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The collection of essays in this book brings together texts from two decades, documenting two of the author's ongoing areas of interest: the poetics of color in film as well as affective viewer responses. Employing a bottom-up approach as a basis for theoretical exploration, each of the essays concentrates on a particular film or a number of related films to come to terms with a set of issues. These include the differences between black-and-white and color, the emergence of bold chromatic schemes in the 1950s, experimental aesthetics of color negative stock, idiosyncratic uses of color, idiosyncratic uses of motor mimicry, genre-specific reactions to the documentary, and empathetic reactions to animals and to architecture in film.

This book focuses on two areas of interest: the poetics of color in film and the affective responses of viewers. Each essay is built around the analysis of a particular film or group of related films, which are then used to explore a range of issues including the difference between black-and-white and color, the emergence of bold color schemes in the 1950s, and empathetic viewer reactions to fictional characters, documentary subjects, animals, and architecture in film.

Global Film Color: The Monopack Revolution at Midcentury explores color filmmaking in a variety of countries and regions including India, China, Japan, and Russia, and across Europe and Africa.Most previous accounts of color film have concentrated on early 20th century color processes and Technicolor.

Color was used in film well beforeThe Wizard of Oz. Thomas Edison, for example, projected two-colored films at his first public screening in New York City on April 23, 1896. These first colors of early cinema were not photographic; they were applied manually through a variety of laborious processes-most commonly by the hand-coloring and stenciling of prints frame by frame, and the tinting and toning of films in vats of chemical dyes. The results were remarkably beautiful. Moving Coloris the first book-length study of the beginnings of color cinema. Looking backward, Joshua Yumibe traces the legacy of color history from the beginning of the nineteenth century to the cinema of the early twentieth century. Looking forward, he explores the implications of this genealogy on experimental and contemporary digital cinemas in which many colors have become, once again, vividly unhinged from photographic reality. Throughout this history,Moving Colorrevolves around questions pertaining to thesensuousnessof color: how color moves us in the cinema-visually, emotionally, and physically.

If it's Purple, Someone's Gonna Die is a must-read book for all film students, film professionals, and others interested in filmmaking. This enlightening book guides filmmakers toward making the right color selections for their films, and helps movie buffs understand why they feel the way they do while watching movies that incorporate certain colors. Guided by her twenty-five years of research on the effects of color on behavior, Bellantoni has grouped more than 60 films under the spheres of influence of six major colors, each of which triggers very specific emotional states. For example, the author explains that films with a dominant red influence have themes and characters that are powerful, lusty, defiant, anxious, angry, or romantic and discusses specific films as examples. She explores each film, describing how, why, and where a color influences emotions, both in the characters on screen and in the audience. Each color section begins with an illustrated Home Page that includes examples, anecdotes, and tips for using or avoiding that particular color.Conversations with the author's colleagues-- including award-winning production designers Henry Bumstead (Unforgiven) and Wynn Thomas (Malcolm X) and renowned cinematographers Roger Deakins (The Shawshank Redemption) and Edward Lachman (Far From Heaven)--reveal how color is often used to communicate what is not said. Bellantoni uses her research and experience to demonstrate how powerful color can be and to increase readers awareness of the colors around us and how they make us feel, act, and react.*Learn how your choice of color can influence an audience's moods, attitudes, reactions, and interpretations of your movie's plot*See your favorite films in a new light as the author points out important uses of color, both instinctive and intentional*Learn how to make good color choi

Michelangelo Antonioni, who died in 2007, was one of cinema's greatest modernist filmmakers. The films in his black and white trilogy of the early 1960s—L'avventura, La Notte, L‘eclisse—are justly celebrated for their influential, gorgeously austere style. But in this book, Murray Pomerance demonstrates why the color films that followed are, in fact, Antonioni's greatest works. Writing in an accessible style that evokes Antonioni's expansive use of space, Pomerance discusses The Red Desert, Blow-Up, Professione: Reporter (The Passenger), Zabriskie Point, Identification of a Woman, The Mystery of Oberwald, Beyond the Clouds, and The Dangerous Thread of Things to analyze the director's subtle and complex use of color. Infusing his open-ended inquiry with both scholarly and personal reflection, Pomerance evokes the full range of sensation, nuance, and equivocation that became Antonioni's signature.

Like Dorothy waking up over the rainbow in the Land of Oz, Hollywood discovered a vivid new world of color in the 1930s. The introduction of three-color Technicolor technology in 1932 gave filmmakers a powerful tool with which to guide viewers' attention, punctuate turning points, and express emotional subtext. Although many producers and filmmakers initially resisted the use of color, Technicolor designers, led by the legendary Natalie Kalmus, developed an aesthetic that complemented the classical Hollywood filmmaking style while still offering innovative novelty. By the end of the 1930s, color in film was thoroughly harnessed to narrative, and it became elegantly expressive without threatening the coherence of the film's imaginary world. Harnessing the Technicolor Rainbowis the first scholarly history of Technicolor aesthetics and technology, as well as a thoroughgoing analysis of how color works in film. Scott Higgins draws on extensive primary research and close analysis of well-known movies, includingBecky Sharp,A Star Is Born,Adventures of Robin Hood, andGone with the Wind, to show how the Technicolor films of the 1930s forged enduring conventions for handling color in popular cinema. He argues that filmmakers and designers rapidly worked through a series of stylistic modes based on the demonstration, restraint, and integration of color-and shows how the color conventions developed in the 1930s have continued to influence filmmaking to the present day. Higgins also formulates a new vocabulary and a method of analysis for capturing the often-elusive functions and effects of color that, in turn, open new avenues for the study of film form and lay a foundation for new work on color in cinema.

'Natural colour' was the term coined for genuine colour photography to separate it from colouring or 'painting' monochrome images, hence the use of the contrasting term 'unnatural'. The intention of this paper is to provide a guide to the technical literature on the subject. It reviews where the technologies originated, the principle literature of the time, and later, that describes the 'recipes', techniques and chemistry, summarizing the image dyes themselves in a database. Additional content is provided from associated technologies such as the subsequent use of the same techniques for natural colour, analogue coloured film restoration techniques, and an excursion into the technological cul-de-sac of Sonochrome.

Neatly balancing a candy-coloured aesthetic and quirky tone with themes of grief, depression and emotional neglect, John Sheedy’s comedy is an often unpredictable representation of the inner life of a girl on the brink of adolescence. Considering the film’s privileging of its young protagonist’s perspective, Susan Bye asks whether its magical elements and sunny denouement ultimately serve to reflect a positive or pessimistic portrayal of family.