Jacob Ion Wille wrote and he´s correct:
Since the birth of cinema, film and fashion have had an
intimate relation, which by the turn of the century evolved into fashion film
as a more or less well-defined standalone genre. The breakthrough of the
fashion film was boosted partly by digital production and distribution
technologies, giving birth to platforms such as SHOWstudio in year 2000, and
the promotion of brands and individual designers sharing moving images online.
Consequently, theory covering the field has conceptualized the phenomenon primarily
as the online promotion of garments by means of storytelling and digital moving
images (Soloaga 2017). On the one hand, fashion film has been understood as
experimental marketing, borrowing its visual style and narrative techniques
from classic and experimental cinema. On the other hand, fashion films were
framed by viewing practise related to the interactive possibilities and the
permanent presence of digital media content online (Khan 2012b: 252). Both
positions point to the changes in the structures of production, consumption
and, to some extent, aesthetics made possible by computing.
While an adequate definition of the fashion film awaits
(Uhlirova 2013a, 2013b, Schuller 2017, Kubka 2013), I propose a less exclusive
understanding of the phenomenon, noting t
hat fashion film experiments had a
pre-digital existence and not all films were and are made for specific
promotional commercial use. I investigate the fashion film as a boundary case
defined by its ambiguous relation to existing established narrative forms of
moving images and use formalist theory in order to define the phenomenon.
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