Narratives and Representation Creating Spatial Narratives
Loading...
Files
Date
2021
Authors
Journal Title
Journal ISSN
Volume Title
Company
URL
Shelf Location
Date
Abstract
MACHINE-GENERATED SUMMARY NOTE : "One cannot not communicate" (Watzlawick, Beavin and Jackson 1967, 51) The notorious quote by communication theorist and psychologist Paul Watzlawick suggests that it is impossible to not communicate, may it be verbally or non-verbally, since every kind of behaviour is a form of communication itself. Even if it is not the intention to communicate something, it will be perceived and interpreted by somebody. Therefore, it is of advantage to know how to convey a desired message to a target group as clearly and understandable as possible. In the fashion industry for example, good communication is key when it comes to promoting a designer's collection in a fashion show. What the designer wants to convey with their clothes and in what substantial context they want to present the collection, determines the creative orientation of the stage design. Nowadays, brands also make use of fashion films, which offer new narrative possibilities inspired by cinematographic approaches. In opposite to live fashion shows, a film can be edited beforehand, which changes the way a story is told and how the audience comprehends it. To define what a narrative is, a basic concept has been taken from the structuralist theory, that divides the narrative structure into two parts: First is a story that consists of the content or chain of events (like actions and happenings) as well as existents (characters and setting) and secondly a discourse, the means by which the content is communicated. In summary, the story is what happens in a narrative and the discourse describes how it is communicated (Chatman 1978, 19). The main objective of this thesis is to answer the research question, how the narrative in Dior's fashion film "Le châteaux du Tarot" can be translated into the spatial context of a fashion show. To accomplish this, the use of narratives in fashion shows and fashion films are compared with each other and the relationship between narratives and space are investigated. It is necessary to first find a general approach that explains how narratives are represented in space, to then adapt it to the specific example of Dior. Two scenographic approaches will be discussed, one from an exhibition design perspective and one from a theatre staging. Case studies will be analysed to provide further information and insights. Finally, the gained knowledge will be implemented into the practical part of the bachelor project