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Questions of Colour in Cinema

From Paintbrush to Pixel

Series:

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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Notes on Contributors 233

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Notes on Contributors LAURE BROST is based in the Department of Film, Television, and Media Studies at the University of California, Los Angeles. She is currently completing her PhD thesis on Chromatic Reticulations: Diacritical, Tropical and Kinetic Uses of Color in Film, and has given research papers on colour at a number of recent international film conferences. RAPHAËLLE COSTA-DE-BEAUREGARD is Professor of English and American Literature and Cinema at Toulouse Le Mirail University, France. Her research specialisms include Tudor literature and paint- ing, classical Hollywood cinema, and the aesthetic continuity between Shakespeare and Early Cinema, with particular reference to melo- drama and colour. Recent publications include Nicholas Hilliard et l’imaginaire élisabéthain (Paris: CNRS, 1991), and Silent Eliza- bethans – The Language of Color in the Miniatures of Nicholas Hilliard and Isaac Oliver (Montpellier: CERRA, 2000), in addition to a number of edited books and articles. In 1990, she founded SERCIA (Société d’Etudes et de Recherche sur le Cinéma Anglo-Saxon). WENDY EVERETT is Reader in Film Studies and French at the University of Bath. Her principal research interests are in European cinema, and recently published books include European Identity in Cinema (Intellect, revised and updated edition, 2006), Revisiting Space. Space and Place in European Cinema (Peter Lang 2005; jointly edited with Axel Goodbody), Cultures of Exile. Images of Displacement (Berghahn Books, 2004; jointly edited with Peter Wagstaff), and a study of the British director Terence Davies (Man- chester University Press, 2004). Recent journal articles and book chapters include...

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