From Paintbrush to Pixel
Aesthetics of Colour
Contents Introduction 7 Chapter One The Aesthetic and Political Situation in the Weimar Republic 19 Chapter Two Bertolt Brecht: “Contradictions are Our Hope!” 51 Chapter Three Friedrich Wolf: Empathy Through Estrangement 97 Chapter Four Gustav von Wangenheim: “An Important, but Unknown Dramatist” 131 Chapter Five The Legacy of Proletarian-Revolutionary Theater in the GDR 155 Conclusion 209 Notes 219 Bibliography 235 Index 251 WENDY EVERETT Colour as Space and Time: Alternative Visions in European Film Tones, shades, harmonies, and textures are all concepts that apply as much to music as to colour, while the adjective ‘chromatic’ is used to refer to both, through its dual meanings of something that is produced by, or full of, bright colour, and a musical scale which proceeds by semitones and thus contains a richer number of tonal colours than its diatonic equivalent. Given that colour and music are attributes of en- tirely different senses (sight and hearing), this fundamental coinci- dence is fascinating, and it provides the starting point for this essay whose purpose is to analyse and explore ways in which colour may be used in film not as a means to greater realism, nor even as a symbolic or expressive tool designed to create a particular emotional impact, but in its own right, as an autonomous entity, an independent signifier which can detach itself from its immediate context and, in so doing, radically alter the nature of that context. In other words, I shall be ex- ploring the significance of colour as abstraction,...
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