Shoe Reels : : The History and Philosophy of Footwear in Film / / Elizabeth Ezra, Catherine Wheatley.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Architecture and Design 2021
• VerfasserIn: Ezra, Elizabeth,; Wheatley, Catherine,
• MitwirkendeR: Bolton, Lucy,; Bugaj, Malgorzata,; Christie, Ian,; Ezra, Elizabeth,; Flinn, Margaret C.,; Fuery, Kelli,; Hamad, Hannah,; Handyside, Fiona,; Holliday, Christopher,; Hutchinson, Pamela,; Langford, Rachael,; Lodwick, Keith,; Parks, Tyler,; Paulicelli, Eugenia,; Rushing, Robert A.,; Salzberg, Ana,; Scheible, Jeff,; Taylor-Jones, Kate,; Wallenberg, Louise,; Wheatley, Catherine,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2021
• Year of Publication: 2022
• Language: English
• Series: Film and Fashions : FIFA
• Physical Description: 1 online resource (320 p.) :; 50 colour illustrations
• Other title: Frontmatter --; Contents --; Figures --; Acknowledgements --; Notes on contributors --; Foreword by the series editor --; Introduction: foot notes --; Chapter 1 Max’s stylish shoes --; Chapter 2 A girl and a shoe: Marcel Fabre’s Amor pedestre --; Chapter 3 ‘An intensive study of – feet!’ in two films by Lois Weber: Shoes and The Blot --; Chapter 4 Magic shoes: Dorothy, Cinderella, Carrie --; Chapter 5 The ruby slippers at the V&A: an odyssey --; Chapter 6 Blood-red shoes? --; Chapter 7 The two textures of invisibility: shoes as liminal questionings in Sullivan’s Travels --; Chapter 8 How to see through a shoe: the fashion show sequence in How to Marry a Millionaire --; Chapter 9 Frenetic footwear and lively lace-ups: the spectacle of shoes in Golden Age Hollywood animation --; Chapter 10 Ferragamo’s shoes: from silent cinema to the present --; Chapter 11 Feet of strength: the sword-and- sandals film --; Chapter 12 Men in boots: on spectacular masculinity and its desublimation --; Chapter 13 ‘The brunette with the legs’: the significance of footwear in Marnie --; Chapter 14 The sole of Africa: shoes in three African films --; Chapter 15 Slippers and heels: In the Mood for Love and sartorial investigation --; Chapter 16 Sex, corruption and killer heels: footwear in the Korean corporate crime drama --; Chapter 17 It’s gotta be the shoes: Nike in the Spike-o-sphere --; Chapter 18 ‘Nice shoes’: Will Smith, mid-2000s (post) racial discourse and the symbolic significance of shoes in I, Robot and The Pursuit of Happyness --; Chapter 19 ‘Whoa! Look at all her Louboutins!’ Girlhood and shoes in the films of Sofia Coppola --; Chapter 20 Isabelle’s espadrilles, or, les chaussures d’Huppert --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474451420; 9783110753783; 9783110754032; 9783110754001; 9783110753776; 9783110780406
• DOI: 10.1515/9781474451420
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Elizabeth Ezra, Catherine Wheatley.

Examines the enduring significance of shoes to the cinema through a variety of theoretical approachesTraces the relationship between one particular object (shoes) and film as a medium in order to reveal the significance of material things to cinema, thematically, formally and philosophicallyReveals the political, cultural and economic power of film through its deployment of the iconography of shoesAsks if, and how, film uses" shoes differently from other art forms, and if so what this difference reveals about the medium, and about our current age of artOffers insights into debates around stardom; costume; gender; material objects and trauma; objects and the history of cinema; consumerism and advertisingIn his famous interpretation of Vincent Van Gogh’s painting A Pair of Peasant’s Shoes (1886), Heidegger argues that shoes tell us all we need to know about the world of the person who walks in them. In the case of Van Gogh’s painting, we learn this not through a description of the pair of shoes, nor by a report on how to make shoes, but by looking at the shoes. Heidegger thus gestures towards the power of the visual arts to show us human truths through images of footwear and the feet they conceal or reveal, a power that finds its fullest expression in the cinema. From Chaplin’s meal of boots (The Gold Rush, 1925), through Powell and Pressburger’s Red Shoes (1948) and Dorothy’s ruby slippers (The Wizard of Oz, 1939), to Julia Roberts’ pvc thigh-highs (Pretty Woman, 1990), Marty McFly’s power-lacing Nikes (Back to the Future, 1985) and the slim, spike-heeled stiletto that graces the poster for The Devil Wears Prada (2006), shoes are not only some of the cinema’s most enduring icons; they also serve as characterisations, plot devices, soundtracks, metaphors and philosophical touchpoints. This book anaylses their significnace through a range of approaches drawn from the fields of Film Studies, Philosophy, Cultural History, Fashion, Cultural Studies and Politics."