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Full Product Details

Author:   Sarah Street ,  Joshua Yumibe ,  Stefan Soloman ,  Kathryn Millard
Publisher:   Rutgers University Press
Imprint:   Rutgers University Press
Dimensions:   Width: 15.60cm , Height: 1.90cm , Length: 23.50cm
Weight:   0.463kg
ISBN:  

9781978836815

ISBN 10:   1978836813
Pages:   258
Publication Date:   17 May 2024
Recommended Age:   From 18 to 99 years
Audience:   General/trade ,  College/higher education ,  Professional and scholarly ,  General ,  Tertiary & Higher Education
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Introduction SARAH STREET AND JOSHUA YUMIBE Mapping the Laboratory: Technicolor across Asia and Europe: KIRSTY SINCLAIR DOOTSON “Keeping Your Enemies Closer”: Strategies of Knowledge Transfer at the East German Filmfabrik Wolfen: JOSEPHINE DIECKE “We’re Not in Sweden Anymore”: Technicolor’s Brief Venture in Swedish Cinema: KAMALIKA SANYAL “Risk versus Conformity”: Soviet Color Film, 1956–1982: PHILIP CAVENDISH Eastman Color in 1960s India: RANJANI MA ZUMDAR Coloring the Coastline: Italian Beachside Comedies and the Color Film Transition: ELENA GIPPONI Technological and Athletic Splendor: The Formation of Color in the Socialist Sports Film in China: LINDA C. ZHANG The Chinese Film Collection at the University of South Carolina: HEATHER HECKMAN, LAURA MAJOR, AND LYDIA PAPPAS The Lights That Raised Up a Storm: Neon and the Nikkatsu Action Color Film, 1957–1963: WILLIAM CARROLL Color as a Foreign Accent: Brazilian Films and Film Laboratories in the 1950s: RAFAEL DE LUNA FREIRE British Film Criticism and Global Color: SARAH STREET All about Landscape: The Shift to Color in Australian Film at Midcentury: KATHRYN MILLARD AND STEFAN SOLOMON Moving Monochromatics: Paul Sharits and Color Field Aesthetics in a Global Context: GREGORY ZINMAN On Vivid Colors and Afrotropes in African and Diasporic Cinemas: JOSHUA YUMIBE Acknowledgments Notes on Contributors _______________________________________________________________________________________________________ List of Figures List of Tables List of Color Plates Acknowledgments Introduction   Chapter 1: Mapping the Laboratory: Technicolor across Asia and Europe, Kirsty Sinclair Dootson   Chapter 2: “Keeping Your Enemies Closer”: Strategies of Knowledge Transfer at the East German Filmfabrik Wolfen, Josephine Diecke   Chapter 3:“We’re not in Sweden Anymore”: Technicolor’s Brief, Brief Venture in Swedish Cinema, Kamalika Sanyal   Chapter 4: “Risk versus Conformity”: Soviet Color Film, 1956–1982, Philip Cavendish   Chapter 5: Eastman Color in 1960s India, Ranjani Mazumdar   Chapter 6: Coloring the Coastline: Italian Beachside Comedies and the Color Film Transition, Elena Gipponi   Chapter 7: Technological and Athletic Splendor: The Formation of Color in the Socialist Sports Film in China, Linda Zhang   Chapter 8: The Chinese Film Collection at the University of South Carolina, Heather Heckman, Laura Major, Lydia Pappas   Chapter 9: The Lights that Raised Up a Storm: Neon and the Nikkatsu Action Color Film (1957–1963), William Carroll   Chapter 10: Color as a Foreign Accent: Brazilian Films and Film Laboratories in the 1950s, Rafael de Luna Freire   Chapter 11: British Film Criticism and Global Color, Sarah Street   Chapter 12: All about Landscape: The Shift to Color in Australian Film at Midcentury, Kathryn Millard and Stefan Soloman   Chapter 13: Moving Monochromatics: Paul Sharits and Color Field Aesthetics, Greg Zinman   Chapter 14: On Vivid Colors and Afrotropes in African and Diasporic Cinemas, Joshua Yumibe   Notes on Contributors Index  

Reviews

""Global Film Color brings together a truly international group of contributors working with sources in multiple languages to offer readers a vivid spectrum of fascinating insights about uses of color in world cinema."" - Matthew Solomon (author of Méliès Boots) ""An important work that opens up new territory in global color, with particular strengths in Chinese, Japanese, Brazilian, and Indian film and media. New archival materials, case studies, and distribution and exhibition histories offer an exciting new direction to color studies.""   - Kirsten Moana Thompson (chair of the Film and Media Department at Seattle University.)

"""Global Film Color brings together a truly international group of contributors working with sources in multiple languages to offer readers a vivid spectrum of fascinating insights about uses of color in world cinema."" -- Matthew Solomon * author of Méliès Boots * ""An important work that opens up new territory in global color, with particular strengths in Chinese, Japanese, Brazilian, and Indian film and media. New archival materials, case studies, and distribution and exhibition histories offer an exciting new direction to color studies.""   -- Kirsten Moana Thompson * chair of the Film and Media Department at Seattle University. *"

Author Information

SARAH STREET is a professor of film and Foundation Chair of Drama at the University of Bristol in the UK. She has written and co-edited several books, including Colour Films in Britain: The Negotiation of Innovation, 1900-1955 and Chromatic Modernity: Color, Cinema, and Media of the 1920s,  co-authored with Joshua Yumibe. JOSHUA YUMIBE is a professor of film studies and English at Michigan State University. He has written, edited, and co-edited several books, including Moving Color: Early Film, Mass Culture, Modernism (Rutgers University Press, 2012) and Fantasia of Color in Early Cinema, w co-authored with Giovanna Fossati, Tom Gunning, and Jonathon Rosen.

Tab Content 6

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