that rock musicals are anything but highly risky ventures. Elizabeth L. Wollman explores the reasons behind these problematic connections and looks at the socioeconomic forces that underlie aesthetic decisions. She weighs the influence on the rock musical by mass media, sound, and recording technology, and the economic pressures that have affected New York theater in general over the past three decades. Finally, Wollman offers a meditation on the state of the musical, its relation to rock, and, ultimately, its future.
Packed with candid commentary by members of New York's vibrant theater community, The Theater Will Rock traces the rock musical’s evolution over nearly fifty years, in popular productions such as Hair, The Who's Tommy, Jesus Christ Superstar, The Rocky Horror Picture Show, Little Shop of Horrors, Rent, and Mamma Mia!—and in notable flops such as The Capeman.
Elizabeth L. Wollman is Assistant Professor of Music at Baruch College of the City University of New York.
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