{"product_id":"chromatic-cinema-9781444332391","title":"Chromatic Cinema","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChromatic Cinema\u003c\/b\u003e \u003cp\u003eColor permeates film and its history, but study of its contribution to film has so far been fragmentary. \u003ci\u003eChromatic Cinema\u003c\/i\u003e provides the first wide-ranging historical overview of screen color, exploring the changing uses and meanings of color in moving images, from hand painting in early skirt dance films to current trends in digital color manipulation.  \u003c\/p\u003e\u003cp\u003eIn this richly illustrated study, Richard Misek offers both a history and a theory of screen color. He argues that cinematic color emerged from, defined itself in response to, and has evolved in symbiosis with black and white. Exploring the technological, cultural, economic, and artistic factors that have defined this evolving symbiosis, Misek provides an in-depth yet accessible account of color's spread through, and ultimate effacement of, black-and-white cinema.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e“Chromatic Cinema provides a much-needed technological history of machines and techniques for producing moving images in color, as well as a cultural history of color films.”  (\u003ci\u003eBRIAN R. JACOBSON, Technology and Culture\u003c\/i\u003e, July 2012)\u003c\/p\u003e \u003cp\u003e“An invigorating critical intervention into the history, theory and aesthetic analysis of colour in the cinema.”  (\u003ci\u003eJENNIFER M. BARKER, Screen\u003c\/i\u003e, August 2012)\u003c\/p\u003e \u003cp\u003e“Chromatic Cinema provides a wealth of information and of examples of different approaches to colour in cinema and stimulates enough thoughts and reflections to be a worthy addition to any library on colour in cinema.”  (\u003ci\u003eNICOLA MAZZANTI, Historical Journal of Film, Radio and Television\u003c\/i\u003e, April 2012\u003c\/p\u003e \"Chromatic Cinema is an excellent critical history of screen colour by Richard Misek, who teaches at the University of Bristol, near which, as I recall, is a plaque to mark the birthplace of William Friese-Greene, the somewhat unfortunate British movie pioneer, one of who patents was for his own colour system.\" (Times Literary Supplement, 25 November 2011)  \u003cp\u003e\"The book touches on most of the important aspects of color cinema-from history to technology to ideology-and serves as an orientation course for a complex subject. It's a gateway read, neither intimidating nor frustrating. For a beginner (like me), it presented a smattering of philosophical ideas, a grounding in the why and how progression of color use, and a primer on the science of color technologies.\" (\u003ci\u003eMUBI\u003c\/i\u003e, September 2010)\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eList of Plates ix\u003c\/p\u003e \u003cp\u003eAcknowledgments xi\u003c\/p\u003e \u003cp\u003eIntroduction 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1. Film Color 14\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eColoration in Early Cinema, 1895–1927 14\u003c\/p\u003e \u003cp\u003eThe Rise of Technicolor, 1915–35 25\u003c\/p\u003e \u003cp\u003eChromatic Cold War: Black-and-White and Color in Opposition 29\u003c\/p\u003e \u003cp\u003e“Technicolor \u003ci\u003eIs\u003c\/i\u003e Natural Color”: Color and Realism, 1935–58 35\u003c\/p\u003e \u003cp\u003eChromatic Thaw: Hollywood’s Transition to Color, 1950–67 41\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2. Surface Color 50\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eColor in European Film, 1936–67 50\u003c\/p\u003e \u003cp\u003eChromatic Ambivalence: Art Cinema’s Transition to Color 57\u003c\/p\u003e \u003cp\u003e“Painting with Light”: Cinema’s Imaginary Art History 65\u003c\/p\u003e \u003cp\u003eUnmotivated Chromatic Hybridity 68\u003c\/p\u003e \u003cp\u003eMonochrome Purgatory: Absent Color in the Soviet Bloc, 1966–75 77\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3. Absent Color 83\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eBlack-and-White as Technological Relic, 1965–83 83\u003c\/p\u003e \u003cp\u003eBlack-and-White Flashbacks: Codifying Temporal Rebirth 89\u003c\/p\u003e \u003cp\u003eBlack-and-White Films, 1967–2007 97\u003c\/p\u003e \u003cp\u003eNostalgia and Pastiche 111\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4. Optical Color 117\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCinema’s Newtonian Optics 117\u003c\/p\u003e \u003cp\u003eWhite Light: Hollywood’s Invisible Ideology 122\u003c\/p\u003e \u003cp\u003eDarkness Visible: From Natural Light to “\u003ci\u003eNeo-Noir\u003c\/i\u003e,” 1968–83 132\u003c\/p\u003e \u003cp\u003eCinematography and Color Filtration, 1977–97 139\u003c\/p\u003e \u003cp\u003eCase Study: Seeing Red in \u003ci\u003ePsycho\u003c\/i\u003e 147\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5. Digital Color 152\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCrossing the Chromatic Wall in \u003ci\u003eWings of Desire\u003c\/i\u003e 152\u003c\/p\u003e \u003cp\u003eAn Archaeology of Digital Intermediate, 1989–2000 155\u003c\/p\u003e \u003cp\u003eDigital Color Aesthetics, 2000–9 164\u003c\/p\u003e \u003cp\u003eConclusion: Painting by Numbers? 179\u003c\/p\u003e \u003cp\u003eNotes 181\u003c\/p\u003e \u003cp\u003eBibliography 195\u003c\/p\u003e \u003cp\u003eIndex 210\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49408384303447,"sku":"9781444332391","price":96.26,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781444332391.jpg?v=1730502706","url":"https:\/\/bookcurl.com\/products\/chromatic-cinema-9781444332391","provider":"Book Curl","version":"1.0","type":"link"}