Abstract
This paper discusses four different productions of "Othello" and examines whether the costumes in each production adequately reflect the personalities of each of the characters and the era in which they lived.

From the Paper
"Designing costumes for Othello, in whatever form--play, ballet or opera, presents a few problems from the outset. First, of course, is the necessity for the costume to enhance the feeling of paranoia of Othello, a Moor in a Caucasian society. Second, Iago needs to be malevolent without being evil personified; he is, perhaps, simply overly worldly and overly ambitious, as is his wife, Emily. And third, Desdemona has to be understandable in the context of her own time, and of ours. While it may have been usual then for a woman to trust even when reason would tell her not to, it isn't so today."

Tags:san, francisco, ballet, english, national, opera, shubert, theater, paul, robeson, shakespeare, theatre, patrick, stewart

Abstract
This is an African art history paper discussing the elaborately decorated costumes worn by the Yoruba tribes of Nigeria. These costumes are worn during Egungun festivals, which honor death and ancestors. The religious beliefs and traditions behind the costumes & ceremonies are discussed. Additionally, detail is given to describing these costumes, which offer a great example of an ancient, African artistic tradition still surviving today.

From the Paper
"Egungun masquerader costumes are worn by the Yoruba people during Egungun festivals and hold great cultural importance. These costumes and the festival they are worn during are both fascinating and interesting to learn about. The costumes are multicolored and detailed, with an intricate pattern that a viewer can study and enjoy for long periods of time. When worn during a performance, the fabric of the costume flies out, appearing lively and vibrant. This makes the Egungun masquerade costumes both visually appealing and intriguing to learn about."

Tags:africa, african, ancestor, art, ceremonies, death, history, masks, masquerades, nigeria, worship

Abstract
The paper decribes both Welsh and Bulgarian costumes and their similarities and differences. The paper discusses how the color and design of a woman's dress in Bulgaria gives her a local identity, as well as a national one, while the dress of a Welsh woman may identify her as a nationalist, and one who identifies with a period of history when Welsh culture was being revived and recreated.

From the Paper
"Traditional costume serves many functions, and in the past has been used both as decoration, and as a national inspiration. Bulgarian costume, for example which developed in the middle ages, has used its national costume for both folk festivals, the one at Koprivshtitsa for example (Eliznik, 2005), and also as a symbol of its struggles for independence: the fashion for Chernodreshna, a particular kind of male costume, "Was the result of the new social, economic, and cultural context." (Omda, 2007). Wales, in comparison, came relatively late to traditional costume, the dress which is associated with Wales only being developed in the mid-nineteenth century. Later on, it became a symbol of Welsh nationalism: "Wearing a costume enabled people to declare their national identity in a period when it was under threat" (Winter, 2006)"

Tags:culture, identity, clothing, dress, style, color

Abstract
In this paper, the Napoleonic military uniform is examined as a major influence on the modern day U.S. Marine Corps "dress blue" uniform. The history of this influence can be traced back to the uniforms worn by Marine West Point Cadets through the inspiration of the popular Wars of Napoleon that sought to emulate the republican values of the United States. The writer maintains that in this tradition, it became paramount for the United States Marine Corps. to incorporate the colors and button style of this uniform, redefining the "costume" aspect of the Napoleonic variety that still has functionality in modern times.

Tags:frock, waist, coat

Abstract
This paper analyzes Rembrandt van Rijn's 1630 portrait entitled "An Old Man in Military Costume." The paper describes the painting and also describes how the representation of the individual painted differs from other paintings of the same person. The paper then describes how the painting could influence the creation of a film on the Dutch struggle for independence combined with a biography of Rembrandt's life.

From the Paper
"This might be one way to render the form, the visual structure, and the meaning of the work into a film. One could begin a film, for example, on the Dutch struggle for independence combined with a biography of Rembrandt's life by opening up with a shot of a perched ostrich plume, as the credits rolled by. The film camera, after the credits had finished would pan down to show the face of the old man. Suddenly, the man would come alive. As the film transformed the image of the painting into the face of an actor portraying the living subject, sitting for Rembrandt's portrait in a studio, gradually the soundtrack would start to roar with the sounds of soldiers marching in battle. The camera, still focused on the living poser for his portrait would show the face of the man suddenly become young again."

Tags:Getty, soldier, film

Abstract
This is a 10-page paper on the concept and development of Ancient Egyptian Costume.

Abstract
This paper compares styles of acting, editing, design, costumes, and camera work in Laurence Olivier's Hamlet, Orson Welles' Chimes at Midnight, and Akira Kurosawa's Throne of Blood. The author considers how the performances differ, what the overall style of each of the directors is, and how they illuminated the tricky challenges of transferring language intended for the stage. The author also discusses how these elements contributed to the success of the films.

Abstract
This paper provides an in-depth look at the style of clothing worn during the times of Queen Elizabeth I. The author discusses the costumes worn by royalty, the royal court, aristocrats and nobility, from undergarments to gowns. The paper contains numerous portraits to illustrate the fashions.

From the Paper
"It is undisputed that the Elizabethans were a very interesting, if not puzzling group. It is apparent that many of the customs, rituals and even colloquial speech that are used today descend directly from their time. One of the most interesting aspects of the Elizabethans is their dress. Clothing played a big role in their society, much like it does in present day. Through someone's dress, a person could tell not only their sex, but their precise social position. An Earl, for example would dress better than a Baron. This was especially important in the theatres of the time. Theaters would seat upwards of 2000 people, so in many of instances the audience would need to see the costume of the actor in order to place him in his proper social position, and therefore where he fit into the narrative of the performance. No person's clothing, however, was more elaborate or telling than that of high standing royalty, such as Queen Elizabeth I and those close to her."

Tags:clothing, corsets, elizabeth, period, renaissance, women, style

Abstract
It emphasizes the influence of Queen Victoria's 40-year mourning period for Prince Albert, and goes into the social psychology of the veil, as well as the color black. The paper concentrates on women's mourning garb, but also mentions the fact that men's mourning clothing was not that different from their usual formal attire.

Abstract
Many of the ideals that we hold politically, religiously, and philosophically have at least part of their roots in ancient Greece. In accordance with the value of beauty in form and the idealizing of character (depicted by the Greek Gods and Goddesses), Greece has been the home of many beautiful creations in dress as well as in the other arts. The climate of Greece had very much to do with the dress and costume of Ancient Greece.