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Shoe Reels: The History and Philosophy of Footwear in Film

為了解決Prada Fashion Show的問題，作者 這樣論述：

In 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. Professor Elizabeth Ezra is Professor of Cinema and Culture at the University of Stirling. King’s College London Catherine Wheatley is Senior Lecturer in Film Studies at King’s College London

Prada Fashion Show進入發燒排行的影片

求偶思維奢侈品替代消費行為分析

為了解決Prada Fashion Show的問題，作者杜家豫 這樣論述：

摘　要 iABSTRACT ii致　謝 iii目　錄 iv表目錄 vi圖目錄 viii第一章 緒論 1第一節 研究背景 1第二節 研究動機 3第三節 研究目的 6第二章 文獻回顧 7第一節 求偶思維 7第二節 奢侈品消費 11第三節 情感同理 13第四節 認知自律鍛鍊 16第五節 輕奢侈品購買行為 18第三章 研究架構與假說推論 20第一節 研究架構 20第二節 研究假設 21第四章 研究方法 25第一節 求偶思維操弄影片之選擇 25第二節 研究標的物選擇 35第三節 正式實驗 44第五章 結論與建議 62第

一節 研究結論 62第二節 研究意涵 64第三節 研究限制級未來研究方向 66參考文獻 68附錄 88附錄一：前測問卷(一) 88附錄二：前測問卷(二) 91附錄三：實驗問卷(一) 94附錄四：實驗問卷(二) 100附錄五：表4-3-29完整分析結果 105附錄六：表4-3-30完整分析結果 106附錄七：表4-3-24完整分析結果 107

Staging Fashion: The Fashion Show and Its Spaces

為了解決Prada Fashion Show的問題，作者 這樣論述：

The fashion show and its spaces are sites of otherness; representing everything from rebellion and excess through to political and social activism. This conceptual and stylistic variety is reflected in the spaces they occupy, whether they are staged in an industrial warehouse, on a city street, or o

ut in the open landscape. Staging Fashion is the first collection of essays about the presentation and staging of fashion in runway shows in the period from the 1960s to the 2010s. It offers a fresh perspective on the many collaborations between artists, architects and interior designers to reinforc

e their interdisciplinary links. Fashion, architecture and interiors share many elements, including design, history, material culture, aesthetics and trends. The research and ideas underpinning Staging Fashion address how fashion and the spatial fields have collaborated in the creation of the space

of the fashion show. The 15 essays are written by fashion, interior, architecture and design scholars focusing on the presentation of fashion within the runway space, from avant-garde practices and collaboration with artists, to the most spectacular and commercial shows of recent years, from Prada t

o Chanel. Tiziana Ferrero-Regis is a senior lecturer in fashion at Queensland University of Technology, Australia. She combines a professional background in the fashion industry and an academic background in cultural studies, film, fashion and costume. Marissa Lindquist is a lecturer in interior d

esign at Queensland University of Technology, Australia. In 2017, Marissa was the recipient of the Women in Research Scholarship at QUT.

後疫情時代奢侈品牌線上時裝秀探究—以情境類型為例

為了解決Prada Fashion Show的問題，作者張育瑄 這樣論述：

隨著後疫情時代的居家隔離、封城與鎖國等措施，眾多時尚部落客、媒體和明星無法出席實體時裝秀，因此數位時裝秀應運而生。時裝秀線上展演的呈現方式與實體時裝秀截然不同，疫情帶來的震撼不但沒有侷限設計師的創意，反而顛覆時尚產業看待時裝秀的角度。 本研究以Liu & Kwon(2020)歸納出的六種情境表達類型為分析架構，以時裝及配件為主要商品的奢侈品牌：Louis Vuitton、Chanel、Hermes、Gucci、Dior、Prada、Buberry為研究對象，探討後疫情時代奢侈品牌轉為線上展演之情境類型，討論其表現形式之使用，分析其情境類型與服裝設計理念是否融合。研究範圍為疫情爆發後的一

年(2020年6月至2021年6月)之間，7個品牌於官方YouTube頻道發布，總計33支的線上時裝秀影片。 研究發現：一、線上時裝秀可分為微電影呈現、蒙太奇影像、3D場景、秀後設計師座談等四種常使用的表現形式。二、微電影呈現較常與「思想的情境表達」、「溝通的情境表達」結合；3D場景則常與「溝通的情境表達」結合。三、品牌設計師所運用的情境類型以「聯想的情境表達」為最多數。四、奢侈品牌最常運用的情境類型各有不同。五、「空間的情境表達」從實體時裝秀與觀眾緊密扣連的目的，在線上時裝秀轉變為自由概念的呈現。六、由於許多品牌都是採錄播的方式，因此在一場秀中可以運用多種情境類型。七、即便在相同場景展

演，情境類型的意義卻隨著設計師欲傳達的理念而有所不同。八、「聯想的情境表達」結合蒙太奇影像的表現形式，使觀眾對情境的領會、印象更為深刻。九、在某些情況下，設計師的情感和思維比系列本身更能引起共鳴，足以對群眾產生巨大的影響。十、使用與主題關聯不明的呈現方式，或是容納過多元素會導致觀眾混淆焦點。