Munira Maleki, one of the theater, cinema and television costume design artists, says that the inflation of luxury and sometimes excessive loyalty to history and historicism are among the plagues of the field of costume design for cinema and television works.
According to Boraq Hamimim news site , Munira Maleki, an artist in the field of costume design for theater , cinema and television and a university lecturer, said about the conditions governing costume design in cinema and television, especially recent productions: In many cases, the flow of costume design for historical works is based on principles. and a deviant profession, and we are currently captive to two serious and important pests in this field.
He clarified: Roland Barthes , a literary theorist and cultural critic, in his detailed article on this topic, mentioned these diseases and pests years ago, and based on that article, which is recommended to read, the first dilemma and problem is the flow of luxury in This is the field where we see that a lot of money is spent to make series or historical movies, but the lack of familiarity of the costume designers of these productions with the medium of cinema and television causes us to witness a very heavy image output.
Maleki listed the inflation of luxury and sometimes excessive loyalty to history as one of the pests in the field of designing clothes for cinema productions and acknowledged: Where in history, people can be seen wearing ironed clothes and clothes sewn from rumbly and curtain fabrics in today’s bazaar, that we In historical series, we see this kind of maximal treatment with works.
He further said: In connection with this issue, I refer to a successful example and the “Sarbadaran” series, which, despite the numerous characters of governors, kings, leaders, and rulers, none of the clothes were sewn with expensive fabrics, and only with the use of fabrics. For this effect, cloths were produced for this effect, such as motakgal, sack and aging, dyeing and wrinkle.
This veteran artist of theater, cinema and television costume design added: Another important issue is excessive loyalty to history, which causes the art of costume design to be marginalized; Although cinema is the brother of realism and we have to be faithful to history to some extent in this space, we should also consider that the costume designer is not a mediator between the photographer and the tailor and the characterizing elements should be carefully considered by the costume designer. .
Emphasizing that role analysis is one of the important tasks of a cinema and television costume designer, Maleki stated: one should avoid stereotyping and keep in mind that too much loyalty to realism and historicism sometimes causes us to act against history. do.
In the end, he said: paying tribute to all the hardworking colleagues in this field, I recommend that the costume designers of historical works equip themselves with the knowledge of role analysis and pay attention to this analysis in order to apply the mechanisms of character costume design.
Source: HonarOnline
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