Styles of Radical Will by Susan Sontag

By Susan Sontag

Sorts of Radical Will, Susan Sontag's moment number of essays, extends the investigations she undertook in opposed to Interpretation with essays on movie, literature, politics, and a groundbreaking learn of pornography.

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Particularly in the fashioning of Malone (Sean Connery) and Stone (Andy Garcia) Armani then subliminally cites his own design trademarks of soft fabrics and unstructured casual chic. Malone is characterised by his grey chunky-knit cardigan, his relaxed tweed jacket and his cap, none of which are presumably intended to seem exclusive to the 19 30s. Even more ambiguous are Stone's light brown blouson jackets (one suede, the other leather) and his matching leather waistcoat, which is backed with pale wool rather than the more traditional silk; all of which display styling, fabric and colour links with prevalent contemporary Italian fashions (particularly the coupling of leather jackets and red scarf).

Selected wardrobes for Pretty Woman are by Cerruti 1881 (principally Richard Gere's suits), but the red, off-the-shoulder gown is designed by the costume designer, Marilyn Vance- Straker. Hepburn's ball gown is created by Givenchy, not the film's costume designer Edith Head. Vance- Straker's dress of silk chiffon with silk-back satin crepe overlays is showy but conservative and derivative, recalling principally Yves Saint Laurent- his 1959-60 and 1981-2 rouched, torsohugging couture evening dresses or the red Rive Gauche off-the-shoulder cocktail gown shown in Spring 1985 which has a similar 'V' neckline.

Whereas couture acts as a barrier to identification and intimacy in Trap Belle Pour Toil, fashion in Pretty Woman does the reverse. Pretty Woman is an intentionally formulaic romance, constructed around the improbable match between a hooker (Vivien) and a rich businessman (Edward) which deliberately announces itself as a fairy-tale: Vivien is likened to Cinderella, for example, and is rescued at the end by Edward on the 1990s version of a white charger, a white limousine. As Robert Lapsley and Michael Westlake have observed, the film's reflexivity diverts 'the contradiction faced by the spectator who is no longer able to believe in romance ...

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