Color and the Moving Image: History, Theory, Aesthetics, Archive

Front Cover
Color and the Moving Image
Copyright Page
contents
plates and figures
acknowledgments
introduction
part one: history
	1. “the brighton school and the quest for natural color” – redux
	2. technicolor-multicolor-sennett-color: natural color processes in mack sennett comedies 1926–1931
	3. color as image schema: technicolor number 3 in king of jazz (1930)
	4. glorious agfacolor, breathtaking totalvision and monophonic sound: colour and “scope” in czechoslovakia
	5. glorious and other adventures with prizma
	6. the color of prometheus: thomas wilfred’s lumia and the projection of transcendence
part two: theory
	7. where do colors go at night?
	8. “brash … indecent … libertine”: derek jarman’s queer colors
	9. the hues of memory, the shades of experience: color and time in syndromes and a century
	10. from psycho to pleasantville: the role of color and black-and-white imagery for fi lm experience
part three: aesthetics
	11. the illuminated fairytale: the colors of paul fejos’s lonesome (1928)
	12. color unlimited: amateur color cinema in the 1930s
	13. color and meaning in the films of eric rohmer
	14. the cameraman and the glamour-puss: technicolor cinematography and design in john ford’s drums along the mohawk
	15. chromo-drama: innovation and convention in douglas sirk’s color designs
	16. color and containment: domestic spaces and restrained palettes in hitchcock’s first color films
	17. color and meaning in marnie
part four: archive
	18. are my eyes really brown? the aesthetics of colorization in casablanca
	19. “those men are not white!”: neuroscience, digital imagery and color in o brother, where art thou?
	20. towards a more accurate preservation of color: heritage, research and the film restoration laboratory
	21. herbert g. ponting’s materials and texts
about the american film institute
index