By Richard Misek

Chromatic Cinema presents the 1st wide-ranging ancient evaluate of monitor colour, exploring the altering makes use of and meanings of colour in relocating photos, from hand portray in early skirt dance motion pictures to present tendencies in electronic colour manipulation. * bargains either a heritage and a thought of reveal colour within the first full-length learn ever released* presents an in-depth but obtainable account of color's unfold via and supreme effacement of black-and-white cinema, exploring the technological, cultural, monetary, and inventive components that experience defined this evolving symbiosis* Engages with movie stories, paintings heritage, visible tradition and know-how reviews in a really interdisciplinary demeanour* contains sixty five full-color illustrations of flicks starting from Expressionist animation to Hollywood and Bollywood musicals, from the united states ’indie' growth to1980s neo-noir, Hong Kong cinema, and up to date comic-book motion pictures

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Additional info for Chromatic Cinema: A History of Screen Color

Example text

Though still technologically an example of film color, Technicolor made possible films whose colors derived from the colors of surfaces in front of the lens. As I discuss further in Chapter 4, throughout classical Hollywood and beyond, surface color was cinema’s dominant color mode. The establishment in the 1930s of black-and-white as a chromatic default, together with the rise of cinematographic color, resulted in a visual 26 Film Color segregation between color and black-and-white. No longer did they visibly coexist in the same frame.

In trying to satisfy the sudden surge in demand for color in 1929 and 1930, Technicolor over-extended itself. The resulting decrease in print quality combined with the onset of the Great Depression to cause an equally sudden collapse in demand (Kalmus 1967: 56). Within the period of a few months in 1931, Technicolor’s workforce shrank from 1,200 to 230, and color’s incorporation into the classical Hollywood paradigm stalled (Greene 1947: 410). As an alternative to increasing its live-action output, in 1932 Technicolor suggested a joint venture with 30 Film Color Disney.

Steve Neale regards a Technicolor advertisement declaring that “Technicolor Film Color 35 is Natural Color” as symptomatic of the conventional Hollywood wisdom of the 1940s that color should be used in a restrained manner (1985: 147). To me, the advertisement suggests not an aesthetic consensus but a supplier desperately trying to elbow its product into the market. If the Technicolor process had indeed provided natural colors, then Technicolor would not have needed to emphasize the fact. The alternative to realistic motivation was generic motivation.

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