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Color and the Moving Image: History, Theory, Aesthetics, Archive
     

Color and the Moving Image: History, Theory, Aesthetics, Archive

by Simon Brown, Sarah Street, Liz Watkins
 

ISBN-10: 0415892643

ISBN-13: 9780415892643

Pub. Date: 11/15/2012

Publisher: Taylor & Francis

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic

Overview

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with color—such as Hitchcock, Jarman and Sirk—as well as others whose use of color has not yet been explored in such detail—including Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.

Product Details

ISBN-13:
9780415892643
Publisher:
Taylor & Francis
Publication date:
11/15/2012
Series:
AFI Film Readers Series
Pages:
270
Product dimensions:
6.00(w) x 8.90(h) x 0.60(d)

Table of Contents

I. HISTORY 1. "The Brighton School and the Quest for Natural Color" – Redux Simon Brown 2. Out of the Blue: Colour Inserts in Mack Sennett’s Comedy Shorts of the Late Twenties Hilde D’haeyere 3. Technicolor Song Sequences: Music and Color in King of Jazz (1930) Charles O’Brien 4. Glorious Agfacolor, Breathtaking Totalvision and ... Changing colour process in Czechoslovak cinema at the beginning of the "scope" boom Anna Batistová 5. Glorious Adventures with Prizma Sarah Street 6. The Color of Prometheus: Thomas Wilfred's Lumia and the Projection of Transcendence Andrew Robert Johnson II. THEORY 7. Where do Colors Go at Night? Tom Gunning 8. "Brash ... indecent … libertine": Aesthetics and film theory versus Derek Jarman’s queer colors Rosalind Galt 9. The Hues of Memory, the Shades of Experience: The Color of Time in Syndromes and a Century Jocelyn Szczepaniak-Gillece 10. From Psycho to Pleasantville: The Role of Color and Black-and-White Imagery for Film Experience Philipp Schmerheim III. AESTHETICS 11. The Illuminated Fairytale: The Colors of Paul Fejos’s Lonesome (1928) Joshua Yumibe12. Color Unlimited: Amateur Color Cinema in the 1930s Charles Tepperman 13. Colour and Meaning in the Films of Eric Rohmer Fiona Handyside 14. The Cameraman and the Glamour-Puss: Technicolor Cinematography and Design in John Ford’s Drums Along the Mohawk Heather Heckman 15. Chromo-Drama: Innovation and convention in Douglas Sirk’s Color Designs Scott Higgins 16. Colour and Set Design in Alfred Hitchcock’s Rope, Under Capricorn, and Dial M for Murder Steven Jacobs 17. Color and Meaning in Marnie John Belton IV. ARCHIVE 18. Are My Eyes Really Brown? The Aesthetics of Colorization in Casablanca Jason Gendler 19. "Those men are not white!": Neuroscience, digital imagery and color in O Brother Where Art Thou? William Brown 20. Towards a More Accurate Preservation of Color: Heritage, Research and the Film Restoration Laboratory Ulrich Rüdel, Daniela Currò and Claudy Op den Kamp 21. Herbert G. Ponting’s Materials and Texts Liz Watkins

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