By Richard Misek
Chromatic Cinema presents the 1st wide-ranging ancient review of reveal colour, exploring the altering makes use of and meanings of colour in relocating photographs, from hand portray in early skirt dance movies to present developments in electronic colour manipulation. * bargains either a heritage and a concept of reveal colour within the first full-length research ever released* offers an in-depth but available account of color's unfold via and supreme effacement of black-and-white cinema, exploring the technological, cultural, financial, and creative components that experience defined this evolving symbiosis* Engages with movie stories, paintings heritage, visible tradition and expertise experiences in a very interdisciplinary demeanour* comprises sixty five full-color illustrations of movies starting from Expressionist animation to Hollywood and Bollywood musicals, from the U.S. ’indie' growth to1980s neo-noir, Hong Kong cinema, and up to date comic-book motion pictures
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Additional resources for Chromatic Cinema: A History of Screen Color
Bonjour Tristesse also reflects a twentiethcentury preference for representing the urban spaces of modernity in the concrete grays of black-and-white, and pre-modern pastoral spaces in Film Color 33 “natural” color. For example, American crime melodramas rarely ventured out of the city or into color. By contrast, post-war German Heimatfilme sought a lost national innocence by withdrawing to an idealized countryside filmed in color (Kaes 1989: 14). Underlying the apparent variety of these uses of black-and-white and color was a guiding principle.
This was precisely what Technicolor did not want. If color became coded generically, then it would only be seen as an appropriate format for some films rather than all films. 24 Given its expense, producers were understandably selective about which films they made in Technicolor. To pre-empt generic codification, Technicolor began to assert control over how its clients used color. Because its process was technologically far in advance of the competition, Technicolor was effectively a monopoly supplier to the “A-movie” market.
The first painting is black on white. The second begins with black strokes, but then color strokes also appear. Clouzot, often touted as France’s answer to Hitchcock, turns the appearance of color into a source of surprise, adding it to a film that we have been deceived into assuming would be black-and-white. Though Clouzot shot the paintings on subtractive Eastman Kodak stock (whose color dyes already existed within the film negative rather than being added later), the film plays on the tradition of color as an addition: it seems as if Picasso is hand painting the film print itself.