1.

Record Nr.

UNINA9910777379203321

Autore

Adrian Bonnie <1970->

Titolo

Framing the bride [[electronic resource] ] : globalizing beauty and romance in Taiwan's bridal industry / / Bonnie Adrian

Pubbl/distr/stampa

Berkeley, : University of California Press, c2003

ISBN

0-520-93003-7

1-282-75920-5

9786612759208

1-59734-620-9

Descrizione fisica

1 online resource (313 p.)

Disciplina

338.4/73925/0951249

Soggetti

Wedding supplies and services industry - Taiwan

Weddings - Taiwan - Equipment and supplies

Bridal shops - Taiwan

Wedding photography - Taiwan

Lingua di pubblicazione

Inglese

Formato

Materiale a stampa

Livello bibliografico

Monografia

Note generali

Description based upon print version of record.

Nota di bibliografia

Includes bibliographical references and index.

Nota di contenuto

Framings -- How can this be? ethnographic contexts and history -- Fantasy for sale -- Inner and outer worlds in changing Taipei -- Family wedding rites and banquets -- Making up the bride -- Romance in the photo studio -- Contextualizing bridal photos in Taiwan's visual culture -- The context of looking -- Conclusion : re-framings.

Sommario/riassunto

With a wedding impending, the Taiwanese bride-to-be turns to bridal photographers, makeup artists, and hair stylists to transform her image beyond recognition. They give her fairer skin, eyes like a Western baby doll, and gowns inspired by sources from Victorian England to MTV.An absorbing consideration of contemporary bridal practices in Taiwan, Framing the Bride shows how the lavish photographs represent more than mere conspicuous consumption. They are artifacts infused with cultural meaning and emotional significance, products of the gender- and generation-based conflicts in Taiwan's hybrid system of modern matrimony. From the bridal photographs, the book opens out into broader issues such as courtship, marriage, kinship, globalization, and the meaning of the "West" and "Western" cultural images of beauty.



Bonnie Adrian argues that in compiling enormous bridal albums full of photographs of brides and grooms in varieties of finery, posed in different places, and exuding romance, Taiwanese brides engage in a new rite of passage-one that challenges the terms of marriage set out in conventional wedding rites. In Framing the Bride, we see how this practice is also a creative response to U.S. domination of transnational visual imagery-how bridal photographers and their subjects take the project of globalization into their own hands, defining its terms for their lives even as they expose the emptiness of its images.