Articles and Book Chapters
Allen, Jean, ‘The Film Viewer as Consumer’, Quarterly Review of Film Studies, no. 5, Fall 1980, pp. 481–499.


Beloff, Zoe, ‘Towards Spectral Cinema’ in Eric Kluitenberg (ed.), Book of Imaginary Media: Evacuating the Dream of the Ultimate Communication Medium (Amsterdam and Rotterdam: Debalie and NAi Publishers), pp. 125–239.


Bredekamp, Horst, ‘A Neglected Tradition? Art History as “Bildwissenschaft”’, Critical Inquiry, vol. 29, no. 3, Spring 2003, pp. 418–428.


Christie, Ian, ‘Who Needs Film Archives? Notes Towards a User-centred Future’, Czech and Slovak Journal of Humanities no. 1, 2015, pp. 36–44.


Church Gibson, Pamela, ‘Fashion, Fetish and Spectacle. The Matrix Dresses Up – and Down’ in S. Gillis (ed.), The ‘Matrix’ Trilogy: Cyberpunk Reloaded (London: Wallflower Press, 2005), pp. 114–125.


Cohen-Stratyner, Barbara Naomi, ‘Fashion Fillers in Silent Film Periodicals’ in Barbara Naomi Cohen-Stratyner (ed.), Performing Arts Resources: Performances in Periodicals, vol. 14, (New York: Theatre Library Association, 1989), pp. 127–42.


De Perthuis, Karen, ‘Wearing Fashion in Film: Wittgenstein and Orlando’, Form/Work, no. 4, 2000, 51–66.


De Perthuis, Karen, ‘I am Style: Tilda Swinton as Emma in Luca Guadagnino’s I Am Love’, Film, Fashion & Consumption, no. 1, 2012, pp. 269–288.


Eckert, Charles, ‘The Carole Lombard in Macy’s Window’, Quarterly Review of Film Studies, vol. 3, no.1, 1978, pp. 1–23.


Elsaesser, Thomas, ‘Early Film History and Multi-Media: An Archaeology of Possible Futures?’ in Wendy Hui Kyong Chun and Thomas Keenan (eds.), New Media, Old Media. A History and Theory Reader, (New York and London: Routledge, 2006), pp. 13-26.


Elsaesser, Thomas, ‘The New Film History as Media Archaeology’, Cinémas: revue d’études cinématographiques / Cinémas: Journal of Film Studies, vol. 14, no. 2–3, 2004, pp. 75–117.


Evans, Caroline, ‘The Walkies: Early Fashion Shows and Silent Cinema’ in A. Munich (ed.), Fashion in Film: Essays in Honor of E. Ann Kaplan (Bloomington, USA: Indiana University Press, 2011), pp. 110-134.


Gaines, Jane and Michael Renov, ‘Preface’ in Quarterly Review of Film and Video, vol. 11, no. 1, 1989, pp. 7–8.
Gaines, Jane, ‘The Queen Christina Tie‐ups: Convergence of Show Window and Screen’, Quarterly Review of Film and Video, vol. 11, no. 1, 1989, pp. 35–60.
Ganeva, Mila, ‘Weimar Film as Fashion Show: Konfektionskomodien or Fashion Farces from Lubitsch to the End of the Silent Era’, German Studies Review, no. 30, pp. 289–309.


Ganeva, Mila, ‘Elegance and Spectacle in Berlin: The Gerson Fashion Store and the Rise of the Modern Fashion Show’ in J. Potvin, The Places and Spaces of Fashion, 1800–2007 (Routledge, New York: 2009), pp. 121-138.


Gaudreault, André and Philippe Marion, ‘A Medium is Always Born Twice’, Early Popular Visual Culture 3, no. 1, pp. 3–15.
Gaudreault, André and Philippe Marion, Measuring the ‘Double Birth’ Model against the Digital Age. Early Popular Visual Culture 11, no. 2, 2013, pp. 158–177.
Gunning, Tom, ‘The Cinema of Attraction: Early Film, Its Spectator and the Avant-Garde’ in T. Elsaesser and A. Barker (eds.), Early Cinema: Space, Frame, Narrative (London: BFI, 1997), pp. 56–62.


Gunning, Tom, ‘Before Documentary: Early Nonfiction Films and the ‘View’’, in De Klerk, Nico and Daan Hertogs (eds.), Uncharted Territory: Essays on Early Nonfiction Films (Amsterdam: Netherlands Filmmuseum, 1997), pp. 9–24.


Hanssen, Eirik Frisvold, ‘Symptoms of Desire: Colour, Costume, and Commodities in Fashion Newsreels of the 1910s and 1920s’, Film History: An International Journal, 21, 2, July 2009, pp. 107–121.


Herzog, Charlotte, ‘”Powder Puff” Promotion: The Fashion Show-in-the-Film’, in J. Gaines and C. Herzog (eds.), Fabrications: Costume and the Female Body (London, Routledge: 1990), pp. 134–159.


Huhtamo, Erkki, ‘From Kaleidoscomaniac to Cybernerd: Towards an Archaeology of the Media’, Leonardo, no. 3, 1997, pp. 221–224.


Huhtamo, Erkki, ‘Natural Magic: A Cultural History of Moving Images’, in William Guynn (ed.), The Routledge Companion to Film History (London and New York: Routledge, 2011), pp. 3–15.


Karaminas, Vicki, ‘Image: Fashionscapes – Notes Toward an Understanding of Media Technologies and Their Impact on Contemporary Fashion Imagery’ in Adam Geczy and Vicki Karaminas (eds.), Fashion and Art (London: Berg, 2012), pp. 177–187.


Khamis, Susie & Alex Munt, ‘The Three Cs of Fashion Media Today: Convergence, Creativity & Control, Journal of Media Arts Culture, 8, accessible from:


Khan, Nathalie, ‘Cutting the Fashion Body: The Fashion Image is no Longer Still’, Fashion Theory: The Journal of Dress, Body and Culture, vol. 16, no. 2, 2012, pp. 235–250.


Leslie, Esther. 2013. ‘Dreams for Sale’ in Marketa Uhlirova (ed.), Birds of Paradise (London: Koenig Books, 2013), pp. 29–40.


Löffler, Petra, ‘Towards a new media archaeology? A report on some books and tendencies’, NECSUS / European Journal of Media Studies, vol. 1, no. 1, Spring 2012, pp. 174-180.


Mak, Bonnie, ‘Archaeology of a Digitization’, Journal of the Association for Information Science and Technology, vol. 65, no. 8, pp. 1515-1526.


Needham, Gary, ‘The Digital Fashion Film’ in Stella Bruzzi and Pamela Church Gibson (eds.), Fashion Cultures Revisited (Abingdon: Routledge, 2013), pp. 103–111.


Patterson, James, ‘The public film archives and the evolving challenge of screen heritage preservation in the UK’ in I.Q. Hunter, L. Porter and J. Smith (eds.), The Routledge Companion to British Cinema History (Abingdon and New York: Routledge, 2017), pp. 262-270.
Rajewsky, Irina O., ‘Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality’, intermédialités, no. 6, Autumn 2005, pp. 43-64.


Rees-Roberts, Nick. ‘Fashion Film: mode, cinéma et numérique’, Poli: Politique de l’image no. 5, 2011, pp. 99–112.


Rees-Roberts, Nick, ‘The Spectacle of Process: Documenting Fashion on Film’ in E. Mora & M. Pedroni (eds.), Fashion Tales: Feeding the Imaginary (Berne: Peter Lang, 2017), pp. 163-182.


Gustafson, Robert, ‘The Power of the Screen: the Influence of Edith Head’s Film Designs on the Retail Fashion Market’, The Velvet Light Trap, no. 19, 1982.


Stacey, Jackie. ‘Feminine Fascinations: Forms of Identification in Star-Audience Relations’ in C. Gledhill (ed.), Stardom: Industry of Desire (London, Routledge, 1991), pp. 141–163.


Staiger, Janet, ‘Announcing Wares, Winning Patrons, Voicing Ideals: Thinking about the History and Theory of Film Advertising’, Cinema Journal, vol. 29, no. 3, Spring, 1990, pp. 3–31.
Staiger, Janet, ‘The Politics of Film Canons’, Cinema Journal 24, no. 3, Spring 1985, pp. 4–23.


Strauven, Wanda, ‘Media Archaeology: Where Film History, Media Art, and New Media (Can) Meet’ in Preserving and Exhibiting Media Art: Challenges and Perspectives (Amsterdam: Amsterdam University Press, 2013), pp. 59–79.


Street, Sarah and Joshua Yumibe, ‘The Temporalities of Intermediality: Colour in Cinema and the Arts of the 1920s’, Early Popular Visual Culture, vol. 11, no. 2, May 2013, pp. 140–157.


Turim, Maureen, ‘Fashion Shapes: Hollywood, the Fashion Industry and the Image of Women’, Socialist Review, 13, 5, 1983, pp. 78–97.
Turim, Maureen. ‘Seduction and Elegance: The New Woman of Fashion in Silent Cinema’. In: S. Benstock and S. Ferriss (eds.), On Fashion (New Brunswick, NJ: Rutgers University Press, 1994), pp. 140-158.


Uhlirova, Marketa, ‘Fashion and Czechoslovak Cinema of the Interwar Period’ in D. Bartlett & J. B. Eicher (eds.), Berg Encyclopaedia of World Dress and Fashion: Volume 9: East Europe, Russia, and the Caucasus (London: Berg, 2010), pp. 137–140.


Uhlirova, Marketa, ‘The Fashion Film Effect’ in D. Bartlett, S. Cole and A. Rocamora (eds.), Fashion Media: Past and Present (London: Bloomsbury, 2013), pp. 118–129.


Uhlirova, Marketa, ‘100 Years of the Fashion Film: Frameworks and Histories’, Fashion Theory: The Journal of Dress, Body and Culture vol. 17, no. 2, 2013, pp. 137–157.


Uhlirova, Marketa, ‘Costume in Early “Marvellous” Cinema: The Aesthetic of Opulence and the Teasing Image’. In: M. Uhlirova (ed.), Birds of Paradise: Costume as Cinematic Spectacle (London: Koenig Books, 2013), pp. 101–127.


Uhlirova, Marketa, ‘Fashion Film and the Photographic’, Aperture, no. 216, ‘Fashion Issue’, Autumn 2014, pp. 58–60.


Warner, Helen, ‘Tracing Patterns: Critical Approaches to On-Screen Fashion’. Film, Fashion & Consumption vol. 1, no. 1, 2012, pp. 121–132.



Books and Exhibition Catalogues
Arnold, Rebecca, Fashion, Desire and Anxiety (London: IB Tauris, 2001).
Berry, Sarah, Screen Style: Fashion and Femininity in 1930s Hollywood (Minneapolis: University of Minnesota Press, 2000).


Bolter, Jay David and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA: The MIT Press, 1999).


Bruno, Giuliana, Surface: Matters of Aesthetics, Materiality, And Media (Chicago: The University of Chicago Press, 2014).
Bruzzi, Stella, Undressing Cinema: Clothing and Identity in the Movies (London: Routledge, 1997).


Campanelli, Vito, Web Aesthetics. How Digital Media Affect Culture and Society (Rotterdam: NAi Publishers/Institute of Network Cultures, 2010).


Ceram, C.W., Archaeology of the Cinema (London: Thames and Hudson, 1965).
Chun, Wendy Hui Kyong and Thomas Keenan (eds.), New Media, Old Media: A History and Theory Reader (New York and London: Routledge, 2006).


Church Gibson, Pamela, Fashion and Celebrity Culture (London: Berg, 2012).


Cook, Pam, Fashioning the Nation: Costume & Identity in British Cinema (London: BFI Publishing, 1996).


Crary, Jonathan, Suspensions of Perception, Attention, Spectacle, and Modern Culture (Cambridge, MA: The MIT Press, 2001).


Crary, Jonathan, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, MA: The MIT Press, 1990).


Cubitt, Sean, The Cinema Effect (Cambridge, MA and London: The MIT Press, 2004).
David Chierichetti, Hollywood Costume Design (New York: Crown Publishing Group, 1976).


DeLanda, Manuel, A Thousand Years of Non-Linear History (New York: Zone, 2000).
DelGaudio, Sybil, Dressing the Part: Sternberg, Dietrich, and Costume (New Jersey: Fairleigh Dickinson University Press, 1993).
Delpierre, Madeleine, Marianne de Fleury, Dominique Lebrun, French Elegance in the Cinema (Paris: Musée de la mode et du costume, 1988).


Elsaesser, Thomas, Film History as Media Archaeology (Amsterdam: Amsterdam University Press, 2016).


Ernst, Wolfgang, Digital Memory and the Archive, ed. Jussi Parikka (Minneapolis: University of Minnesota Press, 2013).
Evans, Caroline, The Mechanical Smile: Modernism and the First Fashion Shows in France and America, 1900–1929 (London and New Haven: Yale University Press, 2013).


De Klerk, Nico and Daan Hertogs, Nonfiction Films from the Teens (Amsterdam: Netherlands Filmmuseum, 1994).


De Klerk, Nico and Daan Hertogs (eds.), Uncharted Territory: Essays on Early Nonfiction Films (Amsterdam: Netherlands Filmmuseum, 1997).
Finamore, Michelle Tolini, Hollywood Before Glamour: Fashion in American Silent Film (Basingstoke: Palgrave Macmillan, 2013).


Florin, Bo, Niko de Klerk and Patrick Vonderau (eds.), Films that Sell: Moving Pictures and Advertising (London: BFI Publishing).


Foucault, Michel, The Archaeology of Knowledge and Discourse on Language, trans. from the French by A. M. Sheridan Smith (New York: Pantheon Books, 1972).


Fossati, Giovanna et al., The Colour Fantastic: Chromatic Worlds of Silent Cinema (Amsterdam: Amsterdam University Press, distributed by University of Chicago Press, 2018
Friedberg, Anne, Window Shopping: Cinema and the Postmodern (California: University of California Press, 1994).
Ganeva, Mila, Women in Weimar Fashion: Discourses and Displays in German Culture (Rochester, NY: Camden House, 2008).
Harper, Sue, Picturing the Past: The Rise and Fall of British Costume Film (London: BFI Publishing, 1994).


Hertz, Garnet and Jussi Parikka, ‘Zombie Media: Circuit Bending Media Archaeology into an Art Method’, Leonardo, vol. 45, no. 5, 2012, pp. 424–430.
Hollander, Anne, Seeing Through Clothes (Berkeley, Los Angeles and London: University of California Press, 1993).


Huhtamo, Erkki and Jussi Parikka (eds.), Media Archaeology: Approaches, Applications, Implications (Berkeley, CA: University of California Press, 2011).


Gaines, Jane and Charlotte Herzog (eds.), Fabrications: Costume and the Female Body, (London, Routledge: 1990).


Karaminas, Vicki and Adam Geczy, Fashion’s Double: Representations of Fashion in Painting, Photography and Film (London: Bloomsbury, 2016).


Leese, Elizabeth, Costume Design in the Movies (New York: Benbridge, 1976).
McLean, Adrienne L. (ed.), Costume, Makeup, and Hair (New Brunswick NJ: Rutgers University Press, 2016).
Mondadori, Leonardo (ed.), fashion/cinema. Biennale di Firenze (Milan: Electa, 1998).
Parikka, Jussi, What is Media Archaeology? (Polity: Cambridge, 2012).
Taylor, Lou, The Study of Dress History (Manchester: Manchester University Press, 2002).


Tolini Finamore, Michelle, Hollywood before Glamour: Fashion in American Silent Film (Basingstoke: Palgrave Macmillan, 2013).


Tsilibaris, Christel and Marketa Uhlirova (eds.), Fashion in Film Festival: Between Stigma and Enigma (London: Fashion in Film Festival, 2006).


Uhlirova, Marketa (ed.), If Looks Could Kill: Cinema’s Images of Fashion, Crime and Violence (London: Koenig Books, 2008).


Uhlirova, Marketa (ed.), Birds of Paradise: Costume as Cinematic Spectacle (London: Koenig Books, 2013).
Vincendeau, Ginette. Stars and Stardom in French Cinema (London: Bloomsbury, 2000).
Warner, Helen. Fashion on Television: Identity and Celebrity Culture (London: Bloomsbury, 2014).
Wilson, Elizabeth, Adorned in Dreams: Fashion and Modernity (New Brunswick, NJ: Rutgers University Press, 2003/1985).



Exhibitions, Film Seasons and Online Resources
A Shaded View on Fashion Film. Accessible online:


Clothes on Film. Accessible online:


Copenhagen Fashion Film. Accessible online:


Dressing the Screen. 26 October – 11 November 2012. UCCA Gallery in Beijing, China.


Fashion Film Festival Milano. Accessible online:


Florence Biennale: fashion/cinema. 21 September – 1 November 1998. Florence-wide.


Filme/Fashion. Between 2003 and 2007. São Paulo.


Le cinéma français des années 20: corps et décors. 8–24 February 2008. Musée d’Orsay.



SHOWstudio. Accessible online:


SHOWstudio: Fashion Revolution. 17 September – 23 December 2009. Somerset House.


The 1st Fashion in Film Festival: Between Stigma and Enigma. 14–27 May 2006.  London-wide.


The 2nd Fashion in Film Festival: If Looks Could Kill. 10–30 May 2008. London-wide.


The 3rd Fashion in Film Festival: Birds of Paradise. 14 November – 12 December 2010. London-wide.


The 5th Fashion in Film Festival: Marcel L’Herbier: Fabricating Dreams. 10 – 19 May 2013. London-wide.
The 5th Fashion in Film Festival: Frame by Frame: Dissecting the Fashion Moving Image Now. 17–24 March 2015. London-wide.