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Questions of Colour in Cinema

From Paintbrush to Pixel

Series:

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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Filmography 227

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Filmography A Film By Andrei Tarkovsky (Michal Leszczylowski, 1988) A Matter of Life and Death (Michael Powell and Emeric Pressburger, 1946) A Zed & Two Noughts (also known as ZOO) (Peter Greenaway, 1985) Agony and the Ecstasy, The (Carol Reed, 1965) Ali (Michael Mann, 2001) Alien: Resurrection (Jean-Pierre Jeunet, 1998) All The President’s Men (Alan J. Pakula, 1976) Amarcord/I Remember (Federico Fellini, 1970) American Graffiti (George Lukas, 1975) Andrey Rublyov/Andrei Rublev (Andrei Tarkovsky, 1969) A zori zdes tikhie/The Dawns Here Are Quiet (Stanislav Rostotsky, 1972) Becky Sharp (Rouben Mamoulian, 1935) Belly of an Architect, The (Peter Greenaway, 1987) Belphégor, le fantôme du Louvre (Jean-Paul Salomé, 2001) Bigger Than Life (Nicholas Ray, 1956) Birth of a Nation, The (D.W. Griffith, 1915) Black Narcissus (Michael Powell and Emeric Pressburger, 1947) Blonde Venus (Josef von Sternberg, 1932) Blue (Derek Jarman, 1993) Born Yesterday (George Cukor, 1950) Bus Stop (Joshua Longan, 1956) Clueless (Amy Heckerling, 1995) Collateral (Michael Mann, 2004) Conversation, The (Francis Ford Coppola, 1974) Crush (Alison Maclean, 1992) Filmography 228 Das Versprechen/The Promise, (Margarete von Trotta, 1995) Days of Heaven (Terrence Malick, 1978) Delicatessen (Jean-Pierre Jeunet and Marc Caro, 1990) Der Blaue Engel/The Blue Angel (Josef von Sternberg, 1930) Deux ou trois choses que je sais d’elle/Two or Three Things I Know About Her (Jean-Luc Godard, 1976) Devil is a Woman, The (Josef von Sternberg, 1935) Dishonored (Josef von Sternberg, 1931) Diva (Jean-Jacques Beineix, 1981) Dodeskaden (Akira Kurosawa, 1970) Don’t Look Now (Nicolas Roeg, 1973) Double Indemnity (Billy Wilder, 1944) Down...

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