ABSTRACT
This chapter analyses different kinds of frame behaviour and relating it to more general social organizational issues of the kind that neither Goffrnan nor Nakane, for different reasons of their own, properly followed up. The distinction between exterior and interior is emphasized by die fact that the ‘upper’ part of a room is almost invariably located as far away from the main entrance as possible. The dynamics of the provisional frame of a studio photo shoot were reinforced by longer-term institutional power. Both photographer and art director emphasized the cooperative nature of the work that everyone had been involved in that day. They thereby implied that this was not the time, perhaps, for individual egotism to make an appearance. Photographer, make-up artist, hair stylist, stylist and art director all want to make their individual mark in any ad campaign or fashion story.
