MARC Record from harvard_bibliographic_metadata

LEADER: 04278cam a22004338a 4500
001 013531966-8
005 20130122225831.0
008 120126s2013 nyuaf b 001 0 eng
010 $a 2012003464
020 $a9780415892636 (hardback)
020 $a0415892635 (hardback)
020 $a9780415892643 (paperback)
020 $a0415892643 (paperback)
020 $a9780203118122 (ebook)
020 $a020311812X (ebook)
035 $a(PromptCat)99951662277
035 0 $aocn707966541
040 $aDLC$beng$cDLC$dBTCTA$dERASA$dYDXCP$dNYP$dBWX$dZCU$dOCLCO
042 $apcc
050 00 $aPN1995.9.C546$bC65 2012
082 00 $a791.4301$223
084 $aPER004030$aPER004000$aSOC052000$2bisacsh
245 00 $aColor and the moving image :$bhistory, theory, aesthetics, archive /$cedited by Simon Brown, Sarah Street, and Liz Watkins.
260 $aNew York :$bRoutledge,$c2013.
300 $axi, 252 p., 32 plates :$bill. ;$c23 cm.
490 1 $aAFI film readers series
504 $aIncludes bibliographical references and index.
520 $a"This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with color such as Hitchcock, Jarman and Sirk as well as others whose use of color has not yet been explored in such detail including Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large"--$cProvided by publisher.
505 0 $a"The Brighton school and the quest for natural color" -- redux / Simon Brown -- Technicolor-multicolor-Sennett-color: natural color processes in Mack Sennett comedies 1926-1931 / Hilde D'Haeyere -- Color as image schema: Technicolor number 3 in King of jazz (1930) / Charles O'Brien -- Glorious agfacolor, breathtaking totalvision and monophonic sound: colour and "scope" in Czechoslovakia / Anna Batistová -- Glorious and other adventures with prizma / Sarah Street -- The color of Prometheus: Thomas Wilfred's Lumia and the projection of transcendence / Andrew Robert Johnston -- Where do colors go at night? / Tom Gunning -- "Brash ... indecent ... libertine": Derek Jarman's Queer colors / Rosalind Galt -- The hues of memory, the shades of experience: color and time in Syndromes and a century / Jocelyn Szczepaniak-Gillece -- From psycho to Pleasantville: the role of color and black-and-white imagery for film experience / Philipp Schmerheim -- The illuminated fairytale: the colors of Paul Fejos's Lonesome (1928) / Joshua Yumibe -- Color unlimited: amateur color cinema in the 1930s / Charles Tepperman -- Color and meaning in the films of Eric Rohmer / Fiona Handyside -- The cameraman and the glamour-puss: Technicolor cinematography and design in John Ford's Drums along the Mohawk / Heather Heckman -- Chromo-drama: innovation and convention in Douglas Sirk's color designs / Scott Higgins -- Color and containment: domestic spaces and restrained palettes in Hitchcock's first color films / Steven Jacobs -- Color and meaning in Marnie / John Belton -- Are my eyes really brown? The aesthetics of colorization in Casablanca / Jason Gendler -- "Those men are not white!": Neuroscience, digital imagery and color in O brother, where art thou? / William Brown -- Towards a more accurate preservation of color: heritage, research and the film restoration laboratory / Ulrich Ruedel, Daniela Curró, and Claudy Op Den Kamp -- Herbert G. Ponting's materials and texts / Liz Watkins.
650 0 $aColor motion pictures$xHistory.
650 0 $aColor cinematography$xHistory.
655 7 $aHistory.$2fast
700 1 $aBrown, Simon$q(Simon David)
700 1 $aStreet, Sarah.
700 1 $aWatkins, Liz I.,$d1972-
830 0 $aAFI film readers.
899 $a415_565393
988 $a20130108
906 $0DLC