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Calibration Technician Certification CCT. Process: Learn Prepare Apply Certify Recertify. The Certified Calibration Technician tests, calibrates, maintains, and repairs electrical, mechanical, electromechanical, analytical, and electronic measuring, recording and indicating instruments and equipment for conformance to established standards. ASQ Members $268 (save $150) Price includes $70 non-refundable fee. ASQ Certification Prep Resources. Here are the requirements, experience and exam specifics for a Certified Calibration Technician. Candidates must have worked in a full-time, paid role. Homework Assignments? Paid intern, co-op or any other course work cannot be applied toward the work experience requirement. Candidates must have five years of on-the-job experience in one or more of the rubric for art areas of the Certified Calibration Technician Body of Knowledge. Candidates who have completed a degree from a college, university or technical school with accreditation accepted by ASQ will have part of the five-year experience requirement waived, as follows (only one of these waivers may be claimed): Diploma from a technical, military, or trade school two years waived Associate degree two year waived Bachelor's degree two years waived Master's or doctorate two years waived. Degrees/diplomas from educational institutions outside the United States must be equivalent to degrees from U.S. educational institutions.

Here are the minimum expectations of a Certified Calibration Technician. Will be able to python assignments distinguish between base and derived International System units and how to essay memoir apply, convert, and use them, and will be able to use inspection, measurement, and test equipment (IMTE) to measure various factors. Python Homework Assignments? Will understand the principles and hierarchy of essay memoir standards and the importance of traceability. Will be able to assignments select appropriate standards to use based on measurement requirements, equipment availability, and specifications. Will be able to essay revisor use measurement methods, distinguish between measurement characteristics, and correct for various error sources. Will be able to apply IMTE specifications and their characteristics, and python homework will understand measurement assurance program (MAP) concepts.

Will know the components of calibration procedures and be able to essay memoir use common calibration methods, both manual and automated, while complying with regulations and industry practices. Python Assignments? Will recognize the impact environment can have on calibration, and will understand calibration and validation processes for IMTE. Will know how to manage records and maintain document control systems that support calibration and measurement systems. Will understand basic measurement uncertainty terms and essay will be able to understand the steps in python homework developing an uncertainty budget to calculate uncertainty. Will be able to apply technical mathematics and basic statistical techniques in support of these systems. Will be able to distinguish between quality system components and will recognize the methods and tools used to south park ese essay develop, improve, and review a quality management system, as recommended by various quality standards and guidances. Will be able to apply quality control tools, identify nonconformances and assess their potential impact, and understand quality auditing processes and document requirements. Will understand safety requirements, including how to identify potential hazards and homework when to use personal protective equipment.

The topics in this Body of Knowledge include additional detail in the form of subtext explanations and the cognitive level at which the questions will be written. This information will provide useful guidance for both the Exam Development Committee and the candidate preparing to take the exam. The subtext is not intended to limit the subject matter or be all-inclusive of what might be covered in an exam. It is meant to clarify the type of content to be included in the exam. The descriptor in parentheses at the end of each entry refers to the maximum cognitive level at which the south topic will be tested. Assignments? A more complete description of cognitive levels is provided at the end of the document. Please Note: The new Certified Calibration Technician Body of essay memoir Knowledge will be tested starting with the December, 2017 testing window. Examination results for the December and February pilot examinations will be sent out four to six weeks after you sit for homework assignments, the exam. Compare the south ese essay episode current and new CCT BoK. Download the Calibration Technician Body of Knowledge.

ASQ designed these resources to help you get ready to python homework take the exam. Have you already reviewed these items? Choose an exam date below. Review a list of references that provide the basis for the exam questions. These items give you a better idea of the material covered in the exam. Take an interactive sample exam to receive additional feedback on the questions that appear in the sample exam. Print out the paper-and-pencil sample exam (PDF, 213 KB) to see the south episode actual test format, including instructions and test questions from past exams. ASQ offers many books and training opportunities to help you prepare. Need more training options?

ASQ Sections and ASQ Forums/Divisions offer more training opportunities. Each certification candidate is required to pass an assignments, examination that consists of multiple-choice questions that measure comprehension of the Body of essay memoir Knowledge. Homework? Computer Delivered - The CCT examination is a one-part, 135- multiple choice question, four-and-a-half-hour exam and is offered in English only. 125 questions are scored and outline 10 are unscored. Paper and Pencil - The CCT examination is a one-part, 125- multiple choice question, four-hour exam and is offered in English only. All examinations are open book with the exception of the constructed response (essay) portion of the CMQ/OE exam.

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More Sinned Against than Sinning: The Fabrications of homework assignments “Pre-Code Cinema” This essay is also an introduction to a season of films entitled “Hazing the Hays Code: Hollywood’s pre-Code’ Era” programmed by the Melbourne Cinematheque and screening in lalla converging December. The author will be presenting a lecture on pre-Code Hollywood at ACMI on December 10, 6pm prior to the screening of The Public Enemy . For further articles on this season, please refer to this issue’s CTEQ: Annotations on Film. Most people know two things about the Hays Code. One is python homework that the bedrooms of all married couples could contain only twin beds, which had to be at least 27 inches apart. The other is that although the Code was written in 1930, it was not enforced until 1934, and that as a result, the “pre-Code cinema” of the early 1930s violated its rules with impunity in a series of “wildly unconventional films” that were “more unbridled, salacious, subversive, and just plain bizarre” than in any other period of an analytical essay outline Hollywood’s history (1).

Neither of homework assignments these things is true. The “Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures” adopted by the Board of Directors of the Motion Picture Producers and Distributors of America, Inc. (MPPDA) in March 1930 contained a set of “General Principles” and a list of “Particular Applications”. In the essaydi territories, section on homework assignments, “Locations”, it observed, “The treatment of of pen bedrooms must be governed by good taste and python homework assignments, delicacy”. Essaydi Converging #2? Such statements obviously themselves required interpretation, and python homework assignments, much of the work of the Code’s administrators was a matter of negotiating the application of the Code’s generalised statements to particular instances. In developing the detailed operation of the Code, its administrators relied heavily on their knowledge of the practices of the various national, state and essay memoir, municipal censor boards that regulated two-thirds of Hollywood’s American market and almost every major foreign country. Assignments? Hollywood’s married movie stars slept in single beds to meet a requirement of the British Board of Film Censors. The Code is remembered with nostalgic contempt for the trivia of its requirements, and it has often been blamed for rubric, Hollywood’s lack of homework realism and political timidity. These charges both overestimate and underestimate its influence. The Code contributed significantly to Hollywood’s avoidance of contentious subject matter, but it did so as the instrument of an agreed industry-wide policy, not as the originating source of that policy. Within its own sphere of influence, however, the Code was a determining force on the construction of narrative and the delineation of character in every studio-produced film after 1931.

Public arguments about the Code’s application – over Clark Gable’s last line in episode Gone with the python assignments, Wind , for example – have themselves tended to be over trivia, and have supported claims that the Code was a trivialising document. The agreements that underlay the Code have received much less attention, but they amounted to a consensus between the industry’s corporations and legislative and an analytical essay, civic authorities over what constituted appropriate entertainment for the undifferentiated mass audience in America and, by default, the rest of the world. Hollywood’s “self-regulation” was not primarily about controlling the content of python homework assignments movies at the level of forbidden words or actions, or inhibiting the freedom of expression of individual producers. The cultural anxieties that brought the Code into being addressed more fundamental social issues than a few bawdy Mae West jokes, the length of a hemline, or the condoning of sin in an “unmoral” ending. Rather, they concerned the cultural function of entertainment, and an analytical essay, the possession of cultural power. The Production Code was a sign of Classical Hollywood’s cultural centrality, and assignments, its history is lalla converging territories #2 a history of the attempts by cultural elites to python homework exercise a controlling surveillance over park ese essay episode, the mass culture of industrial capitalism. The suggestion that for four years the Code existed on paper but not in practice is as mythological as most stories about the Code, but it does tell us a peculiar truth about Hollywood history. In Hollywood, history is first of all a production value; its first obligation is to be entertaining, not accurate. MPPDA president Will Hays was fond of python declaring that “No story ever written for the screen is as dramatic as the story of the screen itself”, and most of what passes for film history continues to be written under the curious expectation that the history of entertainment must itself be entertaining. Hollywood’s history is essay too often written as a melodrama of rags to riches to heartbreak, or of creative virtue triumphing over the moustachioed villains of corporate capitalism and the moral repressions of conspiratorial reactionaries.

There are really two versions of the “pre-Code cinema” myth. They tell the same story but interpret it very differently. One held sway for about as long as the Production Code itself did, from the mid-1930s until the late 1960s. Like the Code itself, this “official” history served the industry’s interests. According to this version, Hollywood was established by immigrants untutored in the finer manners of corporate capitalism, who occasionally had to be reminded to their civic responsibilities. Homework Assignments? One such reminder occurred after a series of essay revisor scandals among leading Hollywood personnel, and python homework, led to the establishment of the MPPDA in 1922, with Hays as its first president.

During the 1920s, Hays worked with civic and religious groups to improve their opinion of the movies, a policy that culminated in the writing of the Production Code in 1930. But as every Hollywood melodrama requires, a misfortune – the Depression – intervened. Needing to maintain income in the face of declining audiences, producers returned to their old sinful ways, exploiting their audiences’ baser instincts with a flood of sexually suggestive and violent films. Essay? Without adequate powers to enforce the Code, the python assignments, MPPDA was unable to prevent this, and the crisis was only averted by the Catholic Church, which established the Legion of Decency in rubric for art history essay April 1934 and threatened to boycott Hollywood. Almost immediately, the producers surrendered, agreeing to a strict enforcement of the Code under the administration of prominent Catholic layman Joseph Breen. After the Code itself had been abandoned in 1968, a second version of python homework this history came to predominate. The events in this second version were the same as in south ese essay the official history, but their values were inverted, most evocatively in historian Robert Sklar’s description of the early 1930s as Hollywood’s “Golden Age of Turbulence”. Instead of Hollywood the fallen woman being rescued from sin and federal censorship by virtuous hero Joe Breen riding at the head of the Legion of Decency, Sklar argued that. In the first half decade of the Great Depression, Hollywood’s movie-makers perpetrated one of the most remarkable challenges to traditional values in the history of mass commercial entertainment. The movies called into question sexual propriety, social decorum and homework assignments, the institutions of law and order (2).

This is an extraordinary claim. Why would an industry that claimed to be the fourth largest capitalist enterprise in the United States, intricately linked to lalla Wall St. Python? finance capital, produce “one of the most remarkable challenges to traditional values in the history of mass commercial entertainment” at the very moment of perhaps the greatest social and essay memoir, political instability the U.S. had experienced? Such an improbable account of the industry’s activities can gain credence only because it provides a version of history that many of Hollywood’s critics are eager to accept. The idea of a “Pre-Code cinema” conforms to the need to situate Hollywood within a critical melodrama of daring creative heroes and reactionary villains, because the only version of Hollywood its critics can truly love is an “un-American” anti-Hollywood, populated by rebel creators challenging and subverting the industrial system. Ironically, much contemporary criticism has been as concerned to investigate the subversive potential of Hollywood cinema as were the anti-Communists of the 1950s, and although they come to praise the authors’ subversion, not to incarcerate them, their critical methodologies are strikingly similar. Robert Sklar was writing in the early 1970s, when conventional wisdom suggested that few written records had escaped the studio shredder. Within a decade, however, film scholars gained access to several major archives containing a surfeit of documents detailing the bureaucratic operations of the Dream Factory. The Production Code Administration (PCA) Archive is python homework one of the richest of these sources, describing the essay outline, negotiations between PCA officials and homework, the studios, movie by movie, script draft by on power of pen, script draft. In complete contradiction to the mythology of the Code not functioning during the early 1930s, its records reveal that this period actually saw by far the most interesting negotiations between the studios and the Code administrators over the nature of movie content, as the Code was implemented with increasing efficiency and strictness after 1930. Throughout the period, movie content was changed – sometimes fundamentally – to python homework assignments conform to the Code’s evolving case law. A number of authoritative books – Lea Jacobs’ The Wages of Sin , Tino Balio’s Grand Design: Hollywood as a Modern Business Enterprise , Ruth Vasey’s The World According to Hollywood – have established quite unequivocally that the old account must be discarded, since it is demonstrably incorrect to suggest that movies made between 1930 and 1934 were “uncensored” (3).

Individual recommendations might be disputed, often in hyperbolic language, but the Code’s role in the production process was not a matter of south park contention, and studio personnel did not resist its implementation. Python Homework Assignments? Instead, this period saw the more gradual, more complex and for art, less melodramatic evolution of systems of convention in representation. Homework? And that, you might have thought, would have been that. But the Frankenstein monster of lalla converging territories Pre-Code cinema that these heroes of the archives had slain and staked through the heart has once again risen from its grave. As one of the historians whose painstaking scholarship is python brushed aside by the recurrence of the myth, I’m bound to wonder at its persistence. There are two explanations. One has to essay revisor do with the commercial value in homework assignments repackaging material from Hollywood’s past to suit present entertainment needs. In its new guise, “Pre-Code cinema” has been re-invented as a critics’ genre, much like “ film noir ” or “melodrama”, with no roots in industry practice.

For this I blame Ted Turner. Over the last decade, the rubric for art, growth of python homework assignments satellite and cable television stations such as Turner Classic Movies has provided new outlets for the circulation of movies previously almost unseen since their initial release. The promiscuous scheduling policies of these stations encourage the construction of vague generic systems of classification, around which seasons can be thematically strung. Essay Memoir? Because the industry suppressed the circulation of python homework many early 1930s movies after 1934 in essay conformity with the “official” history of the Code’s implementation, many movies from this period have only recently surfaced from obscurity. Sklar’s account of the Golden Age of python homework Turbulence relied on an analysis of essay about 25 movies, or approximately one percent of Hollywood’s total output of feature pictures between 1930 and 1934.

The critical canon of “pre-Code cinema” to be found in the schedules of American Movie Classics, the virtual pages of Reel.com and the plot synopses of several recent books is now perhaps ten times that size. Regardless of these movies’ cultural status at the time of their initial release, they continue to be critically configured as a “Forbidden Hollywood”, a subversive body of python assignments work that represents, as one book puts it, a “road not taken” by later Classical Hollywood (4). By comparison to the commercial investment in conceptions of genre by the audio-visual, broadcasting and on power, publishing industries, there is no investment in the veracities of a more complex historical narrative. Instead, just as some stars and some movies have acquired a cult critical status unrelated to their box-office earnings, some periods of python homework assignments Hollywood’s history – the late 1940s, 1968–74, as well as the early 1930s – have come to be understood as more reflective of episode their cultural moment than others. Curiously, these tend to be periods of python homework economic uncertainty, declining audiences and rubric for art history essay, “turbulence” in homework assignments Hollywood’s conventions of representation. On the face of it, it is difficult to see why movies produced during such periods should be regarded as more zeitgeistig than those produced in periods of larger, more stable audiences and on power, under more secure representational regimes, but these periods attract critics because they are often seen as giving rise to new forms, like film noir , that have an obvious appeal as objects of critical study. In what almost inevitably become self-fulfilling analyses, these periods of turbulence come to be perceived as doubly rewarding for study, since their innovative movies were also zeitgeistig – one historian describes I Am a Fugitive from a Chain Gang as “the perfect expression of the national mood in 1932: despair, suffering, hopelessness … The film was 1932: hopelessness” (5). These accounts propose an odd, hybrid history, suggesting that movie genres have their own internal histories of textual relations and stylistic influence, but that at homework, the same time they also reflect the social and political history of their moment, so that early 1930s gangster movies, for example, tell us something about early Depression America although critics disagree about essay of pen whether audiences were meant to homework assignments see gangsters as rebellious social bandits or as monstrous emblems of the rapacious capitalism that had caused the essay revisor, Depression. Such interpretations, of course, serve as a means to assignments keep these old movies relevant for new audiences, but their bowdlerisation of history and rubric essay, romantic refusal to recognise that the motion picture industry operates like any other major capitalist enterprise ensures that most Hollywood history remains no more than a form of entertainment. Even as they are incorporated into a larger version of social history, the movies remain under the obligation to homework entertain: in history textbooks describing the Depression, accounts of I Am a Fugitive from a Chain Gang or Scarface appear as diverting boxed features on “social realism in essay on power the movies”, alleviating the tedium of unemployment statistics and python homework assignments, banking reform. The early 1930s is, indeed, one of Hollywood’s Golden Ages of south episode Turbulence, like the early 1970s and the early 1990s, when a combination of economic conditions and technological developments destabilised the established patterns of python homework assignments audience preference, creating opportunities for greater experimentation and variation from Hollywood’s established norms.

This variation, however, occurred within strict limits and existed, in park large part, to test, negotiate and reconfigure the boundaries of Hollywood’s conventions. The two principal factors that brought this situation into being were the revolution in content, source material and mode of production brought about by the adoption of python assignments sound technology after 1928, and the economic collapse of the leisure market after the 1929 Wall Street Crash. In the late 1920s, as sound cinema spread out of the cities into essay revisor neighbourhood and rural cinemas, sections of the python homework, American middle class grew increasingly vocal in their reaction against essay revisor, what they saw as the moral excesses of the post-war decade. Python Assignments? The spread of sound seemed to confirm the widespread conviction that movies were a major source of influence on the behaviour, attitudes and morals of their audience, particularly the young and essay revisor, uneducated. The movies’ relatively permissive representations of sex and violence became one of the sites at which an increasingly insecure Protestant provincial middle-class felt its cultural hegemony, its command of python public life was threatened by the incursions of a modernist, metropolitan culture – a largely Jewish and Catholic culture – which the provincials regarded as alien. An Analytical? Throughout the 1920s Broadway had been castigated for its “realism” and “sophistication”, particularly in its representation of sexual mores and homework assignments, improprieties. With the coming of essay memoir sound, and Hollywood’s increasing adaptation of Broadway plays, provincial morality perceived that the threat had moved much closer to home.

Broadway’s dubious dialogue and “sophisticated” plot material was now playing on Main Street for python homework, the children to see and hear. The industry’s financial crisis drove it to concentrate on making product for its most profitable market, the young urban audiences in essay memoir the first-run theatres owned by the major companies. Complaints about the shortage of movies suitable for children or the over-production of python homework assignments “sophisticated” material unacceptable to small-town audiences were a form of market response to the shortage of appropriate content for other sectors of the essaydi territories #2, audience, but they were most often couched in python assignments moralistic terms, and attached to demands for federal censorship. There is little evidence that there was any widespread concern among moviegoers about the essay memoir, moral quality of the entertainment they consumed in the early 1930s. Python? There is, however, a good deal of evidence of essay revisor concern about moviegoing in the period, although the groups and people most vociferously complaining about the python, moral viciousness of Hollywood were not themselves part of the audience. Contrary to the mythology of “Pre-Code cinema”, the early 1930s was in fact a period of increasing moral conservatism in American culture, in which the essay memoir, movie industry, along with other institutions of representation, failed to keep pace with a growing demand for a “return to decency” in American life. The protests about movies by women’s organisations and Parent-Teacher Associations was a moral panic expressing class and homework, cultural anxieties at a time of social, economic and an analytical essay, political uncertainty; movie content was the site of this moral panic, rather than the cause of it. To a large extent, the movies were indicted by a failing Protestant culture for the cultural changes of the 1920s. As the movies had been a prominent success in the ’20s, they were a prominent target of the assignments, general questioning of business morality that followed the Crash. The Protestant attacks on the industry combined a critique of the movies’ moral content with an rubric for art essay even more savage critique of the immorality of the industry’s business methods – the distribution contracts that underpinned the majors’ control of both production and exhibition and forced immoral product on independent neighbourhood exhibitors obliged to python homework show “sex-smut” regardless of park his or his community’s preferences. Faced with an alliance of small exhibitors, small-town Protestant conservatives and Progressive reformers wanting to extend Federal Regulation, and python homework assignments, unable to recruit a sufficiently authoritative Protestant voice to endorse its program of self-regulation, the MPPDA turned to the Catholic Church as one of essay revisor its oldest and most faithful friends.

The Legion of Decency was by no means the first large-scale activity relating to homework assignments movies undertaken by the Catholic Church. Throughout the rubric for art history, 1920s, Catholic groups had co-operated enthusiastically with Hays, and they remained aligned with the MPPDA in the late 1920s when Protestant and other civic groups began to demand federal regulation of the industry. Homework Assignments? In the absence of reliable support from Protestant bodies, the MPPDA began to offer the Catholic Church an opportunity to act as a moral and cultural broker between the city and provincial Protestant morality. Episode? Prominent Catholics were involved in writing and promoting the Code; Joe Breen began working for the MPPDA in 1930, and was effectively in charge of the Code’s administration for at python assignments, least a year before it was allegedly implemented in July 1934. The Catholic Church seized the essay, opportunity to “clean up” the movies as part of a wider project of cultural assertiveness, connected to their emergence into greater political prominence. Under the banner of “Catholic Action”, Catholic intellectuals put themselves forward as the saviours of American ideals, maintaining an instrumentalist view of culture – that it should demonstrate how people ought to behave, rather than what they did – far more effectively than any other group. The Legion of Decency became the largest Catholic Action organisation and its greatest public relations achievement. The real danger the industry faced in the early 1930s was from the passage of python homework assignments legislation outlawing block booking and imposing federal regulation of the industry’s business practices.

For all industry parties, the issues of rubric monopoly control and trading practices were economically much more important than questions of homework censorship. Essay? But questions of censorship were of greater public interest and python homework assignments, concern, and an analytical essay, could, if necessary, be resolved at less risk to the majors’ monopoly interests. The MPPDA’s awareness of this encouraged it to displace the public debate from the economic base of distribution practices to the ideological superstructure of movie content. But since movie content itself was not the fundamental cause of the crisis, the crisis could not be resolved by changing content alone. Python Homework Assignments? Rather, the crisis in essay revisor the public perception of the industry had to be resolved through the industry’s manipulations of python assignments its public relations.

By late 1933, when The Payne Fund Studies into “Motion Picture and Youth” added further fuel to the arguments in favour of government regulation of the industry, it had become evident that the industry could redeem itself only by a public act of atonement before an identifiable moral authority, and through the Legion of Decency the Catholic Church provided it with an opportunity. The Legion of Decency campaign was neither a spontaneous expression of public opinion nor a conspiracy to establish Catholic control over the movies. The “organised industry” acquiesced in the limited Catholic attack on its morals in south park episode order to protect its more fundamental economic interests, while the Legion claimed the glory of reforming the movies for Catholic Action. In going through a public act of contrition, the industry succeeded in python separating the issues of trade practices and profitability from the question of moral content, and silencing the voices calling for more fundamental reforms. There was no fundamental shift of essay memoir Code policy in July 1934. The apparent changes brought about by the negotiations with the python assignments, Legion of Decency were in fact mainly cosmetic, and essay revisor, had much more to do with the movies appearing to make a public act of recantation than with substantive changes in the practice of self-regulation. There was a further tightening up of practice, but this had occurred on at least three other occasions since 1931, and Breen was not given any new or arbitrary powers to cut or ban movies. The differences between movies made in the early 1930s and those made later in the decade are undeniable, but the change was gradual rather than cataclysmic, the homework assignments, result of the development of a system of conventional representation that was constructed by experiment and expedient in the first half of the decade and maintained in the second. From this perspective, Mae West, the great exponent of the double entendre, can be seen as a half-way point between the naive sophistication of, say, “the unspeakable Constance Bennett” in The Easiest Way , and the highly sophisticated innocence of the discourse on sexuality in late 1930s screwball comedies, Astaire-Rogers musicals or, for that matter, the equally sophisticated innocence, what Graham Greene called the “dimpled depravity” of Shirley Temple in Wee Willie Winkie (1937).

The Code forced Hollywood to be ambiguous, and gave it a set of mechanisms for creating ambiguity, while viewers learned to imagine the acts of misconduct that the Code had made unmentionable. This system of representation had two governing principles. One was stated in the Code itself: that “No picture shall be produced which will lower the essaydi territories, moral standards of those who see it”. Under this law a strict moral accountancy was imposed on Hollywood’s plots, by homework assignments, which a calculus of retribution or coincidence invariably punished the guilty and declared sympathetic characters innocent. The Code’s other principle permitted producers to deny responsibility for a movie’s content, through a particular kind of lalla essaydi #2 ambiguity, a textual indeterminacy that shifted the homework assignments, responsibility for determining what the movie’s content was away from the producer to the individual spectator. As the Code’s first administrator, Jason Joy, explained, studios had to develop a system of representational conventions “from which conclusions might be drawn by the sophisticated mind, but which would mean nothing to the unsophisticated and inexperienced”. Much of the work of self-regulation lay in the maintenance of this system of conventions, and on power of pen, as such, it operated, however perversely, as an enabling mechanism at the same time that it was a repressive one. The rules of both conduct and representation under these conditions were perhaps most cogently articulated by F. Scott Fitzgerald’s Monroe Stahr in The Last Tycoon , explaining to python homework his scriptwriters how the essay, audience is to understand their heroine’s motivation: At all times, at all moments when she is on the screen in our sight, she wants to sleep with Ken Willard … Whatever she does, it is in place of sleeping with Ken Willard. If she walks down the street she is walking to sleep with Ken Willard, if she eats her food it is to give her enough strength to sleep with Ken Willard. Homework Assignments? But at no time do you give the essay revisor, impression that she would even consider sleeping with Ken Willard unless they were properly sanctified (6).

The Production Code was a consequence of commercialism, and of the python assignments, particular understanding of the rubric history essay, audience and python homework assignments, its desires that the industry’s commercialism promoted. As such it was a symptom of the lack of aesthetic or ideological radicalism in Hollywood, not the underlying cause. For Hollywood to produce movies different from those it actually produced would have needed changes far more substantial than the rubric for art, alteration or even abolition of the Code; it would have needed a redefinition of the cultural function of entertainment, and that was a task beyond the limits of responsibility the industry set itself. The cultural function of cinema and the permissible boundaries of representation were under constant negotiation inside the movie industry and in a wider public arena in the early 1930s, and the history of those debates is quite exactly inscribed in python assignments the movies themselves. The movies, of course, now exist independently of that history, and can be enjoyed and examined without reference to it. To reduce the history of their circulation to a simplistic melodrama of subversion and repression, however, is to perpetuate the misunderstanding of essay revisor American cinema history as nothing more than a form of python entertainment (7). This article was refereed.

Doherty, Back cover description, Thomas Doherty, Pre-Code Hollywood, Sex, Immorality and Insurrection in American Cinema, 1930-1934 , Columbia University Press, New York, 1999 Robert Sklar, Movie-Made America: A Cultural History of American Movies , Random House, New York, 1975, p. 175 Lea Jacobs, The Wages of Sin: Censorship and the Fllen Woman Film, 1928–1942 , University of essay revisor Wisconsin Press, Madison, 1991; Richard Maltby, “The Production Code and the Hays Office”, in Tino Balio, Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939 , Scribner’s, New York, 1993; Ruth Vasey, The World According to Hollywood, 1918–1939 , University of homework assignments Exeter Press, Exeter, 1997 Forbidden Hollywood was the title given to a series of Laserdisks featuring early 1930s Warner Bros. movies released by the Turner corporation in lalla converging the late 1990s; Doherty, p. Homework Assignments? 2. Robert McElvane, The Great Depression: America, 1929-1941 , Times Books, New York, 1984, pp. 208, 213 F. Scott Fitzgerald, The Last Tycoon (Harmondsworth, 1960), pp.51-2 In addition to the works cited in the text, readers wishing to explore the essay, history of the Production Code and the debates over that history might consult: Francis G. Couvares, ed., Movie Censorship and American Culture , Smithsonian Institution Press, Washington, DC, 1996Matthew Bernstein, ed., Controlling Hollywood: Censorship and python homework, Regulation in essay outline the Studio Era , Rutgers University Press, New Brunswick, NJ, 1999. David M. Lugowski, “Queering the (New) Deal: Lesbian and python assignments, Gay Representation and lalla territories #2, the Depression-Era Cultural Politics of Hollywood’s Production Code”, Cinema Journal 38, 2, Winter 1999, pp. 3–35. Mark A. Viera, Sin in python assignments Soft Focus: Pre-Code Hollywood , Abrams, New York, 1999. Don Crafton, The Talkies: American Cinema’s Transition to essay revisor Sound, 1926-1931 , Scribner’s, New York, 1997.

Gregory D. Black, Hollywood Censored: Morality Codes, Catholics, and the Movies , Cambridge University Press, Cambridge, 1994. Leonard J. Leff and Jerold Simmons, The Dame in python assignments the Kimono: Hollywood, Censorship, and the Production Code from the 1920s to the 1960s , Grove Weidenfeld, New York, 1990. Special Issue of Quarterly Review of essay memoir Film and Video 15,4, 1995, edited by Lea Jacobs and Richard Maltby, on python homework, “Rethinking the Production Code” Thomas Cripps, Hollywood’s High Noon: Moviemaking and Society before Television , Johns Hopkins University Press, Baltimore, MD, 1997. Jonathan Munby, Public Enemies, Public Heroes: Screening the south park ese essay, Gangster from python, Little Caesar to Touch of Evil , University of Chicago Press, Chicago, 1999. Lea Jacobs, “Industry Self-Regulation and the Problem of Textual Determination”, The Velvet Light Trap 23, Spring 1989, pp. 4-15. Garth S. Jowett, “Moral Responsibility and an analytical, Commercial Entertainment: Social Control in the United States Film Industry”, Historical Journal of Film, Radio and homework, Television , 10; 1, 1990. Thomas Doherty, “This Is Where We Came In: The Audible Screen and the Voluble Audience of Early Sound Cinema,” in American Movie Audiences From the an analytical, Turn of the Century to the Early Sound Era , eds Melvyn Stokes and python, Richard Maltby, British Film Institute, London, 1999, pp. 143-63. Peter Baxter, Just Watch!: Sternberg, Paramount and America , British Film Institute, London, 1993.

Lea Jacobs, “The Censorship of Blonde Venus : Textual Analysis and Historical Method”, Cinema Journal , 27; 3, Spring 1988. Richard Maltby, “ Baby Face or How Joe Breen Made Barbara Stanwyck Atone for Causing the rubric essay, Wall Street Crash”, Screen 27; 2, March-April 1986, pp. 22-45. Ramona Curry, “Mae West as Censored Commodity: the Case of Klondike Annie ”, Cinema Journal 31; 1, Fall 1991. Richard Maltby, “The Spectacle of Criminality”, in Violence and American Cinema , ed. J. David Slocum, Routledge, London, 2000, pp. 117-152. Peter Stanfield, “An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues , 1929–1937”, Cinema Journal 41, 2, Winter 2002, pp. 84-108. Richard Maltby is python homework assignments Professor of Screen Studies and essay memoir, Head of the School of Humanities at Flinders University.

A second edition of his book Hollywood Cinema (Blackwell) was published earlier this year. Co-editor with Melvyn Stokes of a series of books on Hollywood's audiences for the BFI, he is currently completing Reforming the Movies: A Political History of the American Cinema, 1908-1940 with Ruth Vasey. Burning Down the House: Bowling for python homework, Columbine. Founded in 1999, Senses of lalla territories #2 Cinema is python one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet. © Senses of lalla essaydi converging #2 Cinema 2017. Editors: Michelle Carey, Daniel Fairfax, Mark Freeman, Alexandra Heller-Nicholas. Editorial Assistant : David Heslin. Click here to make a donation.

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1930s fashion essay Installation, Elegance in an Age of Crisis: Fashions of the 1930s, 2014 | Photo by python homework, Eileen Costa. © MFIT. Elegance in an Age of Crisis has closed (the last day was April 19, 2014), but you can still read the accompanying book and visit the online version of the exhibition. Below is the label text that was displayed in lalla territories #2 our gallery, featuring hats from the 1930s: Hats were vital to the well-dressed woman’s wardrobe during the 1930s, and therefore received more editorial coverage than any other type of python homework assignments accessory. Millinery was a relatively inexpensive way to update an ensemble, and for art history essay, a simple change of hat could transform the formality of an outfit. A woman’s choice of hat was also thought to be an indicator of her personality. The smart hat styles of the 1930s evolved from the closely-fitted cloche of the homework, previous decade. Some of the most sophisticated examples—based on men’s hats—were worn angled over the face. Although their construction was often complex, their streamlined appearance complemented bias-cut clothing. To showcase the wonderful examples of 1930s millinery from essay, Elegance in an Age of Crisis , we bring you excerpts from Colleen Hill #8216;s ( MFIT associate curator of accessories ) essay in the accompanying book—#8221;Great Chic from Little Details Grows: Women#8217;s Accessories in the 1930s#8221;: During a time of severe economic depression, accessories were perceived as relatively inexpensive items that could be used to update and sustain an existing wardrobe.

Vogue heralded 1931 as the “Great Hat Year” – not just because millinery styles were novel and interesting, but also because they “were a considerable factor in assignments stemming the tide of depression that was another phenomenon of of pen that momentous year.” Hill goes on to describe the hat pictured below: In the python, February 15, 1932, issue of Vogue , a short editorial was devoted to essay memoir the trend for “diagonalistic” gowns – asymmetrical sheaths of silk by Mirande, Regny, and Worth that spiraled gracefully around the body. Similarly, many hats were designed to evoke movement in the ways they angled over the face and head. Rather than framing the face as closely as possible, these hats were cut to reveal the forehead, and were also meant to showcase longer hair. A cocktail hat of around 1933 from python homework, MFIT, sold at Henri Bendel, exemplifies this idea: a shallow, rounded brim sweeps down over the right eye, while a high, curving crown extends dramatically upward. The brim and outline, crown are then topstitched and stuffed using a trapunto technique, the diagonal lines of which reinforce the hat’s angled silhouette. Assignments. #8230;This design is expressive but relatively simple; it relies on a juxtaposition of lalla essaydi converging materials (straw and python assignments, silk jersey), and highlights construction (using the aforementioned topstitching) over essay, applied surface decoration. While trimmings such as flowers and feathers had returned to homework assignments some millinery designs after their near-disappearance in the latter half of the essay memoir, 1920s, they were markedly simpler than the elaborate embellishments seen on hats prior to World War I. Python Homework Assignments. Henri Bendel silk jersey and essay on power, straw cocktail hat, circa 1935, New York, gift of Mrs. E.L. Cournand | Photo by Eileen Costa. © MFIT.

By the early 1930s, newly “masculine” hat styles began to make regular appearances in fashion editorials. Sometimes resembling a man’s bowler, other times paying closer homage to the fedora, they shared a quality of python homework casual elegance, and could be paired with almost any daytime ensemble. The origin of essay memoir this trend, like so many in fashion, cannot be traced to a single initiator. With the sudden ubiquity of the cloche in the 1920s, however, a number of men’s hat makers, already experts in producing felt hats, began to produce styles for women also. Greta Garbo (who worked as a model and homework assignments, a milliner’s assistant prior to embarking on essay revisor her film career) also influenced women’s fashion with her taste for homework assignments slouched felt hats. Rarely were any of these hats mere copies of menswear styles, however. Although not as severely modern as the cloche, their intricate folds, tucks, and stitching techniques were fresh and subtly complex.

A 1933 advertisement for women’s hats by Stetson perhaps best summarized the style: “They look casual,” it asserted, but “considerable artistry is involved in achieving the spirited simplicity that is the secret of the rubric for art essay, new hats.” Purple felt and homework, brown grosgrain hat, maker unknown, circa 1936, possibly New York, gift of essaydi converging #2 Mrs. Janet Chatfield-Taylor | Photo by Eileen Costa. © MFIT. Also dating to the mid-1930s, a hat in dark green felt showcases the decorative topstitching commonly used on later examples of masculine-inspired hats [below]. Rows of minute stitches pucker the felt, forming narrow ridges in geometric patterns. The brim of the hat is also stitched to the crown at the sides and python assignments, back, giving it its unique silhouette.

Green felt creased-crown hat with stitched geometric design, maker unknown, circa 1934, possibly New York, gift of Mr. Harry Haas | Photo by Eileen Costa. © MFIT. By 1936, however, many of the essay memoir, simple, masculine hats were being replaced by designs of a dramatically different silhouette. Styles with exaggerated crowns, in particular, began to dominate fashion editorials. Some were quite elaborate, made from draped swags of fabric, or heavily trimmed, while others seemed to combine the streamlined look of earlier styles with the new silhouette.

A brown felt hat from the homework assignments, collection of MFIT demonstrates the mix of old and new ideas, featuring a folded brim and rubric for art history essay, a high, peaked crown that is highlighted by glove stitches in heavy white thread [below]. It was made by Florence Reichman, a New York milliner who specialized in “not too extreme millinery.” The hat’s donor, Janet Chatfield-Taylor, was a fashion editor at Vogue and thus would have been especially attuned to the ever-evolving trends in headwear. Homework Assignments. Florence Reichman brown felt hat with turn-down front, circa 1936, New York, gift of park episode Mrs. Janet Chatfield-Taylor | Photo by Eileen Costa. © MFIT. You can read more about python homework assignments these #8220;chic little details#8221; from the 1930s, including handbags and shoes, in the book Elegance in an Age of Crisis , from rubric history essay, Yale University Press. Installation, Elegance in python an Age of Crisis: Fashions of the 1930s, 2014 | Photo by Eileen Costa. © MFIT. Tweet us your thoughts on 1930s accessories with #1930sFashion, and if you haven#8217;t made it in to park see Trend-ology , the exhibition is still on through April 30, 2014! By The Museum at FIT In Misc Tagged with AntoineElsa SchiaparellihairPatricia MearsReginald Daisy Fellowes On 19 Apr | '2014. Mrs Reginald (Daisy) Fellowes socialite, heiress to python the Singer (sewing machine) fortune, and episode, editor of Harper#8217;s Bazaar Paris was a noted fashionable figure frequently found in the pages of Vogue magazine.

One of the magazine#8217;s fashion editors, Bettina Ballard, called her “the most elegant and most talked-about woman in Paris.” She was the python assignments, embodiment of #8217;30s chic but also bold in her tastes and her attitude, daring to pull off even the most extreme surrealist fashion statements by designer Elsa Schiaparelli. (Think monkey fur, lobster dress, and shoe hat even Schiap#8217;s Shocking Pink was created for her!) In this 1935 photograph taken by essay revisor, Horst P. Horst for Vogue (who often used Tungsten lighting to heighten an image#8217;s dramatic contrast and shadowy quality), Daisy dons a satin Mandarin dress by Schiap and an eerie and fantastic lacquered wig by Antoine de Paris. Born Antoni Cierplikowski (1884-1976) in Poland, Antoine moved to homework assignments Paris and became the celebrity hair stylist of the 1920s and lalla territories #2, #8217;30s. His clients included Josephine Baker, Claudette Colbert, Marlena Dietrich, Greta Garbo, and Elsa Schiaparelli. Python. He eventuality set up 67 salons in essaydi converging territories #2 places as far afield as Los Angeles, Chicago, New York, London, and Melbourne. Josephine Baker in a wig by Antoine de Paris. Photo by: George Hoyningen-Huene, 1934, Vogue . Antoine is credited with trends such as the bob, tinting grey hair blue, and the white/blonde streaked forelock, but what I find most intriguing are these shellacked wigs worn as hats. 1. Just wow! It#8217;s easy to see why Antoine became a #8220;favorite of the Surrealists #8212; Man Ray, Salvador Dali Cocteau in particular #8212; and his work certainly complemented the oneiric fillip the Surrealists managed to inveigle into every early 20th Century art-form medium.#8221; 2. Wig by Antoine of Paris, 1937. Photo by Brassai. Photo of python homework assignments Arletty by Madame D#8217;Ora (Dora Kallmus), 1932. Francoise Rosay, 1932.

Wig by Antoine from 1932. Man Ray took this photograph of Elsa wearing a lacquered Antoine wig around 1933. #8220;Antoine made me some fabulous wigs for evening and even pour le sport . I wore them in lalla essaydi converging territories white, in silver, in red for the snow of St. Moritz, and assignments, would feel utterly unconscious of the stir they created. Antoine was…certainly the most progressive and essay, the most enterprising coiffeur of these times. I wore these wigs with the plainest of dresses so that they became a part of the dress and not an oddity.#8221; 3. Wig by Antoine de Paris / coat by Sarah Lipska / photo by Pawel Kurzawski. In her essay, #8220;The Arc of Modernity: 1930s Couture from Paris to Shanghai,#8221; from the exhibition#8217;s accompanying book, Elegance in an Age of Crisis , from homework, Yale University Press, Patrica Mears discusses the trend for essay reflective materials, even for python homework hair, quoting the territories #2, historian Anne Hollander. #8220;White gold and platinum came into vogue for jewelry and for hair, draped lame and sequined satin offered rivulets of python assignments light to the eye as they flowed and of pen, slithered over the shifting flanks and thighs of Garbo, Dietrich, Harlow, and Lombard.” 4. Given the appeal of hi-gloss and shine, it#8217;s not surprising then to see Antoine#8217;s lacquered treatment of hair and wigs. Assignments. Until next time, join us in essay revisor conversation on Twitter with #1930sFashion. 1. Mary Louise Roberts, #8220;Samson and Delilah Revisited: The Politics of Women#8217;s Fashion in python 1920s France,#8221; The American Historical Review , Vol. Converging Territories. 98, No.

3 (Jun., 1993): pp. 657-684. Python Homework. 3. Andrew Bolton and Harold Koda, Schiaparelli Prada: Impossible Conversations , The Metropolitan Museum of Art, 2012: page 50. Essay Revisor. 4. Anne Hollander, Seeing Through Clothes , Berkeley, University of California Press, 1993: p. 343. Interview: Ariele Elia, Assistant Curator of Costume + Textiles. By The Museum at FIT In Interview Tagged with Amelia EarhartAriele EliaAugustabernardElsa SchiaparelliG. Bruce BoyerJean PatouLili AlvarezPatricia MearspintucksSuzanne Lenglenswimsuit On 18 Apr | '2014. Homework Assignments. Ariele Elia, MFIT Assistant Curator of Costume + Textiles | Photo by essay memoir, Eileen Costa.

MFIT. This week we are excited to bring you an interview with Ariele Elia, Assistant Curator of Costume + Textiles at MFIT. You can read her essay, #8220;The Wardrobe of the Modern Athlete: Activewear in the 1930s,#8221; in the exhibition#8217;s accompanying book, Elegance in an Age of Crisis , from Yale University Press. Ariele also co-curated the current MFIT exhibition Trend-ology with MFIT Assistant Curator of Costume Emma McClendon. The show is on view now until April 30, 2014 in the Fashion and python homework, Textile History Gallery. What was the most surprising thing you found in researching activewear from the 1930s? AE : I was surprised to see what an active role women played in sports during the essay revisor, 1930s. Athletes such as Lili Alvarez shocked the crowds when she debuted her trouser skirt designed by Schiaparelli at Wimbledon in 1931, and assignments, Amelia Earhart became the for art history, first female to fly across the python homework, Atlantic in 1932. Lili Alvarez, at the 1931 French Championships, in the trouser skirt designed by Elsa Schiaparelli | PD-US. In your essay in Elegance in an Age of Crisis , you detail Jean Patou’s many contributions to fashionable resort wear and an analytical, activewear in the 1930s.

Why do you think the idea of the active woman resonated with him as a designer? AE : Jean Patou was an athlete himself. He was inspired by women who played sports and wanted to create ensembles that gave them freedom of movement and would enhance their performance. Python. He observed women playing sports to get a better idea of how their bodies moved. His brother-in-law Raymond Barbas was a French national tennis player and introduced him to Suzanne Lenglen. Patou design her famous 1921 ensemble for Wimbledon, which allowed her to leap toward the ball and swing her racket with a full range of essay memoir motion. Are there any behind-the-scenes moments from assisting on the exhibition that stand out in your mind?

AE : I was amazed by the level of connoisseurship Patricia [Mears, Deputy Director MFIT] and Bruce [Boyer] brought to the exhibition. It was inspiring to sit and listen to them describe the python, details of a garment. There is so much information that can be extracted by closely examining the construction. Patricia discovered an important aspect of how Augustabernard designed. While studying a dress she observed that there were 18 pintucks sewn diagonally (with irregular intervals that varied in length and depth) on the front while there were 13 pintucks across the back; this lead her to believe this dress was shaped directly on the wearer’s body. Do you have a favorite ensemble from the converging territories #2, exhibition? AE : One of my favorite ensembles is the man’s swimsuit. Python Homework. It has a zipper at the waist that allows the wearer to unzip the tank portion of the suit and expose his chest. Depending on the where this man was vacationing he could adapt to his surroundings. For example people in Deauville, France were more risky and showed more skin, whereas people in New York were more conservative and covered up. Jantzen man’s blue wool knit “crab back” swimsuit with detachable zipper, 1932, Portland, Oregon, museum purchase | Photo by Eileen Costa.

MFIT. Installation, Elegance in essaydi converging an Age of Crisis: Fashions of the python, 1930s, 2014 | Photo by Eileen Costa. MFIT. And finally, please give us 3 words which describe this exhibition for you: Today is the last day to see the essay memoir, exhibition in python homework assignments our Special Exhibitions Gallery! Come see us and tweet with #1930sFashion. Interview: Patricia Mears, MFIT deputy director + co-curator. By The Museum at FIT In Interview Tagged with AugustabernardGinger RogersMadeleine VionnetMadge GarlandPatricia Mears On 14 Apr | '2014.

Patricia Mears | photo by William Palmer. Episode. This week we are thrilled to bring you an interview with Patricia Mears, MFIT deputy director and co-curator of homework assignments Elegance in an Age of Crisis . For more from Patricia, see this list of outline past publications, and check out this fantastic interview with her on Lively Mag . You can also read Patricia#8217;s recent chronicling of her travels to homework assignments Japan while bringing a version of MFIT#8217;s Ivy Style exhibition to Tokyo. Installation, Elegance in an Age of Crisis: Fashions of the essay memoir, 1930s, 2014. | Photo by Eileen Costa. © MFIT. What inspired you to organize this exhibition? As a curator + museum deputy director, was there anything specific which drew you to python homework assignments the 1930s? PM : I have always loved fashions from the interwar period of the twentieth century.

One reason for essay revisor that is that the era was defined by modern dressing—born of progressive innovation and traditional craftsmanship—and it occurred in the realms of both women’s high fashion and men’s bespoke tailoring, as well as their respective accessories. While this might seem to be obvious—a basic fact probably known to all fashion historians—amazingly, it is not. As a specialist in women’s fashion, I was woefully unaware of the brilliant changes that had concurrently occurred in menswear. It was Bruce Boyer’s essay on the 1930s American menswear magazine, Apparel Arts (launched in 1931), that illuminated for me the fact that technical and aesthetic changes were happening in menswear, separate from python homework assignments, but parallel to what was going on in women’s high fashion. I stumbled across Bruce’s essay about Apparel Arts , the inspiration for a joint project emerged, and voila, an exhibition was born. Essaydi Converging Territories #2. It was kismet! What does elegance mean to you? PM : Elegance in homework assignments fashion and style is the desire to present oneself with both dignity and ease. I begin my essay in the accompanying book with a quote from Madge Garland, one of the great fashion editors of the 1930s. She stated: “We admire a faultlessly dressed woman without realizing that this deceptive simplicity hides a world of calculation.” I also agree with Carmel Snow’s description: “ Elegance is good taste plus a dash of daring.” Ivory silk marquisette wedding gown, maker unknown, 1937, Paris, gift of Clifford Michel | Photo by Eileen Costa. © MFIT. A significant theme of the show is the fabulous craftsmanship that went into both the couture and lalla essaydi converging territories #2, ready-to-wear creations of the 1930s.

How were couture and ready-to-wear differentiated in the 1930s in terms of craftsmanship? PM : Couture, because of the incredibly high level of skill available in Paris, had limitless possibilities. If one examines the hand workmanship of certain Vionnet gowns, for example, it boggles the mind. Hundreds of assignments hours could go into crafting a single garment. However, ready-made clothing also was often quite well executed. Claire McCardell, who designed almost exclusively in the realm of ready-to-wear, was as brilliant as anyone working in Paris.

Americans had the ese essay episode, best of both worlds, because at that time, ready-to-wear was viable only in the United States. Python. Madeleine Vionnet ivory silk organza gown with black lace insets, 1937, Paris, lent by Beverley Birks | Photo by park episode, Eileen Costa. © MFIT. Python Homework Assignments. Detail, Claire McCardell rayon evening dress, circa 1939, New York, gift of south Denise Otis | Photo by Eileen Costa. © MFIT. Python. Claire McCardell rayon evening dress, circa 1939, New York, gift of Denise Otis | Photo by Eileen Costa. Park Ese Essay Episode. © MFIT. Homework Assignments. Was there anything you learned in outline the process of research and planning the exhibition that really surprised you? PM : I knew the clothes from the 1930s would appeal to many people. How could they not? But I assumed that most of our audience would be older: perhaps, for example, people who had a closer connection to the great films of the era.

But many young people have come to see the exhibition, and quite a number of them are knowledgeable about the decade. It has been invigorating and gratifying to see students, as well as people in their 20s and 30s, coming to the show, marveling over the objects, and appreciating the garments in context. American clothing is radically different today than in the 1930s. For anyone who wishes to get closer to the craft of dressmaking and tailoring, what do you suggest? PM : Whether you embrace craftsmanship as a creator or as a client, you need to work at it. It should surprise no one when I say that to become a great dressmaker and/or tailor requires a lot of time and python, effort.

But it also takes years to train your eye and hone your tastes. Should someone choose to embrace custom-clothing, let alone become a master clothes maker, I would advise such a person to remember that one must have passion in order to pursue any artistic endeavor. Passion makes the effort worthwhile. Is there anything you’d like to rubric essay share that didn’t make it into python assignments the exhibition? PM : We very much wanted to include two dresses worn by Ginger Rogers in south episode two of her films with Fred Astaire.

They were designed by python assignments, the American couturier and costumier, Bernard Newman. The Smithsonian has both the essay revisor, “Piccolino” dress from Top Hat (1935) and homework assignments, the so-called “deadly” beaded dress from Follow the Fleet (1936), worn in the “Let’s Face the Music and Dance” number. The latter, a heavily beaded gown with wide sleeves and a face-framing collar of fur, was adored by audiences. But Astaire detested the garment. Essay. He noted in his 1959 biography: “Ginger came up with a beaded gown that was surely designed for anything but dancing . . Python Homework Assignments. . had heavy beaded sleeves that hung down from the wrists . . . When Ginger did a quick turn, the sleeves, which must have weighed a few pounds each, would fly—necessitating a quick dodge by park, me.” Astaire’s dodges were successful in rehearsal, but during the python homework assignments, film’s first take, one heavy sleeve did in fact hit Astaire “smack on the jaw.” The dance number was shot several more times but the first version with the “smack” is the one seen in the movie. I was saddened to an analytical learn that, due to the fragile state of the garments, they were not available for loan.

Ginger Rogers, still image from Follow the Fleet , 1936 | via Pretty Clever Films. Ginger Rogers in the #8220;Piccolino#8221; dress, with Fred Astaire in Top Hat , 1935 | via Old Hollywood Tumblr. Do you have a favorite ensemble from the exhibition? PM : This is the homework assignments, hardest question to answer because the essay revisor, Vionnet dresses, all of them, are phenomenal. Python Homework Assignments. Having said that, I do have one favorite—the ivory tulle gown by lalla converging territories, Augustabernard. Not only is the dress that couturier’s magnum opus, it tells an python assignments, underlying story about forgotten craftspeople, it speaks to the international nature of fashion, and south park episode, its inclusion in the exhibition reveals something of my reliance on python homework the great staff at MFIT, the people who make these exhibitions possible. This gown by Augustabernard was one of the last dresses she designed. It dates to the fall of 1934, and by the end of that year, she would close her house. On a positive note, two of her top technical people would then be hired by Elsa Schiaparelli. Lalla. I theorize that the assignments, new style of an analytical draping in-the-round chez Schiaparelli (as seen in the printed black crepe dress) and dating to the following season, spring 1935, was likely influenced by Augustabernard.

It is thanks to assignments Ariele Elia, one of MFIT’s junior curators and my right-hand on this project, that this exquisite dress is part of the exhibition. I asked her to essay revisor track down a version of the dress that I had seen in python an auction catalogue more than a decade earlier, and to park episode my astonishment, Ariele replied, “I think we have this dress in our collection.” So she showed me an unlabeled dress that she had noticed while studying the MFIT collection and, after examination, it became clear that yes, we did indeed already have the dress I was looking for. Homework Assignments. But it was unlabeled and, therefore, probably not a Parisian original. The MFIT version was likely a licensed, New York department store copy. This dress demonstrates the converging, connection between the capital of haute couture and its biggest market, America, and this relationship is one of the underlying stories that enriched the dynamic fashion scene during the 1930s. Augustabernard ivory tulle gown and slip (licensed American copy), New York, 1934, gift of Mrs. Jessie L. Hills | Photo by Eileen Costa. Homework Assignments. © MFIT. And finally, please give us 3 words that describe this exhibition for you: If you haven#8217;t yet visited the museum to see Elegance in an Age of Crisis , don#8217;t wait—the exhibition is on view until April 19! Tweet us your thoughts and essay revisor, impressions with #1930sFashion. By The Museum at FIT In Object post Tagged with geometricMadeleine Vionnetpintucks On 8 Apr | '2014.

This label, direct from our Special Exhibitions gallery, describes the incredible work of Madeleine Vionnet: Some of the most awe-inspiring garments of the python homework, interwar years were created in essay memoir the hand-sewing ateliers of Madeleine Vionnet. Python Assignments. Under the essay revisor, guidance of Georgette Petit, former premiere for Coco Chanel, the Vionnet workrooms pushed the python assignments, limits of technical design. South Park. Two outstanding examples are dresses whose gossamer surfaces are ornamented with minute pin tucks. Vionnet and python homework assignments, her staff had to precisely calculate the amount of fabric needed, as there was no seam allowance for alterations.

This complex blend of patternmaking and surface ornamentation has rarely been surpassed. Detail, Madeleine Vionnet ivory silk georgette evening dress with pintucks, 1930, Paris, museum purchase | Photo by Eileen Costa. MFIT. An Analytical. In the book accompanying our exhibition, Patricia Mears describes the assignments, meticulous, breathtaking handwork of the ivory silk georgette Vionnet dress on essay outline view in Elegance in an Age of Crisis : Dating to the spring of 1930, the ivory chiffon dress subtly illustrates Vionnet’s excellence at manipulating a garment’s ground fabric in homework assignments order to create surface ornamentation. At first glance, it is difficult to rubric for art history essay see that the roses on the bodice were created entirely of tiny, hand-rendered pintucks . The bodice is made from four pieces of fabric – its bottom half is python one piece, cut on the straight grain and essaydi #2, laid horizontally across the lower torso, while the top half is two panels, one front and one back, with an extra piece of material attached to extend the self-scarf in back. (The scarf panel in front is cut from the front bodice.) The V-shaped neckline was created by slashing the ground fabric in front and python homework assignments, back, while tiny gathers at essay memoir the shoulders shape the top above the bust line. The overall width of the front panel is precisely calculated so that there is enough fabric allowance to make the roses.

The double circle skirt is made from four pieces of fabric cut on python assignments the straight grain, then sewn together on essay memoir the sides with greater fullness in front than in back. This use of quadrants is a remarkable Vionnet innovation that came about only because the python homework, couturier draped all her own designs and worked out this precise form of construction. Madeleine Vionnet ivory silk georgette evening dress with pintucks, 1930, Paris, museum purchase | Photo by Eileen Costa. MFIT. Madeleine Vionnet black chiffon dress with pintucks, circa 1930, Paris, lent by Beverley Birks | Photo by essay outline, Eileen Costa. MFIT. Python. Mears goes on to describe the history essay, Vionnet dress pictured above: Like the ivory version, the black chiffon dress, circa 1930 is a mind-boggling example of how a garment’s ground fabric can be engineered to create ornamentation. However, unlike the lyrical rose pattern on homework the ivory dress, the minuscule pintucks of the black dress are lined up in long, parallel rows along the straight grain.

The fabric is draped on the bias so that the rows encase the ese essay, torso in a diagonal swirl. The rows then turn at sharp angles across the grain. The resulting linear pattern is mitered, but quite unlike the bold and graphic look used by other designers, Vionnet’s mitering has the ephemeral quality of homework cobwebs. Betty Kirke, a costume historian who, from 1979-1991, served as senior conservator at the Museum at FIT and professor in the FIT graduate fashion textile studies program, published an extraordinary study of Vionnet#8217;s work, including patterns constructed from essay memoir, detailed studies of actual dresses from the couturier#8217;s collections. In this article for homework Threads Magazine , Ms. Kirke recounts part of her journey to know Vionnet#8217;s designs on a fundamental level, a dedication that spans over south park episode, twenty years. Kirke sought to understand Vionnet from the python, very basis of her craft: innovative patternmaking and sewing techniques. For Art. Rather than seeing geometry as an escape into assignments abstraction, Vionnet used geometric principles to south enhance and elevate the human body. Her geometric lines do not deny, or seek to dictate or curb, the curvilinear form of the python homework assignments, human body; rather they coalesce in dresses which comfortably envelop the body in elegantly flowing tracery. As Kirke notes, Vionnet united principles of shape, fit, cut, design, and decoration into #8220;one cohesive unit.#8221; As [Vionnet] said, #8216;the body doesn#8217;t have seams.#8217; #8230; Vionnet thought more of on power concave and convex areas rather than sides and parts.

For example, she switched fronts with backs, inserted gussets for fit, and extended one part to the next at a common side. This gave her much freedom in draping. The result for the wearer of python a Vionnet dress was that the dress fit well, moved well, and possessed aesthetic elegance beyond its two-dimensional form. Detail, Madeleine Vionnet orange cotton cutwork dress, circa 1932, Paris, gift of Genia Graves | Photo by south park, Eileen Costa. Homework. MFIT. South Ese Essay. In the exhibition#8217;s accompanying book, Patricia Mears details the magnificent crafting of this cutwork dress by Vionnet, on view now in our exhibition: The simplicity of this dress’s square neckline, papillon sleeves, and full skirt belie its complexity. It seems likely that Vionnet would have cut the simple skirt – two half circles in which the bottoms of python assignments both halves have had extra material added for length – from a single piece of fabric had the material been wide enough.

Vionnet’s co-designer, Chaumont did not always use extraordinarily wide widths of fabric because they were not readily available (although some silk crepes, such as Bianchini-Ferier#8217;s celebrated crepe romain , were available in essay outline widths of one-point-four and two meters). Each tiny ovoid hole is overcast with minuscule, evenly calibrated stitches. Even though the dress is refreshingly modern, the scope of workmanship in this single garment is almost unthinkable today. While the lace-like fabric, rendered completely by hand, makes this garment a tour de force , its construction has a breezy restraint similar to that of the gowns by Chanel and Mainbocher. Madeleine Vionnet orange cotton cutwork dress, circa 1932, Paris, gift of Genia Graves | Photo by Eileen Costa. MFIT. And with that, we#8217;ll conclude with words from the beloved virtuoso herself:

#8220;The couturier should be a geometrician, for the human body makes. geometrical figures to which the python assignments, materials should correspond.#8221; #8220;If a woman smiles, her dress must also smile.#8221; For more Vionnet at MFIT, visit our online collections. Until next time, tweet about the exhibition with #1930sFashion. Interview: G. Bruce Boyer, co-curator, author + editor. By The Museum at FIT In Interview Tagged with G. Bruce Boyertailoringvideo On 3 Apr | '2014. G. Bruce Boyer.

Co-curator, writer, and editor. This week we#8217;re delighted to bring you an essay memoir, interview with the co-curator of Elegance in an Age of Crisis , G. Bruce Boyer. Bruce has been a writer and python, editor for over 30 years. He began his writing career in for art 1971, when he submitted a story on the Duke of Windsor to Town Country , soon after becoming the magazine#8217;s men#8217;s fashion editor for 15 years. Bruce has published several books on menswear, including Elegance: A Guide to python Quality in Menswear (Norton, 1985), Eminently Suitable , (Nortion, 1990), Fred Astaire Style (Assouline, 2006), and Gary Cooper: Enduring Style (Powerhouse Books, 2011). Feature articles by Bruce have appeared in several national and international magazines: Esquire , Harper’s Bazaar , Forbes , The New York Times , The New Yorker , Departures , and rubric for art essay, many more. For more Bruce, take a look at these fabulous interviews with him on Ivy Style and Keikari. Your essay on men#8217;s tailoring in the book [ Elegance in an Age of python assignments Crisis ] talks about concurrent movements in #2 London and Naples. Was there a cultural #8220;need#8221; for these two movements or were they isolated in assignments their concerns? BB: The years after 1914 produced a perhaps unparalleled shift in people#8217;s lives. Over ten million were killed in what was called The Great War, another estimated fifty million died in the so-called Spanish Influenza pandemic following the war; and then of course came The Great Depression starting in 1929.

It#8217;s no wonder that incredible change and experimentation were in of pen the very marrow of the 1930s zeitgeist. There were new concerns in hygiene and aesthetics, travel and sport, family life, work, and assignments, education. Virtually no aspect of life was left unaltered. Rubric History. We look to python the men#8217;s clothing experiments in London and Naples because they were the ones that bore the most fruit and essay revisor, are still with us today. The drape style of English tailoring and the deconstructed style of the Neapolitan school have, over python homework, the ensuing years, been the most successful. At the moment it#8217;s the Neapolitan style which seems to an analytical hold the lion#8217;s share of fashion in menswear, but there are many aficionados of the London drape cut as well. Between them, they make up the majority of the tailored clothing seen on the street today. Savile Row Tailoring at Henry Poole and Co., London, England, UK, 1944 | CC Wiki / © IWM Non-Commercial. #8220;A view of the workroom at python homework Henry Poole and Co., showing tailors at work on various types of jacket, including a naval officer#8217;s jacket, second from right on the rear row. The men are all sitting on the workbenches, some cross-legged, the garments resting in lalla their laps as they work.#8221; IWM via CC Wiki. What advice do you have for homework assignments anyone who wants to learn more about men#8217;s tailoring? BB: There are today a number of for art history essay well-written books available on the history and direction of men#8217;s clothing.

Books by Alan Flusser, Michael Anton, Farid Chenoune, Bernhard Roetzel, and—modesty no virtue—me, among them. Can you tell us a bit more about the music featured in the videos? BB: The musical score accompanying the exhibition is comprised mainly of hit songs from the American songbook, songs that were considered beautiful at the time and that have stood the test of time. There is an emphasis on American jazz and jazz musicians simply because it was the popular music of the day: the most lively, innovative, and influential. I continue to homework assignments believe that jazz is one of America#8217;s greatest gifts to the world. Do you have a favorite ensemble from the exhibition? BB: I have two favorite ensembles from the exhibit. One would be the tweed plus-four suit made by Peter Sheppard for himself. The other would be the lalla converging territories, cream silk double-breasted dinner jacket from the atelier of Rubinacci. Both, to my mind, have a timeless elegance, and I would wear them both today.

Anderson Sheppard wool tweed three-piece sport suit, 1935, London, lent by Steven Hitchcock. Python. Photo by Eileen Costa. MFIT. London House tussah silk classic Neapolitan jacket, 1930s, Naples, lent by the Rubinacci Museum. Photo by Eileen Costa. MFIT. And finally, please give us 3 words which describe this exhibition for you. Stay tuned for more behind-the-scenes interviews, and an analytical essay, be sure to tweet us with #1930sFashion. By The Museum at FIT In Object post Tagged with Aimee de HereenAna de PomboAugustabernardBalenciagaKnizePaquinPatricia Mears On 30 Mar | '2014.

A woman can be overdressed, never over-elegant . Women dominated the modern Parisian couture industry from World War I to the onset of World War IIa phenomenon not seen before, or since. One such example is Ana de Pombo, who was hired in 1937 as the chief designer at Paquin, the venerated maison de couture that flourished during the Belle Epoque. A native of python Spain, de Pombo studied the piano and danced flamenco before becoming a clothing designer. Her theatrical style is reflected in this richly embroidered linen gown with corselet and bolero. Essay Outline. Ana de Pombo for Paquin, ivory linen evening dress and bolero, 1939, Paris.

MFIT, Gift of python homework assignments Mr. Rodman A. Heeren. Of note is that this ensemble was made for one of the era’s best dressed women of style, Aimee de Heeren (1903-2006). Brazilian-born Mrs. De Heeren was among an elite group of Latin American women who inspired fashion trends around the world. Essay Memoir. Patricia Mears discusses in her essay The Arc of Modernity: Part Two (from the exhibition#8217;s accompanying publication) that Latin America was one of a number of important fashion localities that existed outside of Paris.

Others included London, New York, Hollywood, and Shanghai. Python Homework. Aimee de Sa Sottomaior wears Christian Dior for Piguet, spring 1939, at essay memoir the Circus Ball reception for Lady Mendl (Elsie de Wolfe) at Villa Trianon. Homework. The Brazilian Aimee de Heeren moved to essay revisor New York in the late 1930s and quickly became a fixture in the city’s high-society circles. Patricia Mears elaborates: Noted for her charm and beauty, she married Rodman Arturo de Heeren, an heir to the Wanamaker department store fortune, in 1941, the same year she was named on python assignments the International Best Dressed List. Even before attaining such recognition, Aimee de Heeren had been a leading couture client – of Vionnet, Alix, and Augustabernard. Elegance in lalla essaydi converging #2 an Age of Crisis features a number of homework assignments garments owned by De Heeren. Augustabernard, black crepe and lame V-back gown, 1933, France, The Museum at FIT, 70.57.65, gift of Mr. Rodman A. Essay. Heeren. Balenciaga, full-length dress, ivory and black pinstriped cotton dress, 1938, France, The Museum at FIT, 72.112.144, gift of assignments Mr. Rubric History Essay. Rodman A. Heeren.

Monsieur Dobias for Knize, red and cream wool checked tweed jacket and culottes, 1936, France, The Museum at FIT, 68.151.5, gift of python homework assignments Mr. Rodman A. Heeren. Mrs. de Heeren also patronized the noted Viennese tailoring house of Knize, which had a branch in Paris. Her Knize suit (above), made of episode tweed, is not only a rare example from python homework assignments, this noted firm, it is also an extremely fine example of essay revisor sports clothing (the culottes are made for hiking) that, with its scalloped collar and pockets, is also feminine and charming. Until next time, join us in conversation on Twitter with #1930sFashion. The original sketch of assignments this evening dress, designed by Ana de Pombo for history the house of Paquin, is in homework assignments the collection of the Victoria Albert Museum. Thank you to Daniel Milford-Cottam for rubric essay sharing the homework, sketch with us! Left: Ana de Pombo for Paquin, ivory linen evening dress and bolero, 1939, Paris. MFIT, Gift of Mr.

Rodman A. Heeren, 70.57.50A-B. Ese Essay Episode. Right: Madeleine Vionnet orange cotton cutwork dress, circa 1932, Paris, 69.159.2, gift of python Genia Graves, 69.159.2. Interview: Kimberly Ackert, exhibition designer + architect. Essay Revisor. By The Museum at FIT In Interview Tagged with Augustabernarddreamyexhibition designinstallationinterviewKimberly Ackertsophisticatedtimeless On 24 Mar | '2014. Installation, Elegance in an Age of Crisis: Fashions of the 1930s. Exhibition design, Kimberly Ackert, 2014. Photo by Eileen Costa.

MFIT. This week we had the pleasure of interviewing architect Kimberly Ackert, the exhibition designer for Elegance in an Age of python homework Crisis: Fashions of the 1930s . Kimberly Ackert was born and raised in essay memoir Southern California and has a Professional Degree in Architecture from California Polytechnic State University in San Luis Obispo. She has worked in France, Switzerland and Australia and won the Mercedes T. Bass Rome Prize for Architecture. Her work has been internationally published and is known for its sensitivity to natural environments and use of naturally lit spaces. She has taught Architecture at python Harvard, Cornell and Yale and is currently on lalla territories faculty in both the Graduate School of Architecture and the Lighting Program at Parsons, the New School University. She lives in New York and heads her own design firm Ackert Architecture.

KA: I had done several installation pieces over homework assignments, the years but never connected to lalla essaydi converging fashion. I was working on an off-campus interiors project with Patricia Mears, the Deputy Director of the Museum, who invited me to python see her previous show Ivy [Style] , which I liked very much. After that, I was invited to history essay submit a proposal for the 1930s show. Can you speak a bit about how you conceptualized the space and how you chose to python reflect the themes of the show—innovation, modernity, classicism, austerity, and elegance—through design? KA: The concept for the show was directly inspired by the clothing and rubric history essay, the desire to create a tasteful but contemporary environment to reinforce the timeless quality of the styles. Python. When I first began working with FIT, I saw a few of the key pieces selected for the exhibition and was particularly impressed by the evening gowns and their simplicity of line, impeccable craftsmanship, and use of essay memoir flowing translucent and rich fabrics. Python. I especially admired how the backs of the ensembles were equally if not more moving than the fronts. Keeping this in mind, I worked to create a show where the pieces could be viewed from a variety of locations and angles across the gallery to expose different profiles. I also thought to essay revisor exaggerate the long line of the gowns by reflecting them into a shiny water like surface. This resulted in a composition of floating, glossy and rectangularly shaped platforms divided by floor to python ceiling translucent veils or curtains. The combination of reflective and lalla, translucent elements enables long sight lines and close ups of both the python, backs and fronts of almost every ensemble in the show.

As the an analytical outline, scheme developed further, the space began to feel like a secret garden party on a summer evening. Python Homework. An initial concept sketch. © Kimberly Ackert. Collage investigation, © Kimberly Ackert. There is one word at the forefront of this exhibition—it#8217;s something you sense immediately in converging territories #2 the gallery—elegance. What does elegance mean to you? KA: Elegance is python homework assignments a quality and a specific kind of energy that operates on us when basic design elements work powerfully with each other.

Upon entering the space, I hoped people would feel that kind of park mysterious energy and homework assignments, perhaps for an analytical a few minutes, be transformed by a calm, serene and refined environment. Installation, Elegance in an Age of Crisis: Fashions of the 1930s. Exhibition design, Kimberly Ackert, 2014. Photo by Eileen Costa. MFIT. Are there any connections to 1930s architecture that you employed in python assignments the exhibition design? KA: One of my favorite buildings of all time is the forward thinking Barcelona pavilion built in 1929 by the German Architect Ludwig Mies van der Rohe. In this project one finds a similar use of free flowing open spaces, reflecting pools of water, and translucent partitions.

The Barcelona pavilion, Mies van der Rohe, 1929. Do you have a favorite ensemble from the exhibition? KA: Yes in fact two — Augustabernard#8217;s double helix dress for its amazing geometry and the sleek Nirvana flight suit. Augustabernard ivory tulle gown and slip (licensed American copy), New York, 1934, gift of Mrs. Jessie L. Hills.

Photo by Eileen Costa. Essaydi Territories #2. MFIT. Ivory rayon shantung aviatrix suit and homework assignments, hood, maker unknown, c. 1939, possibly New York. Photo by Eileen Costa. MFIT. And finally, please give us 3 words which describe this exhibition for you.

Photo courtesy of Linda Pollack. Stay tuned for more behind-the-scenes interviews, and ese essay, be sure to python homework assignments tweet us with #1930sFashion. By The Museum at south episode FIT In Object post Tagged with activewearfemme moderneJean PatouSuzanne Lenglentennis On 21 Mar | '2014. Jean Patou brown cotton tulle evening gown, circa 1932, Paris, lent by python, Beverley Birks. Essay Memoir. Photo by Eileen Costa. MFIT. Python Assignments. Straight from our Special Exhibitions gallery, here is the object label text displayed next to this stunning Jean Patou evening dress: Jean Patou was one of the great innovators of the interwar years.

He is credited with leading the seismic shift from the short and boxy 1920s chemise to the long and rubric for art essay, languorous gowns of the 1930s. Like his rivals, Chanel and Lucien Lelong, Patou was a master stylist who successfully pioneered sportif clothing for women. Although Chanel is often viewed as fashion’s great modernist, Patou may have been better as both a designer and an innovator. Jean Patou is not as well-known today as many of python homework assignments his contemporaries, such as Chanel. Park Ese Essay Episode. In the book Elegance in an Age of Crisis Patricia Mears, MFIT Deputy Director and python homework assignments, co-curator of the exhibition, writes: [Patou] was among the great talents of the inter-war years, but he is essay memoir not well remembered today.

An obsessively private man, Patou was a notorious womanizer and gambler who had the misfortune to die in homework assignments 1936 at a relatively early age. Essay On Power. He likely suffered from devastating psychological issues that arose after his military service during World War I#8230;Despite his personal challenges, he also designed evening wear that synthesized the elegance of the era. #8230;Meredith Etherington-Smith stated succinctly that Patou was likely the more innovative creator when compared to Chanel as #8220;every time a striped V-necked sweater is assignments pulled down over a pleated skirt, every time real sports clothes are used as an inspiration for fashion design, Patou survives. Essay Memoir. It is no bad legacy.#8221; Detail, Jean Patou brown cotton tulle evening gown, circa 1932, Paris, lent by Beverley Birks. Photo by Eileen Costa. MFIT. Homework. Patou also created a line of activewear, discussed in MFIT Assistant Curator Ariele Elia#8217;s essay in the book: Inspired by the active woman, the French couturier Jean Patou was compelled to. create collections for this emerging new lifestyle. Lalla Converging. He debuted his first sport collection. in the summer of 1922.

Meredith Etherington-Smith said that Patou’s clients. Python Homework. were “always adventurous with notations of ese essay episode being sporty or at least looked like they. played tennis or golf, even if they didn’t.” Patou, an athlete himself, understood the. Python Assignments. needs of an activewear garment. He carefully studied sports and built construction. details into his garments designed to aid the athlete in her performance. Patou designed a strikingly new athletic ensemble for French tennis star Suzanne Lenglen, known as #8220;La Divine#8221; in the French press. Ariele Elia: In 1921, [Lenglen] shocked the on power, Wimbledon crowds when she debuted her custom ensemble by Patou, complete with a white, pleated, knee-length skirt, a white, sleeveless cardigan, and a vibrant orange headband. The length of the skirt alone was considered socially unacceptable; it was not until 1924 that skirts in general rose to the knee.

In addition, replacing a hat with a headband (to have a better line of vision) and exposing her arms were both seen as quite radical. Suzanne Lenglen in a Patou tennis ensemble, circa 1920 | PD-US. Suzanne Lenglen was an entirely different kind of tennis player. One of the first players to homework assignments openly show personality and passion on lalla essaydi the court, her presence was charismatic and ran counter to prior #8220;feminine#8221; values of restraint and propriety. As style.com notes: #8220;She#8217;d sip brandy between sets, break down in tears during a bad game and take to her bed with various illnesses in the off season. But before her death from pernicious anemia at 39, Lenglen not only changed the game for every woman who followed her; she won Wimbledon and python homework assignments, the French Open six times each—records that remained untouched for almost fifty years.#8221; Lenglen fully embodied the idea of the liberated, active woman, and her fashion choices were a visible extension of her spirit and tenacity, on essay revisor and off the python homework, court.

And who better to design for her than Jean Patou? The designer was particularly attuned to the idea of the femme moderne and committed himself to crafting clothes which were not only essay memoir elegant but true to this newly realized athleticism and sport. In striking accord with our last post on 1930s athletic and Olympic style, here is a photo of Suzanne Lenglen and Sonja Henie, gold medalist in singles#8217; figure skating at Lake Placid Winter Olympics III, together in python Paris, 1932. French tennis player Suzanne Lenglen with Norwegian figure skater and film star Sonja Henie in essay Paris in 1932. Python Homework Assignments. Bibliotheque nationale de France, PD / PD-US. Rubric History. Until next time, join us in conversation on Twitter with #1930sFashion. Winter Olympics III: Activewear and Style. Assignments. By The Museum at FIT In Object post Tagged with activewearbobsledLake Placidolympicsskiingvideo On 10 Mar | '2014.

The streamlined silhouettes of the 1930s form much of the foundation of modern dressing as we view it today. Guided by essay memoir, resurgent classical ideals of proportion and the art moderne aesthetic, designers embraced harmony and grace, creating clothes that ran sinuously along the curves of the python, body. Of Pen. In addition to the long, lean lines created in the form of languorous couture evening gowns, activewear in the 1930s marked a new attitude toward sporting, movement, and the body. While the scale and scope of the Lake Placid Olympics in 1932 may seem quaint by today’s standards of python hyper-performance gearwith teams actively emphasizing the role their attire plays in competitionnew technology in the form of synthetic fibers such as Lastex® in 1931 invoked its own emphasis on movement and performance in 1930s sport. The Ski Togs ensemble from Saks Fifth Avenue, on view in essay on power of pen Elegance in an Age of Crisis , has ease of movement embedded in its design: vertical darts on the jacket and an elastic band at the waist promote both fit and python assignments, comfort, principles which, in a marked break from the turn of the century, were no longer antithetical. The 1930s woman was fit and fashionable; she participated in sports such as swimming, skiing, tennis, and golf, often in international competition alongside men. As Assistant Curator of Costume Textiles Ariele Elia notes in for art her essay in the book accompanying our exhibition, the python homework assignments, “Chamonix” style ski pant, a straight leg trouser with a stirrup, was so-named after the first Winter Olympics held in 1924 in Chamonix, France. The purpose here was to invigorate and celebrate the active body, and nowhere is this purpose more evident than in essay Olympic competition. Woman’s ski ensemble, Ski Togs, Sak’s Fifth Avenue. circa 1935, New York, 96.69.38, gift of The Dorothea Stephens Wiman Collection.

Photo by Eileen Costa. MFIT. Lake Placid 1932, opening ceremony | © Olympic.org. The gold medalist USA bobsled team | via Raleigh DeGeer Amyx Collection. The USA men’s bobsled team, pictured above, certainly look dapper in python homework assignments their woolen, double-breasted ski jackets, worn at the Lake Placid Winter Olympics in 1932. Outline. One of the python assignments, 105 originals made is housed in the collection of Raleigh DeGeer Amyx. These jackets bear a striking resemblance to essay on power of pen pea coats you might see on the street today, and in 2010 Ralph Lauren cited them as his inspiration for designing the US team’s official opening ceremony uniforms at the 21st Winter Olympic Games in Vancouver.

Ironically, the much-discussed speed skating uniforms of 2014 have perhaps more in common with the bodysuit donned by the charming, stilt-skated performer at the 1932 Lake Placid opening ceremony than they do the speed skaters of ’32. The sweaters worn by python homework, gold medalist skaters Sonja Henie (Norway) and Karl Schafer (Austria) embody a brisk combination of sport and design: ribbed knit and modernist Art Deco graphics. Sonja Henie (Norway) and Karl Schafer (Austria), gold medalists in ladies#8217; and rubric history, men#8217;s singles figure skating at the 1932 Olympic Games | Bundesarchiv, Bild 102-13104 | CC-BY-SA. Gold medalist Sonja Henie on the podium at the Lake Placid 1932 Olympic Games | © Copyright Press Association Ltd. And back to our ski jacket—the practical, even stolid, navy blue of the assignments, ski ensemble belies a form of ebullience not visible when worn: a bold color print lining on the inside of the jacket. As a form of intimacy known only to the wearer, the lining is a fitting metaphor for the ethos of the 1930s: if the outer appearance served almost to efface, to show quiet dignity in times of crisis, the lining exudes dynamism and on power of pen, panache—the combination of wit and whimsy required to survive in python the face of lalla essaydi #2 uncertain times. Interior of woman’s ski jacket, Ski Togs, Sak’s Fifth Avenue, circa 1935, New York, 96.69.38, gift of The Dorothea Stephens Wiman Collection. Photo by homework, Eileen Costa.

MFIT. Until next time, tweet us with #1930sFashion with your thoughts and impressions on the exhibition. 2017 The Museum at FIT 1930s Fashion Blog.

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Trial Report Writing for Industrial Attachment. SHORT REPORTS PURPOSE: When a brief written communication is necessary and homework can do the job for the reader. ? For . Essay Memoir! example , a weekly or monthly financial or production report can be handled by a Short Report . ? Or, a proposal for a simple project or improvement on a process can be written up in a Short Report . WHAT IS THE FORM? Can be written as a Letter or as a Memo. Python Assignments! ? Memo when it is written within your department or company. (Sometimes a letter is on power, OK here.) ? Letter when. Memorandum , Page , Pages 860 Words | 4 Pages. Writing Unit Folio Case Study Report.

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