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In this paper I examine the theme of captivity in regard to the largely overlooked intertextual nexus between fashion photography and film. Mobilising Stanley Donen’s Funny Face antichoc coque iphone 8 (1957), therefore, I analyse how a film that is more generally regarded as a benchmark in the Hollywood musical for its exuberant use of coque iphone coque iphone 8 plus gel silicone 7 plus pochette colour and songs is, more particularly, not only a cinematic locus for the mediation of fashionable identities but one that deals with their mediatization as well. First, I analyse how representative the film is of fashion publishing in the late 1950s in the way it depicts the performative dynamic between the fashion editor, photographer and coque iphone 8 officiel apple model…

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