• Journal of Convergence for Information Technology
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• v.7 no.4
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• pp.121-127
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• 2017

In 2013, Baz Luhrmann's movie re-made Fitzgerald's novel, "The Great Gatsby". In Novel, readers keep trace of the plot with their imagination, but in Movie , movie director comes together to create visual and auditory elements of it. Daisy Buchanan is a fashion icon, wearing Prada, Chanel, and Tiffany's jewelry, which reproduce the costume of Jazz Age, and make viewers well understand that of Jazz Age. Symbols like "Ash Valley", "Green light", "East Egg", "West Egg" are presented more directly in movie. Roaring parties held in Gatsby's great mansion was made by computer graphic, and its enormous scale also reflects the mental chaos and the material affluence in those age. Additionally, actors excellent show highlights the theme of the novel. With the adaptation of novel, the film finally achieves more appealing art in front of the public. This thesis investigates these more logistically with the materials of internet.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.61-76
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• 2008

F. Scott Fitzgerald's The Great Gatsby has been interpreted to be saturated with the lamentation over the distortion and evaporation of the American dream. The application of Friedrich Nietzsche's mythic concept of Dionysus, discussed in The Birth of Tragedy, surfaces a fresh layer of the novel, subverting the established pessimistic reading. To focus on a peripheral character, Myrtle Wilson, through Nietzsche's theory brings forth an optimistic vision of the author. A Dionysian ecstasy so powerfully overwhelms Myrtle that she perceives Tom, the very picture of corruption and crime in Fitzgerald's text, as a benefic liberator. Her impassioned perception of Tom enables her to soar over both legal or moral censorship and her realistic confinement. Myrtle's amoral passion endows her with the vital desire to live. Her Dionysian dynamo embodies the core of new version of the American dream Fitzgerald suggests as a measure to reanimate the lost generation of his nation.

• Journal of Fashion Business
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• v.18 no.4
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• pp.80-96
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• 2014

The purpose of this study is to consider the expression of costume through the review of cinema costumes and to provide the model of cooperation between fashion and movie industry by analysis of collaboration with fashion brands in the movie . The subjects are the 1974 film directed by Jack Clayton and the 2013 version by Baz Luhrmann. Cinema Fashion was studied by analyzing the costumes of the two main characters, Gatsby and Daisy, in each scene. Gatsby's costume appeared as a model of traditional American classic suit, sensitive G-G look that symbolizes social success and traditional casual style that reflects upper-class life style. Daisy's costume expressed pastel toned luxury flapper look, oriental art deco style, and prestigious jewelry representing high class. The collaborations with fashion brands were carried out with Ralph Lauren and Cartier in 1974 film, and Brooks Brothers, Prada, and Tiffany in 2013. The value of prestige brands that matched the images of the movie was utilized, but marketing strategies for the promotion of fashion goods were not enough in 1974 version. On the other hand, in 2013 film, the effects of collaboration of the movie and fashion brands were forecasted sufficiently and marketing campaigns for promotion were performed in a various ways. The characteristics of collaborations were as follows: (1) the usage of prestige brands value, (2) collections planning and promotion using the stories of a movie, (3) the usage of multidirectional digital media, and (4) multi-dimensional promotion using entertainment factors. In collaborations with the movie, fashion brands could make cooperative relationship to produce the positive effects for promotion and prestige image strategies and draw attention of the people to the movie and fashion.

• International Journal of Costume and Fashion
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• v.6 no.1
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• pp.71-83
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• 2006

This study is about how Art Nouveau and Art Deco clothing are represented in the costume design of film created after those periods and examines the recreation process of visual media. The costume design of The Wings of the Dove tried to reflect the mixture of fashion trends that could be seen during the times. Milly???s clothes seem to focus on recreating the special features of the 1900???s fashion trends more visually while Kate???s clothes are represented in a strong and simple way to emphasize her personality. The costumes in The Great Gatsby, tried to reinvent the 1920???s clothes in a romantic way. Daisy???s and Gatsby???s costumes were based on the aesthetics of the 1920???s clothing. but emphasized the symbolic nature of the characters to give a greater dramatic effect. By analyzing and comparing, it can be seen that, while costume design usually begin with painstaking research into the historical period in which the film is set it is often altered to highlight aspects of the story. such as the theme and the characters, in an effort to create a stronger dramatic effect. Costume design remains one of the most effective means for a director to visually express the personality and desires of a film???s characters. The ideal aim of costume design is to create something new but at the same time, remain true to the period by being grounded in accurate research.

• Trans-
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• v.12
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• pp.107-140
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• 2022

This study examines the concept and characteristics of immersive theatres through previous studies. Immersive Theatres can be understood as a form of performance that breaks the boundaries between the stage and the auditorium in various spaces so that the audience can actively participate in the performance or immerse themselves sensibly. However, since it absorbs various art forms and continues to change and develop, it is important to recognize the concept by grasping its characteristics as an immersive experience rather than defining it as one. Based on the theoretical background of the concept and characteristics of the theatrical producers and immersive theatres, the producing immersive theatre < The Great Gatsby> is analyzed to derive differences between the immersive theatre and the general performances. In conclusion, it is important to recognize that immersive theatres have audiences at the center of all aesthetic performance environments. The role and position of the audience as a "passive consumer" change to an "active and creative consumer" in immersive theatres where the audience-centered immersive environment and experience are the key, and it was found that not only producers but also the creatives should change their perception of the audience and reflect it in the producing.

• The Research Journal of the Costume Culture
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• v.16 no.6
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• pp.1050-1063
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• 2008

A movie is a fiction made on a basis of an author's and a writer's imagination, but all sorts of properties mixed with each other and most realistically expresses the era which becomes the background of a movie and acts as a carrier that connects designers with consumers. Thus, this study was carried out to review how the fashion products that designer's intention and commercial value added are expressed in collections by comparing and analysing the costumes in the movie "The Great Gatsby" that described the life of America's upper-class in 1920s and the 04 S/S Y&Kei collection which were proceeding after getting inspiration from this movie. For this, literature materials were inspected in order to make a theoretical review on social and cultural background and costumes history background in 1920s and the photo materials on movie costume were collected and analysed using DVD video captures, as well as the photo materials on 04 S/S Y&Kei were collected and analyzed through the institute providing domestic fashion information. The following conclusion was deduced through this study. First, in 1920s which becomes the background of this study, the slim shape of Flapper which looks like a young and boy became an ideal figure condition and the straight silhouette with low waist line and the short skirt that rose to knee was popular. Second, as a result of analysing movie costume by classifying it in silhouette, colors, and materials, straight silhouette of low waistline with a near colored - tone seen in the pastel series, including white, beige, pink, and gray was mainly constituted and the metal colors like silver and gold were used. As a material, chiffon, satin, velvet, flower patterned prints, and beads were used, which represented luxurious life of women in the upper classes. Third, as a result of comparing and analysing, it turned out that there was a similarity. However, in dress collection for a heroine, some dissimilarity differentiated from a movie costumes was found out in that the dresses in collection expressed moderate beauty and modernism and elegant beauty at the same time by matching a variety of materials and using black color.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1140-1151
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• 2009

This study researches the formative character of 1920's fashion through cinema costumes from the perspective of the theories of W$\"{o}$lfilin and Delong. This study organizes a new perspective such as closed form & open form, part recognition & whole recognition, and flat & rounded to analyze the characteristics of form in the costumes of 'The Great Gatsby', 'Chariots of Fire', and 'Chicago'. The 1920's style in the fashion history is a closed form and flat because of simplicity and functionality. The costumes in Chariots of Fire' that focuses on the reappearance of 1920's fashion is a flat and closed form. However, the costumes of 'The Great Gatsby' that presents a symbolic meaning and 'Chicago' that expresses a splendid look are an open and rounded form. Evening dresses are open, with whole recognition and a rounded form because of sheer fabrics, beading, uneven hemlines, and lighting. Daytime dresses are a closed form and flat because of heavyweight fabrics, dark or achromatic colors and non-patterns. Also, open form and rounded, closed form and flat have a similar distribution in diagrams. When the viewer recognizes the form of clothes, they react in a similar way to two-dimensional and three-dimensional presentations that shows that the form of clothes is recognized by the relation with the body. In addition, this study researches the connection between diverse elements such as clothes, body, movements, space, and external elements such as lighting.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.2
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• pp.173-184
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• 2000

The purposes of this study is for consideration of the flapper image through the culture and novels in Jazz Age(1919∼1929) of America. The back ground of flapper fashion was Jazz. Jazz was one of the cultural languages which expressed liveness, noise, salacity, harmony of primitivity, modernity, innocence and freedom. In processing American had gotten economic power, the Jazz Age had new mood which was combined materialism and realitism. Environmental changes of life styles and development of mass culture of modern big cities could aid the birth of modern girls, flappers. They became the main group of new consumer and mass culture in new consciousness and freedom with independence. Their characteristics are confirmed from Fitzgerald's novels, This Side of Paradise and The Great Gatsby. As the results of above, the consciousness of flapper were rebellious attitude, liberalism and actualism. The designs of flapper fashion were expressed by simplicity, functionality, nudity and rhythm. The flapper images are as follows: First, they expressed modern image as a rebellious attitude. Second, flapper had a sensual image of freedom through rhythmical and speedy expression. Third, premature image for pursuing youth could be found. Therefore the changes of culture and women's life styles are very important points for fashion studies and the connecting fashion and other fields like novels is needed also for it.