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Questions of Colour in Cinema

From Paintbrush to Pixel


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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Select Bibliography Colour Albers, J. (1975), Interaction of Color, New Haven, Connecticut: Yale University Press. Andrew, D. (1980), ‘The Post-War Struggle for Colour’, in De Laurentis, T. and S. Heath (eds), The Cinematic Apparatus, London: Macmillan, pp. 61–75. Arnheim, R. (1958), Film as Art, London: Faber and Faber. Aumont, J. (1990), L’Image, Paris: Nathan. —— (1994), Introduction à la couleur: des discours aux images, Paris: Colin. —— (ed.) (1995), La couleur en cinéma, Milan, Paris: Mazzotta/Ciné- mathèque Française. Batchelor, D. (2000), Chromophobia, London: Reaktion Books. Berlin, B. and P. Kay (1969), Basic Colour Terms: Their Universality and Evolution, Berkeley and Los Angeles: University of California Press. Bogue, R. (2003), Deleuze on Music, Painting, and the Arts, London and New York: Routledge. Bornstein, M. (1973), ‘Colour Vision and Colour Naming: A Psychophysio- logical Hypothesis of Cultural Differences’, Psychological Bulletin, 80, 257–87. —— (1984), ‘Psychology and Art’, in Bornstein, M. (ed.), Psychology and its Allied Disciplines, Hillsdale, New Jersey and London: Lawrence Erlbaum Associates, pp. 1–73. Boullée, E-L. (1968), Essai sur l’art, Paris: Hermann. Branigan, E. (1976), ‘The Articulation of Color in a Filmic System: Deux ou trois choses que je sais d’elle’, Wide Angle, 1/3, 20–31. —— (1980), ‘Colour and Cinema: Problems in the Writing of History’, in Film Reader, 4, 16–34. Brougher, K., Strick, J. and J. Zilczer (eds) (2005), Visual Music: Synaes- thesia in Art and Music since 1900, New York: Thames and Hudson. Byrne, A. and D.R. Hilbert (1997), Readings on Color: The...

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