Global Film Color: The Monopack Revolution at Midcentury
Editat de Sarah Street, Joshua Yumibe Contribuţii de Stefan Soloman, Kathryn Millard, Ranjani Mazumdar, Philip Cavendish, Kirsty Sinclair Dootson, Kamalika Sanyal, Heather Heckman, Laura Major, Lydia Pappas, Elena Gipponi, Rafael de Luna Freire, Josephine Diecke, William Carroll, Linda Chen Zhangen Limba Engleză Paperback – 17 mai 2024
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Specificații
ISBN-13: 9781978836808
ISBN-10: 1978836805
Pagini: 258
Ilustrații: 30 color and 10 B-W images, 1 table
Dimensiuni: 156 x 235 x 18 mm
Greutate: 0.4 kg
Editura: Rutgers University Press
Colecția Rutgers University Press
ISBN-10: 1978836805
Pagini: 258
Ilustrații: 30 color and 10 B-W images, 1 table
Dimensiuni: 156 x 235 x 18 mm
Greutate: 0.4 kg
Editura: Rutgers University Press
Colecția Rutgers University Press
Notă biografică
SARAH STREET is a professor of film and Foundation Chair of Drama at the University of Bristol in the UK. She has written and co-edited several books, including Colour Films in Britain: The Negotiation of Innovation, 1900-1955 and Chromatic Modernity: Color, Cinema, and Media of the 1920s, co-authored with Joshua Yumibe.
JOSHUA YUMIBE is a professor of film studies and English at Michigan State University. He has written, edited, and co-edited several books, including Moving Color: Early Film, Mass Culture, Modernism (Rutgers University Press, 2012) and Fantasia of Color in Early Cinema, w co-authored with Giovanna Fossati, Tom Gunning, and Jonathon Rosen.
JOSHUA YUMIBE is a professor of film studies and English at Michigan State University. He has written, edited, and co-edited several books, including Moving Color: Early Film, Mass Culture, Modernism (Rutgers University Press, 2012) and Fantasia of Color in Early Cinema, w co-authored with Giovanna Fossati, Tom Gunning, and Jonathon Rosen.
Cuprins
Introduction SARAH STREET AND JOSHUA YUMIBE
Mapping the Laboratory: Technicolor across Asia and Europe: KIRSTY SINCLAIR DOOTSON
“Keeping Your Enemies Closer”: Strategies of Knowledge Transfer at the East German Filmfabrik Wolfen: JOSEPHINE DIECKE
“We’re Not in Sweden Anymore”: Technicolor’s Brief Venture in Swedish Cinema: KAMALIKA SANYAL
“Risk versus Conformity”: Soviet Color Film, 1956–1982: PHILIP CAVENDISH
Eastman Color in 1960s India: RANJANI MA ZUMDAR
Coloring the Coastline: Italian Beachside Comedies and the Color Film Transition: ELENA GIPPONI
Technological and Athletic Splendor: The Formation of Color in the Socialist Sports Film in China: LINDA C. ZHANG
The Chinese Film Collection at the University of South Carolina: HEATHER HECKMAN, LAURA MAJOR, AND LYDIA PAPPAS
The Lights That Raised Up a Storm: Neon and the Nikkatsu Action Color Film, 1957–1963: WILLIAM CARROLL
Color as a Foreign Accent: Brazilian Films and Film Laboratories in the 1950s: RAFAEL DE LUNA FREIRE
British Film Criticism and Global Color: SARAH STREET
All about Landscape: The Shift to Color in Australian Film at Midcentury: KATHRYN MILLARD AND STEFAN SOLOMON
Moving Monochromatics: Paul Sharits and Color Field Aesthetics in a Global Context: GREGORY ZINMAN
On Vivid Colors and Afrotropes in African and Diasporic Cinemas: JOSHUA YUMIBE
Acknowledgments
Notes on Contributors
Mapping the Laboratory: Technicolor across Asia and Europe: KIRSTY SINCLAIR DOOTSON
“Keeping Your Enemies Closer”: Strategies of Knowledge Transfer at the East German Filmfabrik Wolfen: JOSEPHINE DIECKE
“We’re Not in Sweden Anymore”: Technicolor’s Brief Venture in Swedish Cinema: KAMALIKA SANYAL
“Risk versus Conformity”: Soviet Color Film, 1956–1982: PHILIP CAVENDISH
Eastman Color in 1960s India: RANJANI MA ZUMDAR
Coloring the Coastline: Italian Beachside Comedies and the Color Film Transition: ELENA GIPPONI
Technological and Athletic Splendor: The Formation of Color in the Socialist Sports Film in China: LINDA C. ZHANG
The Chinese Film Collection at the University of South Carolina: HEATHER HECKMAN, LAURA MAJOR, AND LYDIA PAPPAS
The Lights That Raised Up a Storm: Neon and the Nikkatsu Action Color Film, 1957–1963: WILLIAM CARROLL
Color as a Foreign Accent: Brazilian Films and Film Laboratories in the 1950s: RAFAEL DE LUNA FREIRE
British Film Criticism and Global Color: SARAH STREET
All about Landscape: The Shift to Color in Australian Film at Midcentury: KATHRYN MILLARD AND STEFAN SOLOMON
Moving Monochromatics: Paul Sharits and Color Field Aesthetics in a Global Context: GREGORY ZINMAN
On Vivid Colors and Afrotropes in African and Diasporic Cinemas: JOSHUA YUMIBE
Acknowledgments
Notes on Contributors
Recenzii
"Global Film Color brings together a truly international group of contributors working with sources in multiple languages to offer readers a vivid spectrum of fascinating insights about uses of color in world cinema."
"An important work that opens up new territory in global color, with particular strengths in Chinese, Japanese, Brazilian, and Indian film and media. New archival materials, case studies, and distribution and exhibition histories offer an exciting new direction to color studies."
"An important work that opens up new territory in global color, with particular strengths in Chinese, Japanese, Brazilian, and Indian film and media. New archival materials, case studies, and distribution and exhibition histories offer an exciting new direction to color studies."
Descriere
Global Film Color: The Monopack Revolution at Midcentury explores color filmmaking around the world during the mid-century era when color came to dominate global film production. As Eastmancolor, Agfacolor, Fujicolor and other film stocks became broadly available and affordable, national film industries increasingly converted to color, transforming the look and feel of global cinema.