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Questions of Colour in Cinema

From Paintbrush to Pixel

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Edited By Wendy Everett

Colour is one of the few remaining uncharted territories of film studies, and its centrality to the construction and reception of film narratives has only recently been recognised. After a century of widespread critical and theoretical neglect, colour is now poised to become a prime focus within film studies at all levels, and this book will constitute a key voice within this debate. In a series of wide-ranging critical essays, marked by authoritative and innovative perspectives, the volume explores the shifting technologies, theories, and practices of colour in cinema, highlighting the intricate relationship between technological, philosophical, and artistic concerns, and making a compelling case for colour as a dominant and complex signifier in filmic discourse. The essays are divided into three main sections exploring the historical and technical dimensions of colour, the aesthetics of colour, and the significance of colour in relation to broader issues of race, gender, and identity, and are interdisciplinary and transnational in their focus. They provide the reader with a clear understanding of the significance of colour, exploring new pathways and identifying discoveries still to be made.

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Race, Gender, and Colour

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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 HILARIA LOYO Blinding Blondes: Whiteness, Femininity, and Stardom Colour as a visible physical characteristic has a range of symbolic connotations but it has also been used to signal racial difference. These senses of colour (hue, skin, symbol) interrelate in particularly unstable ways in the case of ‘white’. Drawing upon Richard Dyer’s ground-breaking work on the instabilities of whiteness in Western culture (1993, 1997), this article will study the ‘blinding blonde’ stereotype, in order to interrogate his view of whiteness as an un- marked category assuming the standard of ‘normal’ and characterized by its invisibility and, therefore, only definable in opposition to non- white and not-fully white Others. Like much of the scholarship on whiteness, this essay will try to make whiteness visible by studying the ‘blinding blonde’ stereotype – also referred to as ‘platinum blonde’ or ‘glamour blonde’ – as a category marked as white from the onset by an artificially bright shade of hair colour. I have delib- erately chosen the term ‘blinding blonde’ because it suggests a larger category encompassing other blonde stereotypes such as the ‘dumb blonde’ – also studied by Dyer (1979), among others – and because it...

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