ABSTRACT
The juxtaposition of color and black-and-white imagery belongs to the arsenal of cinematic narrato-aesthetic strategies. In particular, juxtaposition within the film frame, or across different versions of the same film, offers a viable strategy for producing “haptic” film experiences in spectators with the audiovisual means of cinema. Recent research in syn-aesthesia by authors such as Cretien van Campen, as well as the work of film scholars Vivian Sobchack and Laura U. Marks on embodied film perception, provides a theoretical basis for understanding this “haptic” effect of cinema, which this chapter argues can operate in both single films and across films such as Gus van Sant’s color remake (1998) of Hitchcock’s (1960)Psycho.
