teacher resource - museum of brisbane · 2017-07-05 · of costumes, props and ephemera connected...

COSTUMES FROM THE GOLDEN AGE OF HOLLYWOOD | TEACHER RESOURCE 1

Teacher Resource


INTRODUCTION

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.

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 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.

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

Step back in time into the soundstage of a bygone era and discover the cinematic world of Costumes from the Golden Age of Hollywood.


HOLLYWOOD IN BRISBANE

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.

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.

Note: This raises general questions about the nature of collections and collectors — what inspires collectors and how do we value memories and past experiences?

EXHIBITION THEMES AND CONTENT


THE BEGINNING OF A GOLDEN AGE

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.

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.

Note: Key areas for exploration include film production and cinema history including silent films through to contemporary movies.

MGM fittings board c1920s–1960sStudio Metro-Goldwyn-MayerTimber and blackboard paint


BEYOND THE DREAM FACTORIES

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.

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.

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

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.

Myrna LoyI Love You Again 1940 Designer: Dolly Tree


GOLDEN AGE COSTUME DESIGN

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.

Chief designers generally only designed for leading actors, but were in control of enormous costume departments,

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.

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

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.

Susan HaywardSmash Up: The Story of a Woman 1947 Designer: Travis Banton


COSTUME AND FASHION

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.

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

mark on Hollywood in iconic collaborations, such as that between designer Hubert de Givenchy and actress Audrey Hepburn.

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.

While fantasy and glamour were highly evident in Golden Age costumes, believable and relatable women’s clothing

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.

Lucille Ball The Long, Long Trailer 1953Designer: Helen Rose


COSTUME, CHARACTER, AND CELEBRITY

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 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

fabric choices available. A cocktail dress could be demurely cut from a plain fabric or be body-hugging and covered in sequins.

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.

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.

Jane Russell The Revolt of Mamie Stover 1956Designer: Travilla


THE STORIES HOLLYWOOD TELLS

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.

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.

Note: Students could further explore different genres of film and the development of narratives. The exhibition contains costumes relating to the following genres:

Biblical EpicsThe Past/HistoryLiterary AdaptationsMusicals

Jack Hawkins Ben-Hur 1959Designer: Elizabeth Haffenden


A STAR IS BORN

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.

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

appearance to be dramatically changed, such as the brunette Francesca Marlene de Czanyi von Gerber who became the blonde-haired Mitzi Gaynor.

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.

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.

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.

Mitzi Gaynor Golden Girl 1951Designer: Charles Le Maire


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.

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.

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

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.

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.

Barbra StreisandFunny Girl 1968Designer: Irene Sharaff


EXHIBITION MAP

MUSICALS

LITERARY ADAPTION

THE PAST

THE GOLDEN AGE

DOME LOUNGE

GO

LDEN

AG

E C

OST

UM

E D

ESIG

NBI

BLIC

AL

END

OF

AN

ERA


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.

AUSTRALIAN CURRICULUM

ENGLISH

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

YEAR 4

ACELT1603 Discuss literary experiences with others, sharing responses and expressing a point of view

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

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


CIVICS AND CITIZENSHIP

YEAR 9

ACHCS084 Critically evaluate information and ideas from a range of sources in relation to civics and citizenship topics and issues

VISUAL ARTS

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

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

YEAR 7

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

HISTORY

Depth studiesThere 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


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 View additional details about Intercultural understanding

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 Literacy View additional details about Information and communication technology capability View additional details about Critical and creative thinking View additional details about Personal and social 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). 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

ACDSEH149 Continuity and change in beliefs and values that have influenced the Australian way of life View additional details about Literacy View additional details about Critical and creative thinking View additional details about Intercultural understanding View additional details about Ethical understanding


TEACHER AND STUDENT RESOURCES

TEXTS

Hollywood CostumeDeborah Nadoolman Landis (Ed)2012 V&A Publishing, London

The Director’s Vision: A Concise Guide to the Art of 250 Great FilmmakersGeoff Andrew1999 A Cappella Books, Chicago

The Story of CinemaAn Illustrated HistoryVolume Two: From Citizen Cane to the Present DayDavid Shipman1984 Hodder and Staughton, London

Costume and Fashion: A Concise History Fourth EditionJames Laver2002 Thanes & Hudson Ltd, London

100 Unforgettable DressesHal Rubenstein2011 Harper Collins Publishers, New York

Key Moments in Fashion: The Evolution of Style1988 Hamlyn, Reed Consumer Books Ltd, London

The Symbolism of ColourEllen Conroy1921 William Rider & Son Ltd, London

History of FilmDavid Parkinson1995 Thames & Hudson Ltd, London

Cinema: The Whole StoryPhilip Kent (Ed)2011 Thames & Hudson Ltd, London

WEBSITES

GENERAL

Film Referencehttp://www.filmreference.com/A good starting point for information on film, stars and costume designers

Filmsitehttp://www.filmsite.org/filmh.htmlVery comprehensive information about the film industry

THE GOLDEN AGE OF HOLLYWOOD

A Timeline of World Cinema — Introductionhttp://www.youtube.com/watch?v=xzHX4K8_Epk

Rise of the Studio System — Timeline of Cinema: Ep. 2http://www.youtube.com/watch?v=vS6Vuy5dV1Q

The Golden Age of Hollywoodhttp://www.youtube.com/watch?v=BjoHNZfKTbw

Hollywood Without Make-upBehind the scenes images and clips of stars of the golden years — a montage by Ken Murray Context: Sets and Off-screen glamourhttp://www.youtube.com/watch?v=SaXtCIEy2wc

Gender and Hollywood1995 Documentary Women of RKO Narrated by: Debbie Reynoldshttp://www.youtube.com/watch?v=LzcKh-g976Q

COSTUME DESIGN

Pretty Clever FilmsCostume Designers in Hollywood’s Golden Agehttp://prettycleverfilms.com/costume-design-film-fashion/costume-designers-in-hollywoods-golden-age/#.VGgM-SjralI

Costume Design in the Golden Hollywood Erahttp://www.goldenhollywoodera.com/costumedesign.php

Taste of Cinema20 Great Hollywood Costume Designers You Should Know Abouthttp://www.tasteofcinema.com/2014/20-great-hollywood-costume-designers-you-should-know-about/


Costume: The Costume Designer’s relationship with the film crew and casthttp://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Costume-THE-COSTUME-DESIGNER-S-RELATIONSHIP-WITH-THE-FILM-CREW-AND-CAST.html

Costume: International History of Costume Designhttp://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Costume-INTERNATIONAL-HISTORY-OFCOSTUME-DESIGN.html

Costume: Trendsettinghttp://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Costume-TREND-SETTING.html

HOLLYWOOD AND FASHION

Promotion Of Classic Hollywood Film Costume In 1930s American Fashion MagazinesBy Lindsay Danielle Reaveshttp://acumen.lib.ua.edu/content/u0015/0000001/0001331/u0015_0000001_0001331.pdf

Hollywood Influences Fashionhttp://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-1930-1945/Hollywood-Influences-Fashion.html

Clothing 1930 – 1945http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-1930-1945/Clothing-1930-45.html

Women’s Dresseshttp://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-1930-1945/Women-s-Dresses.html

Men’s Suitshttp://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-1930-1945/Men-s-Suits.html

New Lookhttp://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-1946-1960/New-Look.html

COLLECTING AND COLLECTIONS

Uncovering the history behind collectingby Diane Frickehttp://www.horizonlines.org/volume4/about/why/

The psychology of collectingBy Mark B. McKinley, Ed.D. January 1, 2007http://nationalpsychologist.com/2007/01/the-psychology-of-collecting/10904.html

Collecting Thingshttps://learnenglish.britishcouncil.org/en/magazine-articles/collecting-thingsAn 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 Codehttp://www.youtube.com/watch?v=0bF66cCvgPkThis 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 Footagehttp://www.youtube.com/watch?v=FI9nr5qKE6w

The Hollywood Production Code: A Right to Express a Responsibility to CensorDocumentary which puts forward the key premise that the Code was restrictive Good for class discussion and detecting bias and opinionhttp://www.youtube.com/watch?v=KEwpopA61ys


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 0836F: 07 3339 0801E: [email protected]

teacher resource - museum of brisbane · 2017-07-05 · of costumes, props and ephemera connected...

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