Costumes from the Golden Age of

Transcription

Teacher
Resource
COSTUMES FROM THE GOLDEN AGE OF HOLLYWOOD
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TEACHER RESOURCE
1
Step back in time into the
soundstage of a bygone era
and discover the cinematic
world of Costumes from the
Golden Age of Hollywood.
INTRODUCTION
The exhibition features costumes worn
by some of Hollywood’s most famous and
enduring stars alongside names that
have faded into celluloid memory. From
the all-singing, all-dancing Technicolor
musicals to Academy Award winning
dramas, Costumes from the Golden Age
of Hollywood features the work of some
of cinema’s most prestigious designers
including Adrian, Walter Plunkett and
the renowned Edith Head in a glittering
display of their couture creations for
the silver screen.
The exhibition takes visitors behind the
scenes to gain a glimpse into Hollywood
of the 1930s to 1960s through a collection
of costumes, props and ephemera
connected to cinema’s most iconic stars,
studios and designers.
The exhibition is drawn from a significant
private collection owned by Brisbane
resident Nicholas Inglis who has been
avidly acquiring motion picture costumes
and memorabilia for close to two
decades.
In this resource you will find:
Exhibition themes and content 3
Exhibition map 12
National curriculum links 13
Study resources 16
Information and contacts 18
The exhibition also offers insights into
cinema history and production, popular
culture and fashion.
Curated by Museum of Brisbane, the
exhibition is being shown exclusively
in Brisbane with many of the costumes
on display for the very first time.
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EXHIBITION
THEMES
AND CONTENT
HOLLYWOOD IN BRISBANE
The collection opens the door to
Hollywood’s past, influenced by Nicholas
Inglis’ fondness for certain types of films,
designers and actors. The selection of
items showcased in this exhibition feature
big name designers and stars, powerful
studios and famous films, alongside those
that have faded from memory. For this
reason the collection encapsulates
the complex history of Hollywood’s
Golden Age.
Costumes from the Golden Age of
Hollywood offers a rare glimpse into
a glamorous and romantic bygone era
of filmmaking. Drawn from a significant
private collection established and held in
Brisbane, this exhibition reveals original
costumes, props and ephemera
connected to cinema’s most iconic stars,
studios and designers.
This extraordinary collection is here due
to the passion of collector Nicholas Inglis,
a Brisbane lawyer with a longstanding
love of cinematic history and Hollywood
glamour. Nicholas Inglis has been avidly
acquiring motion picture costumes and
memorabilia for close to two decades,
with a particular affection for films from
the 1920s to 1960s and their luxurious
design.
Note: This raises general questions
about the nature of collections and
collectors — what inspires collectors
and how do we value memories and
past experiences?
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3
MGM fittings board
c1920s–1960s
Studio
Metro-Goldwyn-Mayer
Timber and blackboard paint
THE BEGINNING OF A GOLDEN AGE
Known as ‘Dream Factories’, each studio
backlot was like a small city where
thousands of artists — actors, directors,
set and costume designers, seamstresses,
prop makers and stage hands — came
together in the labour intensive process
of motion picture making. Costume
design departments were central hubs
of this world, equipped with immense
resources and teams of expert
craftspeople to create costumes
for the silver screen.
With the first words uttered on screen
“wait a minute, wait a minute, you ain’t
heard nothin’yet,” by Al Jolson in The
Jazz Singer (1927), the American motion
picture industry changed forever. The
advent of sound gave rise to an exciting
new era of filmmaking: the Golden Age.
From the 1930s to 1960s the way of
making and distributing movies, known
as the studio system, was central to this
Golden Age. The major studios Columbia,
RKO Radio Pictures, Metro Goldwyn
Mayer (MGM), United Artists, Twentieth
Century Fox, Universal, Paramount and
Warner Brothers were enormous
organisations employing thousands of
people, often under exclusive contracts,
for the production of their films.
Note: Key areas for exploration include
film production and cinema history
including silent films through to
contemporary movies.
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Myrna Loy
I Love You Again 1940
Designer: Dolly Tree
BEYOND THE DREAM FACTORIES
The Golden Age saw more people going
to the movies than any other time in
history, seeking entertainment and
escape in an era of social, cultural and
political upheaval. The Great Depression
in the 1930s, the Second World War
during the 1940s, and the Korean War
of the early 1950s all impacted the lives
of audiences during the Golden Age.
Integral to the success of the studio
system was a tactical process of
production and distribution of films.
The studios cleverly exerted control over
the motion picture industry by owning
chains of cinemas across America where
they exclusively screened their own films,
benefitting from the enormous profits.
Also fuelling the movie-making machine
were major technological advances and
evolutions in filmmaking. Breakthroughs
such as Technicolor, stereophonic sound,
and larger-than-life display techniques
like Cinemascope and Panavision kept
cinema audiences captivated. Changes
in film quality made outdoor and location
shooting easier and revolutionised what
viewers began to see on screen for the
very first time.
Given this landscape, it is not surprising
to see an idealistic ‘American way of life’
on screen. This idyllic image was also
guided in large part by The Hays Code
— Hollywood’s in-house policy of
self-censorship (in operation from
1930-68), which set the boundaries
for what could be seen, heard, or even
implied on screen. Coupled with the
constructed worlds that were created
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within the sound stages and backlots,
the films of this period provided a
deliberately stylised version of reality
with enormous appeal.
Note: This allows further exploration
of film production coupled with cinema
history in the context of world events
such as The Great Depression and
Second World War. Students could
also research propaganda and jingoism.
The Hays Code also offers opportunity
to explore censorship in both a historical
and contemporary context.
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Susan Hayward
Smash Up: The Story
of a Woman 1947
Designer: Travis Banton
GOLDEN AGE COSTUME DESIGN
comprising of a vast hierarchy of
hundreds of workers and an in-house
assembly-line mode of production to
create all of the costumes for a film.
Heads of wardrobe, junior designers,
sketch artists, seamstresses, tailors,
patternmakers, milliners, researchers and
wardrobe assistants all contributed to the
factory-like realisation of couture quality
costumes under the direction of the
studio’s chief designer.
Costume design is a crucial element
of filmmaking. It is central to the look
and feel of a production, as well as the
development of story and character on
screen. While early Hollywood films relied
on actors to provide their own clothing,
by the beginning of the Golden Age
costume designers were firmly
embedded in the studio system.
Like stars and directors, costume
designers were signed to specific
studios and contributed to their
aesthetic identity. Some designers
became household names, while others
remained invisible along with their teams
of talented support staff.
Film costumes are some of the few
remaining material artifacts of a film’s
production. Costumes were generally
recycled and reused an unknowable
number of times. Due to the vastness of a
studio’s scale of production and the many
hours spent on a single costume, it is
understandable that garments were worn
over and over again, becoming part of a
Chief designers generally only designed
for leading actors, but were in control
of enormous costume departments,
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costume department’s immense working
wardrobe. In many cases they simply
wore out.
The studios did not consider costumes
to be important cinematic and design
history artifacts, so it is unsurprising that
a relatively small percentage of original
costumes have survived. The collection
and exhibition of costume design is a
relatively recent phenomenon, but their
intimate connection with a celebrity
wearer, significant costume designer, or
a renowned film make them a tangible
link to the Golden Age of cinema.
Note: This section allows further insight
to film production as well as costume
collection practice.
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Lucille Ball
The Long, Long Trailer 1953
Designer: Helen Rose
COSTUME AND FASHION
mark on Hollywood in iconic
collaborations, such as that between
designer Hubert de Givenchy and actress
Audrey Hepburn.
The relationship between costume and
fashion is complex. In many respects
costume design and fashion design are
very different. A costume designer’s role
is connected to a particular production.
They work to realise and communicate
a character in collaboration with an actor,
producer, and director. Fashion designers
work within the fashion system, creating
clothing for sale to a real consumer.
Despite these differences, they also share
common ground.
During the Golden Age, screen stars
became style icons on the pages of
fashion magazines. Costume designers
set the on-screen and off-screen looks
of major stars, while American women
could purchase copies of gowns worn by
their favourite celebrities in specifically
licensed ‘cinema boutiques’ within major
department stores. In this way, movie
wardrobes often influenced wardrobes
in the home.
Many leading costume designers of the
Golden Age were trained in the fashion
industry, including Travis Banton and
Irene. Others had careers as fashion
designers after, or during, their time in
Hollywood, including Helen Rose and
Adrian. Fashion designers also left their
was also important for real-world viewers
and consumers. This group of garments
further illustrates costume and fashion’s
affiliation. These Hollywood versions of
1940s and 50s clothing cleverly combine
costume-style embellishments and
exaggerations with the fashionable
silhouettes of the day.
Note: Students could further explore
fashion design throughout the period
1930–1960.
While fantasy and glamour were highly
evident in Golden Age costumes,
believable and relatable women’s clothing
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Jane Russell
The Revolt of Mamie Stover 1956
Designer: Travilla
COSTUME, CHARACTER,
AND CELEBRITY
fabric choices available. A cocktail dress
could be demurely cut from a plain fabric
or be body-hugging and covered in
sequins.
The Golden Age was a time when the
concept of Hollywood celebrity was
solidified in popular culture. As part of
an actor’s contract, the studio tightly
managed their image and persona on and
off screen. Performers were schooled in
how important adhering to a particular
image was, with certain types of films
and characters guaranteeing success
for a star and studio.
Costume design choices are a form of
non-verbal communication with the ability
to alter character and affect the choice of
actor for a particular part. The designer’s
complex role was to serve the star, the
film and the narrative while also
incorporating their own visual language
on screen.
Costume played a key role in
communicating a star’s persona to the
movie-going public. Archetypes such as
‘the girl next door’ or ‘the bachelor’ were
common in Golden Age films. Stars often
played variations of these roles over and
over again, becoming ‘typecast’. Women’s
costumes illustrate this more clearly than
men’s due to the wide variety of cut and
Note: Students can explore ideas
surrounding cinema archetypes and
stereotypes. Other topics include
the notion of celebrity and the
representation of ‘stars’ through
the media.
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Jack Hawkins
Ben-Hur 1959
Designer: Elizabeth Haffenden
THE STORIES HOLLYWOOD TELLS
Note: Students could further explore
different genres of film and the
development of narratives. The
exhibition contains costumes relating
to the following genres:
During their peak in the 1930s, 40s
and 50s, the major studios required
a constant stream of ideas for new
productions. Hollywood looked to
a number of sources for storylines with
a view to what would produce good box
office results. Certain narratives and
genres were favoured as safe returns on
investment. Some of the most popular
genres of the time were Western, War,
Romance, Musical, Comedy and Drama.
Biblical Epics
The Past/History
Literary Adaptations
Musicals
Hollywood continually renewed particular
stories, often adapted from a literary
or historical source. As they are today,
films were also remade from earlier
productions. Many contained a love story
at their center and most films presented
an idealised version of the world, whether
contemporary or historical in nature.
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Mitzi Gaynor
Golden Girl 1951
Designer: Charles Le Maire
A STAR IS BORN
appearance to be dramatically changed,
such as the brunette Francesca Marlene
de Czanyi von Gerber who became the
blonde-haired Mitzi Gaynor.
From its earliest days, the Californian film
industry attracted wide-eyed hopefuls
from across America and the world,
seeking their fame and fortune. While
a lucky few were ‘discovered’, hard work
and talent were required to make it in
Hollywood.
As musicals grew in popularity, most
studios required their stable of actors
to learn to sing and dance and the
investment to achieve this made musical
stars incredibly valuable to their studios.
Studio scouts looked to vaudeville, radio,
opera, and the Broadway stage to find
new onscreen talent. Popular artists from
foreign countries were summoned to
Hollywood and screen tested to
determine their potential popularity with
American audiences. Even established or
talented performers under exclusive
contract to a major studio were groomed
and molded to reflect what was felt the
public desired on screen. It was not
uncommon for an actor’s name and
But these efforts to create a personality
did not always succeed. The public may
not take to a performer, and sometimes
extras and supporting characters went
on to become considerable box office
attractions. The lucky few became huge
celebrities of the era. Some have since
faded from memory, but others’ star
continues to burn bright.
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The musical costumes in the exhibition
represent the many pathways to stardom
and the performers who played key roles
in the success of the musical genre.
Cyd Charisse, Donald O’Connor and
Esther Williams were popular stars of the
era whose celebrity diminished at the
conclusion of their film careers, while
others like Fred Astaire, Judy Garland
and Gene Kelly came to be symbols of
the screen musical as well as Golden Age
Hollywood itself.
Note: Further exploration could focus on
ideas of fame and stardom throughout
popular culture and how this has evolved.
Music students also have the opportunity
to study American composers of this era
and the beginning of ‘popular’ music.
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THE END OF AN ERA
The Golden Age was inextricably linked
to the studio system, but by the 1960s this
system had radically changed. While the
1940s and 1950s were successful decades
for the studios, competing forms of
entertainment — particularly television
— were eroding cinema’s audiences.
Barbra Streisand
Funny Girl 1968
Designer: Irene Sharaff
A major blow came in 1948, when the
United States Supreme Court ruled that
the studio’s tactics of ‘block booking’
(selling multiple films to cinemas in lots)
and operating cinemas exclusively
screening their films, constituted
monopolistic trade practices that were
anti-competitive. Forced to divest
themselves of their cinema chains,
the studios struggled to adapt.
During the 1950s, as major stars were
released from their contracts and began
to freelance, studios turned to popular
genres that exploited the scale of the
big screen in a bid to keep audiences
entertained. By the 1960s reality hit.
In 1966 the growing taste for realism in
filmmaking saw the end of the restrictive
Hays Code, and made expensive studio
productions irrelevant. Emerging
independent films transformed American
cinema. The musical survived on the
backs of new musical stars like Barbra
Streisand and Julie Andrews, but never
recaptured its previous popularity.
a better fit for characters that needed to
feel ‘real’ to a contemporary audience.
In 1969 MGM was sold and the following
year the MGM Studio Auction took place.
Cinematic treasures dating back to the
1920s were sold off. It was a turning point
that signified the downfall of the studio
system while simultaneously igniting the
passion of private collectors.
Nostalgia for Hollywood’s Golden Age
had already found an audience by 1974.
MGM’s tribute film That’s Entertainment
was released, featuring Golden Age stars
like Fred Astaire and Debbie Reynolds
filmed on the crumbling backlots of
MGM. That year the Metropolitan
Museum of Art’s Costume Institute
staged the first major museum exhibition
of Hollywood costume.
As the power of the studios waned, so
did the massive departments that fuelled
Golden Age films. Costume departments
were stripped back and the specialised
techniques crucial to Golden Age
costumes vanished. Costumes from
boutiques and department stores were
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Designed by renowned stylists, created
by teams of craftspeople and worn by
Hollywood stars, the costumes of the
Golden Age are today considered
vestiges of a magnificent past. Exhibited
in museums worldwide and treasured
by collectors, they have endured well
beyond their short-lived screen time to
tell the stories of cinema’s once glorious
Golden Age.
Note: Themes focus on the changes
within the film industry set against a
backdrop of historical events and the
erosion of film audiences due to the
influence of television.
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END OF AN ERA
MUSICALS
EXHIBITION
MAP
GOLDEN AGE COSTUME DESIGN
BIBLICAL
LITERARY ADAPTION
THE PAST
THE GOLDEN AGE
DOME LOUNGE
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AUSTRALIAN
CURRICULUM
YEAR 4
ACELT1603 Discuss literary experiences with others, sharing
responses and expressing a point of view
Students that are offered the opportunity to visit Costumes from
the Golden Age of Hollywood at the Museum of Brisbane will
be able to engage in activities inspired by a collection of unique
and seminal costumes from a bygone era of cinema. Through
broadening student perceptions; knowledge and understanding
of the role of costume in film and shaping character; costume as
a cultural artifact; the relationship between costume in fiction and
reality and the concept of collections, this exhibition connects
with Australian Curriculum content descriptions in the subjects
of English, Media Arts, Visual Arts, History and Civics and
Citizenship.
Students could also explore ‘dress’ as social codes and its
relevance across texts (including literature, picture books, short
stories), and as inspiration to create their own characters and
costumes in written, visual and multimedia platforms. In History,
this exhibition may be used as a foundation for a depth study
in The Globalising World, where students investigate a global
influence on the shaping of Australian society. Students will
consider the importance of collections and collectors in
preserving primary artifacts for future benefit.
ENGLISH
ACELT1794 Create literary texts by developing storylines,
characters and settings
YEAR 5
ACELT1612 Create literary texts using realistic and fantasy
settings and characters that draw on the worlds represented in
texts students have experienced
YEAR 6
ACELT1613 Make connections between students’ own
experiences and those of characters and events represented in
texts drawn from different historical, social and cultural contexts
ACELY1708 Compare texts including media texts that represent
ideas and events in different ways, explaining the effects of the
different approaches
YEAR 7
ACELT1621 Compare the ways that language and images are
used to create character, and to influence emotions and opinions
in different types of texts
ACELT1803 Discuss aspects of texts, for example their aesthetic
and social value, using relevant and appropriate metalanguage
YEAR 3
ACELT1601 Create imaginative texts based on characters,
settings and events from students’ own and other cultures using
visual features, for example perspective, distance and angle
ACELT1594 Discuss texts in which characters, events and
settings are portrayed in different ways, and speculate on the
authors’ reasons
ACELY1765 Analyse and explain the effect of technological
innovations on texts, particularly media texts
YEAR 10
ACELY1749 Analyse and evaluate how people, cultures, places,
events objects and concepts are represented in texts, including
media texts, through language, structural and/or visual choices
ACELY1752 dentify and analyse implicit or explicit values, beliefs
and assumptions in texts and how these are influenced by
purposes and likely audiences
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CIVICS AND CITIZENSHIP
YEAR 7
YEAR 9
ACHCS084 Critically evaluate information and ideas from
a range of sources in relation to civics and citizenship topics
and issues
VISUAL ARTS
ACAVAM120 Develop planning skills for art-making by exploring
techniques and processes used by different artists ACAVAM119 Develop ways to enhance their intentions
as artists through exploration of how artists use materials,
techniques, technologies and processes ACAVAM118 Experiment with visual arts conventions and
techniques, including exploration of techniques used by
Aboriginal and Torres Strait Islander artists, to represent a theme,
concept or idea in their artwork YEAR 3 & 4
ACAVAM110 Explore ideas and artworks from different cultures
and times, including artwork by Aboriginal and Torres Strait
Islander artists, to use as inspiration for their own representations HISTORY
ACAVAM111 Use materials, techniques and processes to
explore visual conventions when making artworks ACAVAM112 Present artworks and describe how they have
used visual conventions to represent their ideas ACAVAR113 Identify intended purposes and meanings of
artworks using visual arts terminology to compare artworks,
starting with visual artworks in Australia including visual artworks
of Aboriginal and Torres Strait Islander Peoples
YEAR 5 & 6
ACAVAM114 Explore ideas and practices used by artists,
including practices of Aboriginal and Torres Strait Islander artists,
to represent different views, beliefs and opinions ACAVAM115 Develop and apply techniques and processes when
making their artworks ACAVAR117 Explain how visual arts conventions communicate
meaning by comparing artworks from different social, cultural and
historical contexts, including Aboriginal and Torres Strait Islander
artworks COSTUMES FROM THE GOLDEN AGE OF HOLLYWOOD
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Depth studies
There are three depth studies for this historical period.
For each depth study, there are up to three electives that focus
on a particular society, event, movement or development. It is
expected that ONE elective will be studied in detail. A depth
study will constitute approximately 30% of the total teaching
time for the year. The content in each depth study elective is
designed to allow detailed study of specific aspects of this
historical period. As part of a teaching and learning program,
depth study content can be integrated with overview content
and/or integrated with other depth study electives.
The globalising world
Students investigate one major global influence that has shaped
Australian society in depth, including the development of the
global influence during the twentieth century. Students study
ONE of these electives: Popular culture or the environment
movement or Migration experiences.
Popular culture (1945 – present)
ACDSEH027 The nature of popular culture in Australia at the
end of World War II, including music, film and sport.
View additional details about Literacy.
View additional details about Critical and creative thinking.
View additional details about Personal and social capability.
View additional details about Intercultural understanding
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ACDSEH121 Developments in popular culture in post-war
Australia and their impact on society, including the introduction
of television and rock ’n’ roll
View additional details about Literacy
View additional details about Critical and creative thinking
View additional details about Personal and social capability
ACDSEH122 The changing nature of the music, film and
television industry in Australia during the post-war period,
including the influence of overseas developments (such as
Hollywood, Bollywood and the animation film industry in China
and Japan)
View additional details about Information and communication
technology capability
View additional details about Intercultural understanding Asia
and Australia’s engagement with Asia
ACDSEH123 Australia’s contribution to international popular
culture (music, film, television, sport).
ACDSEH149 Continuity and change in beliefs and values that
have influenced the Australian way of life
View additional details about Ethical understanding
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TEACHER AND STUDENT RESOURCES
TEXTS
Cinema: The Whole Story
Philip Kent (Ed)
2011 Thames & Hudson Ltd, London
Hollywood Costume
Deborah Nadoolman Landis (Ed)
2012 V&A Publishing, London
WEBSITES
The Director’s Vision: A Concise Guide
to the Art of 250 Great Filmmakers
Geoff Andrew
1999 A Cappella Books, Chicago
GENERAL
Film Reference
http://www.filmreference.com/
A good starting point for information on
film, stars and costume designers
The Story of Cinema
An Illustrated History
Volume Two: From Citizen Cane to the
Present Day
David Shipman
1984 Hodder and Staughton, London
Filmsite
http://www.filmsite.org/filmh.html
Very comprehensive information about
the film industry
Costume and Fashion: A Concise History
Fourth Edition
James Laver
2002 Thanes & Hudson Ltd, London
THE GOLDEN AGE OF HOLLYWOOD
A Timeline of World Cinema —
Introduction
http://www.youtube.com/
watch?v=xzHX4K8_Epk
100 Unforgettable Dresses
Hal Rubenstein
2011 Harper Collins Publishers, New York
Key Moments in Fashion:
The Evolution of Style
1988 Hamlyn, Reed Consumer Books Ltd,
London
Rise of the Studio System —
Timeline of Cinema: Ep. 2
watch?v=vS6Vuy5dV1Q
The Symbolism of Colour
Ellen Conroy
1921 William Rider & Son Ltd, London
The Golden Age of Hollywood
watch?v=BjoHNZfKTbw
Hollywood Without Make-up
Behind the scenes images and clips
of stars of the golden years —
a montage by Ken Murray
Context: Sets and Off-screen glamour
watch?v=SaXtCIEy2wc
Gender and Hollywood
1995 Documentary Women of RKO
Narrated by: Debbie Reynolds
http://www.youtube.com/watch?v=LzcKhg976Q
COSTUME DESIGN
Pretty Clever Films
Costume Designers in Hollywood’s
Golden Age
http://prettycleverfilms.com/costumedesign-film-fashion/costume-designers-inhollywoods-golden-age/#.VGgM-SjralI
Costume Design in the Golden
Hollywood Era
http://www.goldenhollywoodera.com/
costumedesign.php
Taste of Cinema
20 Great Hollywood Costume Designers
You Should Know About
http://www.tasteofcinema.com/2014/20great-hollywood-costume-designers-youshould-know-about/
History of Film
David Parkinson
1995 Thames & Hudson Ltd, London
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Clothing 1930 – 1945
http://www.fashionencyclopedia.com/
fashion_costume_culture/ModernWorld-1930-1945/Clothing-1930-45.html
Costume: The Costume Designer’s
relationship with the film crew and cast
encyclopedia/Academy-Awards-CrimeFilms/Costume-THE-COSTUMEDESIGNER-S-RELATIONSHIP-WITHTHE-FILM-CREW-AND-CAST.html
Women’s Dresses
fashion_costume_culture/ModernWorld-1930-1945/Women-s-Dresses.html
Costume: International History of
Costume Design
encyclopedia/Academy-Awards-CrimeFilms/Costume-INTERNATIONALHISTORY-OFCOSTUME-DESIGN.html
Men’s Suits
fashion_costume_culture/ModernWorld-1930-1945/Men-s-Suits.html
Costume: Trendsetting
encyclopedia/Academy-Awards-CrimeFilms/Costume-TREND-SETTING.html
New Look
fashion_costume_culture/ModernWorld-1946-1960/New-Look.html
HOLLYWOOD AND FASHION
COLLECTING AND COLLECTIONS
Promotion Of Classic Hollywood Film
Costume In 1930s American Fashion
Magazines
By Lindsay Danielle Reaves
http://acumen.lib.ua.edu/content/
u0015/0000001/0001331/
u0015_0000001_0001331.pdf
Uncovering the history behind collecting
by Diane Fricke
http://www.horizonlines.org/volume4/
about/why/
The psychology of collecting
By Mark B. McKinley, Ed.D.
January 1, 2007
http://nationalpsychologist.com/2007/01/
the-psychology-of-collecting/10904.html
Hollywood Influences Fashion
fashion_costume_culture/ModernWorld-1930-1945/Hollywood-InfluencesFashion.html
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TEACHER RESOURCE
Collecting Things
https://learnenglish.britishcouncil.org/en/
magazine-articles/collecting-things
An on-line comprehension exercise and
vocabulary development activity worth
doing as a pre or post-visit activity about
how collections start and the value of a
collection to an individual
Prepared for the British Council
THE HAYS CODE
The Hays Code
watch?v=0bF66cCvgPk
This is a student constructed
documentary which presents a clear and
succinct background to and outline of the
Hays Code — censorship in the movies
Joseph Breen, administrator of motion
picture production code of ethics at
meeting...HD Stock Footage
watch?v=FI9nr5qKE6w
The Hollywood Production Code:
A Right to Express a Responsibility
to Censor
Documentary which puts forward the key
premise that the Code was restrictive
Good for class discussion and detecting
bias and opinion
watch?v=KEwpopA61ys
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CONTACT
For more information on
Costumes from the Golden Age
of Hollywood visit Museum
of Brisbane’s website:
www.museumofbrisbane.com.au
For more information about education
support or your booking, please contact
Education Officer
T: 07 3339 0836
F: 07 3339 0801
E: [email protected]
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Costumes from the Golden Age of

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