Suspended between transparency and naturalness on the one hand, and opacity and artificiality on the other, colour is integral to the cinematic apparatus in an ideological as well as technological sense. This special issue of Cinéma&Cie aims to address colour in the middle decades of the twentieth century - from the 1930s to the 1960s - examining it as an analogue and material quality of still and moving images and, more broadly, of the intermedial cultures in which cinema was embedded. During the mid-century, colour gradually became the norm, and film and media from the era track this transition formally as well as culturally, showing a constant tension within colour between the display of its technical wizardry and its concealment, and between attempts to control it and its own autonomous resistance to regulation.
Suspended between transparency and naturalness on the one hand, and opacity and artificiality on the other, colour is integral to the cinematic apparatus in an ideological as well as technological sense. This special issue of Cinéma&Cie aims to address colour in the middle decades of the twentieth century - from the 1930s to the 1960s - examining it as an analogue and material quality of still and moving images and, more broadly, of the intermedial cultures in which cinema was embedded. During the mid-century, colour gradually became the norm, and film and media from the era track this transition formally as well as culturally, showing a constant tension within colour between the display of its technical wizardry and its concealment, and between attempts to control it and its own autonomous resistance to regulation.
Cinema and Mid-Century Colour Culture: An Introduction - The History of a Broken Blue Fusuma: Colour in Suzuki Seijun’s Nikkatsu Films - From the Margins to the Mainstream? The Eastmancolor Revolution and Challenging the Realist Canon in British Cinema - The Colour Revolution: Disney, DuPont and Faber Birren - Biopolitics of Colour in Mid-Century Italian Visual Culture: Red Desert and the ‘New Techniques of Life’ - Colour Communications: László Moholy-Nagy, Walter Paepcke, and the Humanities Program of Design Workshops - Hallucinating Colours: Psychedelic Film, Technology, Aesthetics and Affect The Body as Virtual Frame: Performativity of the Image in Immersive Environments
Elena Gipponi is a postdoctoral fellow at IULM University of Milan, where she obtained her PhD in ‘Communication and New Technologies’, with a thesis that explores the use of colour in Italian home movies and amateur cinema. Since 2008, she collaborates to Iulm’s courses of History of Cinema. She has published many essays, particularly on contemporary Italian cinema and on the transition from black and white to colour in the Italian media landscape. Joshua Yumibe is Associate Professor and Director of Film Studies at Michigan State University. He is the author of Moving Color: Early Film, Mass Culture, Modernism (Rutgers University Press, 2012), co-author of Fantasia of Color in Early Cinema (Amsterdam University Press, 2015) with Giovanna Fossati, Tom Gunning, and Jonathon Rosen, and most recently of Chromatic Modernity: Color, Cinema, and Media of the 1920s (Columbia University Press, 2019) with Sarah Street.
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