JELENA NIKOLIĆ VANOVIĆ
Ph.D. candidate, University of the Arts in Belgrade, Interdisciplinary studies, Theory of Arts and Media

GLAMUR: stilski eksces koji prikriva bolno mesto
GLAMOUR: The Stylish Excess that Conceals a Painful Spot

Journal 10/2014 (Museum of Applied Art), pages 87-94

UDC:
316.72 : 7.01

Abstract (original language):
Smatrajući da odevanje predstavlja jedan od najeksplicitnijih vidova spektakularizacije identiteta, u ovoj analizi glamura pokušaćemo da utvrdimo koje sadržaje ovaj stilski jezik obrađuje i saopštava. U samom središtu ove estetske koncepcije otkrićemo Batajev pojam erotizma. Budući da nastaje kao posledica rascepa između sveta racionalnog i iracionalnog, odnosno sveta rada, sa jedne strane, i slepe sile (seksualnosti i smrti), sa druge, erotizam se, među njima, ukazuje kao večita čežnja za uspostavljanjem celine. Uskoro ćemo uvideti da upravo problemi seksualnosti i smrti čine osnovnu značenjsku okosnicu glamura. Kanališući društvenu histeriju u stilski eksces, glamur se javlja u formi estetskog i moralnog prestupa, nudeći mogućnost običnom čoveku da kroz transponovanje zabranjenih sadržaja na vizuelni, odevni jezik, iskorači iz prosečnog, umerenog, pristojnog ili funkcionalnog i kroči u nedostižno. Kroz interdisciplinarni pristup analizi glamura, kako u smislu filmskog kostima, tako i u smislu modnog odevanja, otkrićemo da je društvena kriza izazvana industrijskom revolucijom i promenama u obimu i organizaciji rada, kanalisana u stilski eksces, koji je, zatim, iako bogat subverzivnim potencijalom, lako skliznuo u potrošnju. Videćemo da glamur predstavlja odgovor na pojavu modernizma i industrijske proizvodnje, pokušaj da se integracijom u spektakl oslobodimo patnje, samoće i smrti.

Key words: (original language)
glamur, melodrama, prestup, rad, spektakl

Summary:
Emerging as a consequence of industrial production organized on the largest scale, and thus in the age of effective prohibitions, glamour appears as an offence, that is through spending, as well as through mass consumption, which is characteristic of industrial societies. The proportions of production and consumption, introduced by industrial revolution, and the consequent changes in social conditions, turned glamour into the largest spectacle ever accessible to human societies. That is the spectacle of the consumer culture, the saint of the modern age. Icons of glamour represent the gods revered by the modern man.
Glamour has quickly and easily moved from cinema to various lines of industry of life styles, and crucial for its mass popularization was the importance of costume designed for the Hollywood melodramas. Costume has become one of the basic features of both aesthetics and semantics. When we take into consideration that the purpose of clothing is, in the first place, the spectacularization of identities, a question arises: what is the content which this stylistic language treats and communicates? We discover that in the very heart of this aesthetic concept rests Georges Bataille's notion of eroticism as eternal longing to establish the lost totality or continuity, an attempt to overcome the gap between the rational and the irrational in man. This is why the fundamental signifying focus of glamour is composed of problems of sexuality and death. With channelling social hysteria into a stylistic excess, glamour appears in the form of aesthetic and moral misdemeanour. Glamour allows one to, in transposing the forbidden contents into the visual, into the language of clothing, step out from mediocre, moderate, appropriate or functional, and into the unattainable, into the everlasting...
In the process of spectacularization, the biological sexuality and mortality become entirely neutralized. Glamour managed to overcome the eternal problems of man by completely divorcing beauty and appeal, but also death, from the corporeal and the social givens. One has, through integrating oneself into the spectacle, at last realized the unity with the world, but the price of this success is exorbitant. One can free oneself from the loneliness and death only when turned into an image.

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