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Cinema and colour : the saturated image / Paul Coates London: British Film Institute, 2010.
Call No: 633.22 COAAuthor: Coates, Paul Source: UKPlace: LondonPublisher: British Film InstitutePubDate: 2010PhysDes: 178 p. : col. ill. ; 26 cm.Subject: COLOUR ; COLORIZATION ; FRENCH CANCAN (FR/IT, Jean Renoir, 1955) ; [TWO OR THREE] 2 OR 3 THINGS I KNOW ABOUT HER [DEUX OU TROIS CHOSES QUE JE SAIS D'ELLE (FR, Jean-Luc Godard, 1967) ; CHINOISE, LA (FR, Jean-Luc Godard, 1967) ; SOLARIS (UR, Andrei Tarkovsky, 1972) ; STELLET LICHT (MX/FR/NE/G, Carlos Reygadas, 2007) ; BLACK NARCISSUS (UK, Michael Powell & Emeric Pressburger, 1947) ; EUROPA (DK/FR/GG, Lars Von Trier, 1991) ; THREE COLORS: RED [TROIS COULEURS: ROUGE] (FR/SZ/PL, Krzysztof Kieslowski, 1994) ; DESERTO ROSSO, IL (IT/FR, Michelangelo Antonioni, 1964) ; CRIES AND WHISPERS [VISKNINGAR OCH ROP] (SW, Ingmar Bergman, 1972) Summary: Cinema and Colour: The Saturated Image is a major new critical study of the use of colour in cinema. Using the dialectic of colour and monochrome as a starting point, Paul Coates explores the symbolic meanings that colour bears in different cultures, and engages with a range of critical approaches to filmic colour, building on the work of such theorists as Sergei Eisenstein, Rudolf Arnheim and Stanley Cavell.
Coates also provides close analyses of films by directors such as Antonioni, Bergman, Godard, Hitchcock, Hou Hsiao-Hsien, Sirk, Kieslowski, Tarkovsky, Von Trier and Zhang Yimou. Coates' focus is on films that deliberately exploit the rich multiplicity of cultural meanings and associations ascribed to colour, including All That Heaven Allows, Deux ou trois choses que je sais d'elle, The Double Life of Véronique, The Flight of the Red Balloon, Red Desert, Schindler's List, Silent Light, Solaris, The Three Colours Trilogy and The Wizard of Oz. [Taken from publishers website]Notes: Includes bibliographical references and indexISBN: 9781844573141Contents: Vertigo and yellow -- Guillermo del Toro and the dialectics of yellow and green -- Grief and green: Solaris, I lvira Madigan -- Natural camouflage: Joseph Losey's The Boy With Green Hair -- Green unseen: the poetics of absence in The Flight of the Red Ballon -- From yellow to green (via black): The Double Life of Veronique -- From yellow to blue: three Colours: Blue -- The desert and the beach: Deleuze, Antonioni, Zhang Ke Jia -- The painter's primaries and totality: le Mepris -- le Mepris 2: the triumph of blue -- Blue angel, blue devil: Goya in Bordeaux -- Trapped in blue: la Religieuse -- C. TOUR/OF FOUR D'AMRIQUE -- 6. Melos, Drama, Melodrama: From Demy to Sirk to Antonioni -- Introduction -- Singin' and dancin'? in the rain: Les Parapluies de Cherbourg and Singin' in the Rain -- Coupling and uncoupling colours: Une femme est une femme -- Totally? Tenderly? Tragically?: An American in Paris, Le Mepris and Moulin Rouge (with a postscript on The Golden Coach) -- A note on melodrama and modernism -- Melodrama, realism and All That Heaven Allows -- Modernist melodrama? The Oberwald Mystery
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The cinema as art / Ralph Stephenson & J. R. Debrix Harmondsworth: Penguin, 1969.
Call No: 63 STEAuthor: Stephenson, Ralph ; Debrix, J. R. CorpAuthor: PenguinEdition: Revised edition, reprintPlace: HarmondsworthPublisher: PenguinPubDate: 1969PhysDes: 270 p., [32] p. of plates ; 18 cmSubject: AESTHETICS ; ART AND THE CINEMA ; ART CINEMA ; EDITING ; CINEMATOGRAPHY ; SOUND ; COSTUMES ; MAKE-UP ; COLORIZATION ; LIGHTING Summary: “The cinema as art”, to those brought up on the “movie show and bubblegum” image, must look like a pretentious contradiction in terms. As this book demonstrates, however, the cinema stands for an art form which is almost unique in immediacy and scope. The authors explain, with over 300 examples taken from films of every country and period, the stages by which a director isolates what is mentally and emotionally significant in a situation. The reader is shown, from the inside, how the director may achieve this end by exploiting any or all of the cinematic techniques from script-planning to final editing, from camera movement to costume from sound to soft-focus. [Taken from back cover.]Notes: Illustrated. Includes index.Donation: Donated by La Trobe University Library
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subject clippings file
COLORIZATION
Call No: SUBJECT CLIPPINGS FILEPhysDes: ClippingsSubject: COLORIZATION
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book
The emergence of film art : the evolution and development of the motion picture as an art, from 1900 to the present New York: Hopkinson and Blake, [c1969].
Call No: 70 JACAuthor: Jacobs, Lewis, comp Place: New YorkPublisher: Hopkinson and BlakePubDate: [c1969]PhysDes: 453 p. illus. 25 cmSubject: HISTORY OF CINEMA ; HISTORY OF CINEMA. SILENT PERIOD ; HISTORY OF CINEMA. SOUND PERIOD ; COLORIZATION ; SOCIETY AND THE CINEMA ; GERMANY ; ANIMATED FILMS ; CINEMA VERITE ; AUTEUR THEORY ; NOUVELLE VAGUE ; MUSIC IN FILMS ; NEOREALISM ; AVANT-GARDE FILMS ; MELIES, GEORGES ; GRIFFITH, DAVID WARK ; CLAIR, RENE ; FORD, JOHN ; PORTER, EDWIN S. ; LESTER, RICHARD ; DISNEY, WALT ; BERGMAN, INGMAR ; TRUFFAUT, FRANCOIS ; SARRIS, ANDREW ; KAEL, PAULINE ; KUROSAWA AKIRA ; RESNAIS, ALAIN ; FELLINI, FEDERICO ; ANTONIONI, MICHELANGELO ; BASS, SAUL ; MEKAS, JONAS ; CITIZEN KANE (US, Orson Welles, 1941) ; BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; BIRTH OF A NATION, THE (US, David Wark Griffith, 1915) ; PASSION DE JEANNE D'ARC, LA (FR, Carl Th. Dreyer, 1928) Notes: Bibliography: p. 438-439LON: 5011ID2: 291
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Levy Collection
book
The first colour motion pictures / D B Thomas BSc PhD London: Her Majesty's Stationery Office, 1983.
Call No: 235.2 THOAuthor: Thomas, D B CorpAuthor: Science Museum (Great Britain)Source: UKPlace: LondonPublisher: Her Majesty's Stationery OfficePubDate: 1983PhysDes: vii, 39 p. : ill., 20 cmSubject: CAMERAS ; CINEMATOGRAPHY ; COLORIZATION ; COLOUR ; COLOUR CORRECTION ; COLOUR SYSTEMS ; MOTION PICTURES - HISTORY ; MOTION PICTURES - GREAT BRITAIN ; PRODUCTION ; SMITH, GEORGE A ; URBAN, CHARLES Summary: "Motion pictures in colour could be seen soon after the birth of cinema - they were hand-painted. The only natural colour process to be a commercial success before 1920 was Kinemacolor, a process invented by an Englishman, George A Smith, and exploited by an American, Charles Urban. This booklet tells the story of how Kinemacolor was developed, given its first public showing in London in 1909 and then shown in many countries in the world. Although it had its limitations, the process was successful for many years before the First World War. Some of the motion picture colour processes which superseded Kinemacolor are described. The work is based on a collection of apparatus, manuscripts, and ephemera given to the Science Museum by Charles Urban." - BOOK BLURBNotes: Reprint. First published 1969.ISBN: 0112900143Donation: donated by the family of Wayne Levy, 2006
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Nitrate won't wait : a history of film preservation in the United States / by Anthony Slide Jefferson, N.C.: McFarland & Co., 1992.
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