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
‘Apocalypse Colour’ by Gillian Mciver
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
‘Weaponised Colour: A Brief History of the Dye-Transfer Process in China’s Cultural Revolution’ by Zhaoyu Zhu
Undeniably, the dye-transfer process has been one of the prestigious techniques in terms of colour on film in cinema history. The American company Technicolor brought it to life in 1915 and then diffused it through its global networks of laboratories in the thirties, which resulted in a huge number of beautiful productions with a full … Continue reading ‘Weaponised Colour: A Brief History of the Dye-Transfer Process in China’s Cultural Revolution’ by Zhaoyu Zhu
“A Novelty Never Before Attempted”: Spectacular Illusions and Early Colour Cinema in Aberdeen, Scotland. by Stephen McBurney
American inventor and film pioneer, Charles Francis Jenkins, hypothesised that the combination of coloured lights and film could ‘wonderfully enhance the beauty of the moving pictures’ (1). Jenkins posited that chromatic rings may be painted onto lantern-slides and projected through an additional lantern, alongside the cinematograph, so that they enveloped the moving images on the … Continue reading “A Novelty Never Before Attempted”: Spectacular Illusions and Early Colour Cinema in Aberdeen, Scotland. by Stephen McBurney
‘Visual Composition in Widescreen and Colour Film’ by Steven F. Roberts.
Surplus Splendour Hollywood films of the 1950s and 60s were not simply colourful, oversized, and sonically stimulating, but all those things at once. In Silk Stockings (Rouben Mamoulian, 1957), the choral repetition of 'Glorious Technicolor, breath taking CinemaScope and stereophonic sound’ well conveys the surplus splendour of mid-century cinema. Stopping to appreciate the commercial, technological and … Continue reading ‘Visual Composition in Widescreen and Colour Film’ by Steven F. Roberts.
Notes on Colour
Notes on Colour is the BAFTSS' Special Interest Group on Colour and Films' blog. Introducing the first post for Notes on Colour (May 2018): Kirsty Dootson Sinclair's conference report on colour presentations at: SCMS 2018, the Colour Group GB's Third International Conference on Colour in Film, which was organised in collaboration with the University of Zurich and University of … Continue reading Notes on Colour
What We Talk About When We Talk About Colour. Kirsty Sinclair Dootson. Conference report. May 2018.
Introducing the first post for the Notes on Colour pages of the BAFTSS' Special Interest Group on Colour and Film. Kirsty Sinclair Dootson's Conference report encompassing presentations on colour at: SCMS 2018, the Colour Group GB's Third International Conference on Colour in Film (organised by University of Applied Science HTW in Berlin, University Zurich, British Film … Continue reading What We Talk About When We Talk About Colour. Kirsty Sinclair Dootson. Conference report. May 2018.
Colour and Film 