Livingdead_kev is an avid Harley Quinn fan, and it shows! Her cosplays are influenced mostly by costumes from the 1992 Batman: The Animated Series, where Harley Quinn makes her first appearance ever as a super-villain and romantic interest to the Joker.
Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with \"out of character\" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, music band, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America.
Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons.
Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality.
\"Cosplay Is Not Consent\", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought to the mainstream, the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters.
Cosplayers in Japan used to refer to themselves as reiyā (レイヤー), pronounced \"layer\". Currently in Japan, cosplayers are more commonly called kosupure (コスプレ), pronounced \"ko-su-pray,\" as reiyā is more often used to describe layers (i.e. hair, clothes, etc.). Words like cute (kawaii (可愛い)) and cool (kakko ī (かっこ いい)) were often used to describe these changes,[further explanation needed] expressions that were tied with notions of femininity and masculinity. Those who photograph players are called cameko, short for camera kozō or camera boy. Originally, the cameko gave prints of their photos to players as gifts. Increased interest in cosplay events, both on the part of photographers and cosplayers willing to model for them, has led to formalization of procedures at events such as Comiket. Photography takes place within a designated area removed from the exhibit hall. In Japan, costumes are generally not welcome outside of conventions or other designated areas.
The increasing popularity of Japanese animation outside of Asia during the late 2000s led to an increase in American and other Western cosplayers who portray manga and anime characters. Anime conventions have become more numerous in the West in the previous decade, now competing with science fiction, comic book and historical conferences in attendance. At these gatherings, cosplayers, like their Japanese counterparts, meet to show off their work, be photographed, and compete in costume contests. Convention attendees also just as often dress up as Western comic book or animated characters, or as characters from movies and video games.
OK, I know what you're thinking -- the cosplayers must love this, right After all, more costume designs means more options when they're attending their favorite conventions! But it also means that the costumes they've ALREADY put so much effort into aren't up to date any more, which can be annoying. Filoni's no stranger to that frustration.
Cosplay has also been the focus of reality television. The Sci-Fi Channel, rebranded as Syfy in 2009, launched a reality series in 2011 about special effects makeup called Face Off, which ran for seven years and produced a spin-off, Face Off: Game Face, in 2017. The network also released Heroes of Cosplay in 2013 and 2014, featuring cosplayers such as Yaya Han, Chloe Dykstra, and Riki LeCotey; as well as Cosplay Melee, hosted by Community's Yvette Nicole Brown. Both shows took viewers through the ins and outs of creating costumes each week and helped show off some of the cosplay world to a wider public.
Design changes are sometimes necessary, as what works for animation might appear silly in physical performances or could be impractical during filming. The Mandalorian's design for Ahsoka Tano (Rosario Dawson) differed somewhat from the animated shows. Her head tails, or \"lekku\", were shortened to accommodate for live-action stunt work. This is an understandable change, but the design still felt less natural compared to Ahsoka's animated appearance. However, the writing and Dawson's performance overcame these slight shortcomings and her design arguably looked more convincing than the de-aging technology used for Luke Skywalker (Mark Hamill) in The Mandalorian season 2 finale. Fortunately, Cad Bane's menacing introduction in The Book of Boba Fett prevents his more cartoony live-action design from being too distracting.
Scheming ingénue Eve Harrington (Anne Baxter) ingratiates herself with aging Broadway star Margo Channing (Bette Davis) moving in on her acting roles, her friends and her stage director beau. The dialog is often too bitingly perfect with its sarcastic barbs and clever comebacks, but it's still entertaining and quote-worthy. The film took home Academy Awards for best picture, best director (Joseph L. Mankiewicz), best screenplay (Mankiewicz) and costume design (Edith Head and Charles Le Maire). George Sanders won a best supporting actor Oscar for his performance as the acid-tongued theater critic Addison DeWitt. Thelma Ritter as Margo's maid, Celeste Holm as Margo's best friend, and Marilyn Monroe, in a small role as an aspiring actress, give memorable performances.Movie poster
In the 1950s and 1960s, besieged by shifts in demographics and having much of its audience syphoned off by television, film studios knew they had to go big in their entertainment in order to lure people back to the theater. This film version of the musical \"My Fair Lady\" epitomized this approach with use of wide-screen technologies. Based on the sparkling stage musical (inspired by George Bernard Shaw's play \"Pygmalion\"), \"My Fair Lady\" came to the big screen via the expert handling of director George Cukor. Cecil Beaton's costume designs provided further panache, along with his, Gene Allen's and George James Hopkins' art and set direction. The film starred Rex Harrison, repeating his career-defining stage role as Professor Henry Higgins, and Audrey Hepburn (whose singing voice was dubbed by frequent \"ghoster\" Marni Nixon), as the Cockney girl, Eliza Doolittle. Though opulent in the extreme, all these elements blend perfectly to make \"My Fair Lady\" the enchanting entertainment that it remains today.
Frank Tashlin, best known for making comedies with pop icons like Jerry Lewis or Jayne Mansfield, directed this 18-minute puppet film sponsored by the American Lutheran Church. Punctuated with stories from the Bible, the film's purpose was to reinforce Christian values in the atomic age by condemning the consequences of human conflict with scenes of the crucifixion, lynching and Nazi fascism. Wah Ming Chang, a visual- effects artist who specialized in designing fantastic models, characters and props, created the puppets for the stop-motion animation and also produced the film, which reportedly took 20 months to complete. The film is narrated by actor Lew Ayres, who starred in the anti-war film \"All Quiet on the Western Front\" (1930). He was so influenced by that experience, that he became a vocal advocate for peace and famously declared himself a conscientious objector during World War II. The Reverend H. K. Rasbach, a frequent adviser on big-budget films such as \"The Ten Commandments\" and \"The Greatest Story Ever Told,\" provided technical supervision and story concept. The film premiered at Constitution Hall in Washington D.C., with more than 2,700 in attendance, including members of Congress, representatives of the Supreme Court and 750 leaders from various branches of government. 153554b96e