In Black Narcissus (Powell and Pressburger, 1947) Mr Dean (David Farrar) comments that at Mopu there is ‘something in the air that makes everything seem exaggerated’. The film was indeed noted for bringing out this quality, made possible through the ingenuity of production designer Alfred Junge, matte artist and special effects technician W. Percy Day, … Continue reading The ‘exaggerated’ colours of Black Narcissus (1947 and 2020) by Sarah Street
BAFTSS Colour and Film SIG members - Sarah Street (University of Bristol), Liz Watkins (University of Leeds), Carolyn Rickards (University of Bristol) and Paul Frith (University of East Anglia) - recently wrote a piece on research methodologies and experiences of interviews with film directors, cinematographers, technicians and archivists for the International Association for Media and … Continue reading IAMHIST Blog: Views on Colour
The 1926 experimental fashion film, ‘L’Élégance’, was the first studio-shot, artificially lit film that used the Keller-Dorian colour process (Ede, 2013: 193). Produced by painter Robert and painter-cum-designer Sonia Delaunay, and camera operator Chevreau, this was not only the first public screening of the colour process, but it also served as a unique platform for … Continue reading ‘Sonia Delaunay’s ‘L’Élégance’ (1926) and the Keller-Dorian Colour System’ by Lucy Moyse Ferreira
Coronation Street is the longest running TV soap opera in the world. It follows the lives of working-class residents on a street in a fictious suburb of Manchester in the North of England. The Street began in December 1960 and remains a fixture of ITV’s primetime scheduling to this day. It was broadcast in monochrome … Continue reading Vicky Jackson: ‘Coronation Street, Class and Colour Television: “Me own colour telly. Oo just think, the changing of the guard in ‘livid’ colour.”’
During the Global Colour and the Moving Image Conference (10-12 July 2019), hosted by the University of Bristol as part of the AHRC-funded Eastmancolor Revolution and British Cinema, 1955-85 project, a special screening of John Boorman’s Point Blank (1967) at Bristol’s Watershed Cinema rounded off the events of the first day of the conference. The screening … Continue reading Screening ‘Point Blank’ at the Watershed, Bristol, 10 July 2019. by Paul Frith.
Ten years ago, a group of film scholars with a passion for colour in film organized the Colour and the Moving Image conference.[i] Now in 2019, in recognition of a plethora of fascinating research projects that continue to examine this domain, The Eastmancolor Revolution and British Cinema team organized Global Colour and the Moving Image Conference at … Continue reading 10 years and going stronger: Global Colour and the Moving Image Conference at University of Bristol, July 2019. Conference report by Kamalika Sanyal.
Recent discoveries of early Technicolor, such as those outlined by Bryony Dixon for the BFI National Archive [I], offer glimpses of the additive colour image: a distinctive and memorable photographic style, that I would suggest summons visions of past cinematic exoticism, simultaneously real and unreal. Although the work of the Technicolor company was highly influential in the … Continue reading ‘The Three Processes of Doctor Bernardi’ by Keith Dando.
When we think of the 1950s and the immediate post-war period, it is often the Cold War that comes to mind. But in the workplaces, schools, shopping centres and households of America and its partner nations a new battle broke out: The Colour Wars. Ideological conflict was at the heart of the Cold War. Accusations … Continue reading ‘The Colour Wars: Colour Psychology in the Post-War Era’ by Kathryn Millard.
Posted with thanks to Carolyn Rickards and the Eastmancolor Revolution and British Cinema, 1955-1985. The Fourth International ‘Colour in Film’ Conference took place at the BFI Southbank on the 25th-27th February 2019. The conference has been increasing in scope and scale since its initiation in 2016 with a truly global audience of academics, archivists and … Continue reading ‘Colour in Film Conference Report 2019’ by Carolyn Rickards
On 8 August 1588 the English navy defeated the invading Spanish Armada. Over two centuries later, in the middle of another war, émigré Frenchman Philip James de Loutherbourg painted his interpretation of the great sea battle. As a theatre designer and special-effects expert, de Loutherbourg had created spectacular naval battles onstage; this painting gives a … Continue reading ‘Apocalypse Colour’ by Gillian Mciver