Tracking Color in Cinema and Art: Philosophy and Aesthetics

Cover
Title
Copyright
Dedication
Contents
List of Figures
List of Color Plates
Preface
	Languages
	Color Consciousness
	Four Elements of Color Languages
	Where Color Vanishes
	Notes
Acknowledgments
1 Introduction and Overview through Two Paintings: Dagwood
	Process into Pattern
	Theory: Drawing Lines, Taking Shape
	Triptych: Color, Cinema, Remembered Languages
	Grey Gray
	Notes
2 Living with Chromophilia
	Color in Mind
	Of Delicacy and Not (Cornwell-Clyne)
	Flesh-Colored: Of Tears and Diamonds (Kalmus, Updike)
	Fictions Painted in Language (Updike Redux)
	What It’s Like to See Film Color (Deleuze)
	Notes
3 To Stand in Place or to Track?
	Top-Down Perception: Stand in Place or Track?
	Tracking through Working Memory (Blackmore)
	Color Splitting and Flow
	The Archive Dilemma
	What’s in a Color? (Warhol)
	Summary: The Story So Far
	Notes
4 What’s in White?
	Of Whiteness; or, About White
	Light, White, and Film Theory
	Hollis Frampton’s Whiteness (Winckelmann, Coates, Cubitt)
	Gilles Deleuze’s Whiteness/Blackness
	Theoretical Excursus (I): White as Language
	Notes
5 Making It Color-Full—Relations and Practices
	Color Degree Zero
		1. Negative
		2. Positive
		3. Interregnum
	A Few Colors from Natural Light
		1. Primaries and Materials
	Circles of Color: Circuitous though (somewhat) Convenient
		1. Spectral Hues
		2. Non-spectral Hues
	Tactile Hues: Warm and Cool
		1. A Balmy Binary: Invisibility and Textual Analysis
		2. “The Masque of the Red Death”
		3. A Binary Undone but Endlessly Remade: The Fluid Powers of Cultural Resemblance
	The Natural Scale of Luminance Values
	Universal (“Landmark”) Focal Colors
	Prominence: How a Color Becomes a “Key Color”
		1. Area
		2. Magnets, Pinpricks, Blots, Stains, and Accents
		3. Other Important Factors
		4. Making Patterns Prominent in Aesthetic Systems
	Theoretical Excursus (II): Is Color Always Visual? (Wittgenstein)
	Notes
6 Musical Hues: Color Harmonies
	Choirs of Color
		1. Low Contrast Harmonies (“Coordination”)
		2. High Contrast Harmonies (“Balance”)
		3. Some Possible Disharmonies (“Conflict”)
		4. Does the Eye Search until It Creates Harmony? (Some Examples)
		5. What Is a Rule about Color Harmony Really: Is It a Causal Relation of Mind or World (i.e., a Subjective or Objective Fact), a Heuristic, a Convenient Description, an Arbitrary Inclination, or Simply a Myth?
	Color Harmonies in Film
		1. Gentlemen prefer Blondes; and, Passage through Time
		2. Picnic; and, Space
		3. Vertigo; and, the Rhetoric of Color Criticism
		4. The Wizard of Oz; and, Technicolor Technology
		5. Two or Three Things I Know about Her; Natalie Kalmus and Technicolor Style
	Notes
7 Track This in Place
	The Reality of Illusions and the Illusions of Reality
	Theoretical Excursus (III): Reidentification (Strawson)
		1. The Otherwise of Texts: Working Memory, Reidentification, and the “Nearly True”
	Tracking in Place
		1. Woman in Blue Reading a Letter: Color as Dichotomy— Here and There, Now and Then
		2. The COOK, the THIEF, his WIFE & her LOVER: Color as Thematic Locale
		3. Winter Sleepers: Color as Character Fate
	Notes
8 Track That in Movement
	Theoretical Excursus (IV): What Makes Color Move
		1. Christ’s Entry into Brussels in 1889: The Green River
		2. Black Narcissus: The Red River of Metamorphosis
	Four Types of Color Reidentification
	Reidentification, Radial Association, and Derrida
		1. Little Dutch Mill: The White River and the Color of a Color
	Formal Types of Color Movement
	Notes
9 Summary
	Abbreviations
	Summary
		Preface
			Color Consciousness
			Four Themes: Norms, Languages, Memories, Sensations/Spectacles
		Chapter 1: Introduction and Overview through Two Paintings: Dagwood
			Remembered Languages
			Color versus Drawing Lines
		Chapter 2: Living with Chromophilia
			The Insides of Color: Black and White All Over?
			G-words
			Color Restraint and Delicacy
			The Human Face as Color Poem
			Fiction
			Top-Down and Bottom-Up (Working Memory)
		Chapter 3: To Stand in Place or to Track?
			Semiosis or Tracking?
			The Archive Dilemma
			Warhol Weighs In
		Chapter 4: What’s in White?
			White and Whiteness
			Inside White Is Language
		Chapter 5: Making It Color-Full—Relations and Practices
			Grammatical Norms
			What Is Color?
			The Prism (Prison?) of Physics
			Color Divided and Organized, Again and Again
			Wittgenstein and Impossible Color
		Chapter 6: Musical Hues: Color Harmonies
			Harmonies
			Five Film Examples of Relations and Practices
			Color Contextualized
		Chapter 7: Track This in Place
			From Ascetic Binaries to Aesthetics
			Reidentification (P. F. Strawson)
			Reidentification and Color Consciousness
			Reidentification and the Nearly True
			Analyzing Color Tracking
			Three Examples of Tracking Color in Place
		Chapter 8: Track That in Movement
			Movement and Color
			Two Examples of Tracking Color Movement
			Four Types of Color Reidentification, Radial Association, and Derrida
			The Example of Little Dutch Mill
			The Garden Metaphor of Reidentification
			Is Color Movement Literal or Figurative?
		Chapter 9: Summary
		Chapter 10: Conclusion: How It Finally Matters
			Diogenes and Wittgenstein
		Appendix: Wittgenstein/Context: Two Philosophy Lessons about Color and Sound
			White Darkened
			Multiple Grammars
			Four Contexts for Contexts: Objective, Subjective, Inter-objective, Inter-subjective
10 Conclusion: How It Finally Matters
	Diogenes’s Lamplight
	Wittgenstein’s Lamplight
	Being Colored Is Being Contextualized
	Patterns Rule
	Notes
Appendix: Wittgenstein/Context: Two Philosophy Lessons about Color and Sound
	Philosophical Paradox I: When Is White?
		Some Contexts for Color Talk
	Philosophical Paradox II: Color Is In, Sound Is From
		Four Analytical Contexts
	Notes
Works Cited and Further Reading
	A. Color as Phenomena
		A1. Physics and Physiology of Color
		A2. History, Field Observation, Practice, and Polemics
		A3. Semiotics of Color
		A4. Systematization of Color
	B. Film
		B1. Aesthetics of Film Color
		B2. Analyses of Particular Color Films
		B3. Anthologies of Writings on Film Color
		B4. Film Theory
		B5. Overview of the Aesthetics, History, and/or Theory of Film Color
		B6. Sound
		B7. Technicolor
	C. Painting
		C1. Color Composition for Painters
		C2. Color Painting/Psychology/Criticism
	D. Philosophy
		D1. Cognitive Science
		D2. Philosophy
		D3. Philosophical Aesthetics
		D4. Philosophy of Color
	E. Residuum
		E1. Knowledge Representation
		E2. Literature
		E3. Memory/Consciousness
		E4. Narratology
Name Index
Subject Index