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Colour

The Cinema Book

British Film Institute, 2007

Book chapter

...As with sound, colour was one of the aesthetic options available to film-makers from the earliest years of cinema and, as with sound, the technical problems involved in making colour films were sufficiently daunting to dissuade many...

Post-production

Robert Klenner

Robert Klenner is the Acting Head of Directing at The Australian Film, Television and Radio School. Author affiliation details are correct at time of print publication.

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Directing Screen Performances

Bloomsbury Academic, 2019

Book chapter

...Films are made in post-production. The shooting of the film is like shopping for cooking ingredients—you know the cake you want to make and you try to get the best ingredients you can, and then you put them together. And it is the putting...

Document

British Colour Cinema : Practices and Theories

British Film Institute, 2013

Book chapter

Interview

British Colour Cinema : Practices and Theories

British Film Institute, 2013

Book chapter

...Daniela Currò is preservation officer in the Motion Picture Department at George Eastman House in Rochester, NY. Previously, she was project manager at the Haghefilm Foundation and film preservation specialist and colour grader at Haghefilm...

Interview

British Colour Cinema : Practices and Theories

British Film Institute, 2013

Book chapter

...Sonia Genaitay is curator of fiction films at the BFI National Archive. A graduate of the L. Jeffrey Selznick School of Film Preservation in Rochester, New York, she has worked at the BFI since 2002 as a moving-image archivist, digitising...

Videographic moving pictures: Remediating the “film stilled” and the “still film”

Jihoon Kim

Jihoon Kim is Assistant Professor in the Department of Film Studies at Chung-ang University, South Korea, after teaching in the Division of Broadcast and Cinema Studies at Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore. His essays have appeared in Screen, Film Quarterly, Animation: An Interdisciplinary Journal, Millennium Film Journal, Leonardo Electronic Almanac, and the anthologies Global Art Cinema: New Histories and Theories (2010), and Taking Place: Location and the Moving Image (2011), among others. Author affiliation details are correct at time of print publication.

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Between Film, Video, and the Digital : Hybrid Moving Images in the Post-Media Age

Bloomsbury Academic, 2016

Book chapter

...Introduction: “moving pictures” in the post-photographic era In fall 1977, art critic Douglas Crimp organized an exhibition that showcased the work of Jack Goldstein, Robert Longo, and others. He then placed these works under...

The Moment of Colour: Colour, Modernism and Abstraction

Paul Coates

Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada. He is the author of The Story of the Lost Reflection (1985), The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror (1991) and Cinema, Religion and the Romantic Legacy (2003). Author affiliation details are correct at time of print publication.

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Cinema and Colour : The Saturated Image

British Film Institute, 2010

Book chapter

...The Moment of Colour: The Fin De SiÈcle Any mythology seeking a pre-eminent ‘moment’ of colour’s liberation would have to take very seriously the candidacy of the fin de siècle. The preoccupation with colour may be most obvious in two...

Introduction: Theorising Colour and Ambivalence

Paul Coates

Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada. He is the author of The Story of the Lost Reflection (1985), The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror (1991) and Cinema, Religion and the Romantic Legacy (2003). Author affiliation details are correct at time of print publication.

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Cinema and Colour : The Saturated Image

British Film Institute, 2010

Book chapter

...Liberation and Ambivalence: Giotto’s Joy, Munch’s Depression Moments of liberation are ambiguous, even before the revolution begins to consume its children: divesting objects of the contexts that first lent them meaning cannot dispel...

Document

British Colour Cinema : Practices and Theories

British Film Institute, 2013

Book chapter

...Precautions taken to protect the films in the National Film Library against fire and decomposition were described by Harold G. Brown, film preservative officer of the library, at last week’s joint meeting of the BKS and the BFA.Introducing...

Interview

British Colour Cinema : Practices and Theories

British Film Institute, 2013

Book chapter

...Kieron Webb is film conservation manager at the BFI National Film Archive. He joined the archive in 2000 and later became technical projects officer, working with João S. de Oliveira. Webb has worked on the photochemical and digital...