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Film --- Color cinematography --- Color motion pictures --- Cinéma en couleurs --- History. --- Histoire --- Cinéma en couleurs
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The first anthology devoted to the subject of color in film. Thematic sections will address the development of color technology and how visual style was affected by the shift from black and white to color; look at color in film theory, including writings from auteurs such as Bresson, Eisenstein and Oshima on the subject; and finally, there will be a number of case studies of color in films by Godard, Hitchcock, Almodovar and others.
Film --- Color motion pictures. --- Cinéma en couleurs --- Cinéma en couleurs
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"The art of producing color in movies is a fascinating process with a long history. Many people don't realize that, as early as the 1890s, much of silent cinema was in color. They also may not know that women were the main workforce behind the techniques that first produced these effects, a tradition that continued as the practice evolved. Breakthroughs in color technology have created ongoing opportunities for filmmakers to experiment with new forms of narrative and emotional storytelling. Spectacular, psychological, and sensory, color has become an integral part of the cinematic experience. From the earliest hand-painted films to Technicolor and today's digital cinema, Color in Motion takes readers on a journey through the evolution and significance of color in film. Presenting insightful analysis, engaging case studies, and inspiring conversations with scholars and experts in the field, with topics ranging from animation to the intersections of color and race in cinema, it traces the historical development of color technologies and their impact onscreen. Incorporating vivid images of color films throughout history-Serpentine Dance, The Cabinet of Dr. Caligari, Fantasia, The Red Shoes, Vertigo, West Side Story, 2001: A Space Odyssey, Moonlight, and more, as well as new multispectral scans of rare silent-era film prints-this essential volume celebrates color's enduring influence on the medium of film"--
Colors in motion pictures --- Color motion pictures --- Color cinematography --- Cinéma en couleurs --- Couleurs au cinéma --- History --- Processing --- Histoire --- Academy Museum of Motion Pictures, --- Academy Museum of Motion Pictures
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Color --- Aesthetics. --- Color cinematography. --- Esthétique --- Cinéma en couleurs --- Philosophy. --- Color (Philosophy) --- Esthétique --- Cinéma en couleurs --- Colors --- Painting --- CDL --- 7.017 --- Philosophy --- Colours --- Cinema --- Couleur --- Discours --- Harmonie --- Image --- Peinture --- Science
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Entre les deux, réalisateurs et directeurs de la photo se sont posé la question : "Que faire de la couleur ?". Les grands cinéastes en ont tiré profit, en l'opposant de manière significative au noir et blanc, en la raréfiant pour la faire oublier, en en faisant un système de signification propre, en l'intensifiant. "Opposer", "raréfier", "systématiser", "intensifier", quatre réponses possibles qui constituent le coeur de cet ouvrage. En s'appuyant sur des films majeurs de l'histoire du cinéma (Providence, Stalker, Trois couleurs, Bleu, blanc, rouge, Vertigo, Pas de printemps pour Marnie, Le Bonheur, Les Chaussons rouges, Juliette des esprits, New York, New York, Coup de coeur, Pierrot le fou, Eyes Wide Shut, Le Désert rouge, Blow-up), sur des genres cinématographiques (comédie musicale, science-fiction, fantastique, féérique) ou des écoles (seconde comédie américaine, Nouvelle Vague, esthétique publicitaire), l'auteur explore l'aventure de la couleur au cinéma.
Color cinematography --- Colors in motion pictures --- Cinéma en couleurs --- Couleurs au cinéma --- Cinéma en couleurs --- Couleurs au cinéma --- Color motion pictures --- Histoire du cinéma --- Couleur --- History --- Color cinematography - History --- Color motion pictures - History --- Cinéma
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"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"
Film --- Aesthetics of art --- Color motion pictures --- Color cinematography --- PERFORMING ARTS / Film & Video / History & Criticism. --- PERFORMING ARTS / Film & Video / General. --- SOCIAL SCIENCE / Media Studies. --- History. --- Cinéma --- Cinéma en couleurs --- Cinéma en noir et blanc --- Couleur --- Histoire et critique --- Cinéma --- Cinéma en couleurs --- Cinéma en noir et blanc
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Color motion pictures --- Motion pictures --- Cinéma en couleurs --- Cinéma --- Congresses --- Aesthetics --- Congrès --- Esthétique --- Colors in motion pictures --- Color cinematography --- Cinematography --- History --- Technique --- Color and cinema --- Cinéma en couleurs --- Cinéma --- Congrès --- Esthétique --- Colors in motion pictures - Congresses --- Color cinematography - History - Congresses --- Color motion pictures - History - Congresses --- Cinematography - History - Congresses --- Motion pictures - Technique - Congresses --- Motion pictures - History - Congresses
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The era of silent film, long seen as black and white, has been revealed in recent scholarship as bursting with color. Yet the 1920s remain thought of as a transitional decade between early cinema and the rise of Technicolor-despite the fact that new color technologies used in film, advertising, fashion, and industry reshaped cinema and consumer culture. In Chromatic Modernity, Sarah Street and Joshua Yumibe provide a revelatory history of how the use of color in film during the 1920s played a key role in creating a chromatically vibrant culture.Focusing on the final decade of silent film, Street and Yumibe portray the 1920s as a pivotal and profoundly chromatic period of cosmopolitan exchange, collaboration, and experimentation in and around cinema. Chromatic Modernity explores contemporary debates over color's artistic, scientific, philosophical, and educational significance. It examines a wide range of European and American films, including Opus 1 (1921), L'Inhumaine (1923), Die Nibelungen (1924), The Phantom of the Opera (1925), The Lodger (1927), Napoléon (1927), and Dracula (1932). A comprehensive, comparative study that situates film among developments in art, color science, and industry, Chromatic Modernity reveals the role of color cinema in forging new ways of looking at and experiencing the modern world.
Color motion pictures --- Color moving-pictures --- Colored motion pictures --- Technicolor pictures --- Motion pictures --- History. --- Color in advertising --- Performing Arts. --- Color in advertising. --- Color motion pictures. --- Inter-war period c 1919 to c 1939. --- Films, cinema. --- Cinéma en couleurs. --- Cinéma --- Publicité --- Couleur. --- Cinéma en couleurs. --- Cinéma --- Publicité
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Color photography. --- Color cinematography. --- Color motion pictures. --- Photographic chemistry. --- Image processing. --- Visual perception. --- Picture perception. --- Motion pictures. --- Cinematography --- Photography. --- Images, Photographic. --- Photographs. --- Light. --- Cinéma en couleurs. --- Photographie en couleurs. --- Chimie photographique. --- Traitement d'images. --- Perception visuelle. --- Perception des images. --- Cinéma. --- Photographies. --- Lumière. --- Photographie.
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