ABSTRACT

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.

chapter |9 pages

Introduction

Bysimon brown, sarah street, liz watkins

part one|68 pages

History

chapter two|14 pages

Technicolor-Multicolorsennett- Color

Natural Color Processes in Mack Sennett Comedies 1926–1931
Byhilded’ haeyere

chapter three|10 pages

Color as Image Schema

Technicolor Number 3 in King of Jazz (1930)
Bycharleso’ brien

chapter four|9 pages

Glorious Agfacolor, Breathtaking Totalvision and Monophonic Sound

Colour and “Scope” in Czechoslovakia
Byanna batistová

chapter five|11 pages

Glorious and Other Adventures with Prizma

Bysarah street

chapter six|12 pages

The Color of Prometheus

Thomas Wilfred's Lumia and the Projection of Transcendence
Byandrew robert johnston

part two|45 pages

Theory

chapter seven|12 pages

Where Do Colors Go at Night?

Bytom gunning

chapter eight|11 pages

“Brash ... Indecent … Libertine”

Derek Jarman's Queer Colors
Byrosalind galt

chapter nine|10 pages

The Hues of Memory, the Shades of Experience

Color and Time in Syndromes and a Century
Byjocelyn szczepaniak-gillece

chapter ten|10 pages

From Psycho to Pleasantville

The Role of Color and Black-And-White Imagery for Film Experience
Byphilipp schmerheim

part three|71 pages

Aesthetics

chapter eleven|11 pages

The Illuminated Fairytale

The Colors of Paul Fejos's Lonesome (1928)
Byjoshua yumibe

chapter twelve|12 pages

Color Unlimited: Amateur Color Cinema in the 1930s

The Colors of Paul Fejos's Lonesome (1928)
Bycharles tepperman

chapter thirteen|10 pages

Color and Meaning in the Films of Eric Rohmer

Byfiona handyside

chapter fourteen|10 pages

The Cameraman and the Glamour-Puss

Technicolor Cinematography and Design in John Ford's Drums along the Mohawk
Byheather heckman

chapter fifteen|9 pages

Chromo-Drama

Innovation and Convention in Douglas Sirk's Color Designs
Byscott higgins

chapter sixteen|10 pages

Color and Containment

Domestic Spaces and Restrained Palettes in Hitchcock's Fi Rst Color Films
Bysteven jacobs

chapter seventeen|7 pages

Color and Meaning in Marnie

Byjohn belton

part four|46 pages

Archive

chapter eighteen|10 pages

Are My Eyes Really Brown? the Aesthetics of Colorization in Casablanca

Byjason gendler

chapter nineteen|10 pages

“Those Men Are Not White!”

Neuroscience, Digital Imagery and Color in O Brother, where Art Thou?
ByWilliam Brown

chapter twenty|11 pages

Towards a More Accurate Preservation of Color

Heritage, Research and the Fi Lm Restoration Laboratory
ByUlrich Ruedel, Daniela Currò, Claudy Op Den Kamp

chapter twentyone|13 pages

Herbert G. Ponting's Materials and Texts

ByLiz Watkins