Bibliographic record
Abstract
In this paper I mobilize Funny Face (dir. Stanley Donen, 1956) to examine the intertextual nexus between fashion, fashion photography, and film. Set in New York City and Paris, with costume design by Hubert de Givenchy and Edith Head, the film is a latter day telling of the Pygmalion myth, such that photographer Dick Avery (Fred Astaire) and Maggie Prescott (Kay Thompson), the dictatorial Fashion Editor of Quality, take up the challenge of converting Jo Stockton (Audrey Hepburn), whom they regard as an unprepossessing bookstore intellectual, into a top model. Thus I analyze how a film that is more generally regarded as a benchmark in the Hollywood musical for its exuberant use of colour and songs is, more particularly, a cinematic locus for both the mediation and mediatization of fashionable identities. To this end, I assess how the film elaborates the power of the fashion industry as a matter of social practice in regards to Foucauldian discourse and the related concept of the énoncé, or event/statement. Thus I evince I two events/statements — “Think Pink!” and “Bonjour Paris” — to discuss in particular the relationship of style to national identities and the need or desire for America to assert cultural leadership in fashion photography, art, and design over France in the context of 1950s Cold War politics. By comparison, I enlist the statements, “Take the Picture!” and “A Bird of Paradise,” to examine respectively the dynamic of looking/gazing between the fashion photographer and designer and their (in this case) female models, the nexus between star designing, clothing, and gender identity, and what Foucault calls assujetissement — subjection — which connotes the dual process of Jo’s subordination as well as the act of her becoming or “being made” a subject according to a system of power.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.002 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".