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Intellectual Communities and Partnerships in Italy and Europe

Studies in Honour of Mark Davie

Edited By Danielle Hipkins

This book has been inspired by the emphasis that Mark Davie’s studies have put on the cooperative nature of artistic and intellectual pursuits in the humanities. Whilst the importance of connections between intellectuals is often acknowledged in the form of intertextual studies, research into real dialogue between individuals is little researched, partly due to the practical challenges of such research. The ten chapters of this book – written by specialists in different cultures – redress in part this imbalance and offer a new angle on the canon by tracing the impact of concrete partnerships and communities in Italian and European history. The issues that the volume’s contributors keep in mind include: the reasons that artists and intellectuals choose to collaborate; the forms that this collaboration takes; the factors that determine its success; and whether some areas of culture lend themselves to intellectual collaboration better than others.


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Part IV 137


Part IV Jennie Cousins Film Crew as Community: The Case of Professional Woman of the Year (Don Boyd, 2008) I am a freelance costume designer. My job not only draws me into the film- making community as a whole but also into smaller, transitory communities of particular film crews. Filmmaking is an art form whose method of pro- duction demands collaborative methods of working, as the myriad dif ferent tasks that need to be executed concurrently render solo filmmaking a near impossible venture. Thus, the process of filmmaking is concerned with the pooling of people, resources, and ideas, a fact that a cursory glance at any list of credits at the end of a film will confirm. Therefore, the production of meaning in a film is grounded in the collective that makes it, and the collective audiences who then watch it. This article will detail my own personal experience of collaboration and costume design on a recent job, costuming the digital short, Professional Woman of the Year (Don Boyd, 2008). Using my notes and sketchbooks kept from the initial meeting of cast and crew to the first screening of the finished film, this article will take the form of a chronicle detailing the large amount of collaborative work involved in the planning, sourcing/making, alteration, wearing and film- ing of the costumes I was ultimately responsible for as the film’s costume designer. I will split this account into three sections, ref lecting on the role of the costume designer in general;...

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