By Richard Misek
Chromatic Cinema presents the 1st wide-ranging old evaluate of reveal colour, exploring the altering makes use of and meanings of colour in relocating pictures, from hand portray in early skirt dance motion pictures to present tendencies in electronic colour manipulation. * bargains either a historical past and a thought of display colour within the first full-length learn 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, monetary, and creative components that experience defined this evolving symbiosis* Engages with movie reviews, artwork background, visible tradition and expertise reports in a really interdisciplinary demeanour* contains sixty five full-color illustrations of movies starting from Expressionist animation to Hollywood and Bollywood musicals, from the USA ’indie' increase to1980s neo-noir, Hong Kong cinema, and up to date comic-book movies
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Extra info for Chromatic Cinema: A History of Screen Color
In Potemkin, red is not quite “only red,” but it is primarily red. It was left to Abel Gance, in a startling coup de cinéma at the end of Napoléon (1927), to tap the affective power of primary color and simultaneously give it meaning. Gance shot the film’s climactic battle sequence with three synchronized cameras, so that it could be projected in cinemas on three screens. The multi-screen climax begins with the three shots combining to create ultra wide screen panoramas of epic battle scenes. Gance’s use of three screens soon becomes even more experimental.
When Aristotle asserted the presence of seven primary colors, it was so that they might correspond to the seven notes of the diatonic scale. 17 Similarly, when Newton divided the infinite colors of the spectrum into seven “simple” colors in his 1671–2 revision of the “Optical Lectures,” he tentatively explained this arbitrary division by suggesting that color harmonies were “perhaps analogous to the concordance of sounds” (Shapiro 1994: 619). Later, more confidently, Newton likened 28 Film Color the eight boundaries of the seven colors to “the eight lengths of a Chord” (1721: 186).
At the same time, there were overlaps between these three “modes”; all three, according to Higgins, featured uses of color that included “the spectacular embellishment of transitions, the gentle direction of attention, the momentary highlighting of actions, the development of motifs, and the general correlation of color with the mood or tone of the drama” (2007: 209). I question Higgins’s methodology of extrapolating “modes” based on a small number of films made over only a few years. At the same time, his categories are still nominally useful inasmuch as they emphasize that, even within the short period of time discussed, different filmmakers used Technicolor in different ways.
Chromatic Cinema: A History of Screen Color by Richard Misek