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Colour Films in Britain: The Negotiation of Innovation 1900-1955 [Paperback]

Sarah Street
2.0 out of 5 stars  See all reviews (1 customer review)
Price: 19.99 & FREE Delivery in the UK. Details
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Book Description

19 Oct 2012 1844573125 978-1844573127
How did the coming of colour change the British film industry? Unlike sound, the arrival of colour did not revolutionise the industry overnight. For British film-makers and enthusiasts, colour was a controversial topic. While it was greeted by some as an exciting development – with scope for developing a uniquely British aesthetic – others were deeply concerned. How would audiences accustomed to seeing black-and-white films – which were commonly regarded as being superior to their garish colour counterparts – react? Yet despite this initial trepidation, colour captivated many British inventors and film-makers. Using different colour processes, these innovators produced films that demonstrated remarkable experimentation and quality.

Sarah Street's illuminating study is the first to trace the history of colour in British cinema, and analyses the use of colour in a range of films, both fiction and non-fiction, including The Open Road, The Glorious Adventure, This is Colour, Blithe Spirit, This Happy Breed, Black Narcissus, The Red Shoes, The Tales of Hoffmann and Moulin Rouge. Beautifully illustrated with full colour film
stills, this important study provides fascinating insights into the complex process whereby the challenges and opportunities of
new technologies are negotiated within creative practice. The book also includes a Technical Appendix by Simon Brown (Kingston University, UK), which provides further details of the range of colour processes used by British film-makers.

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Colour Films in Britain: The Negotiation of Innovation 1900-1955 + Color and the Moving Image: History, Theory, Aesthetics, Archive (AFI Film Readers)
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Product details

  • Paperback: 320 pages
  • Publisher: British Film Institute (19 Oct 2012)
  • Language: English
  • ISBN-10: 1844573125
  • ISBN-13: 978-1844573127
  • Product Dimensions: 2.3 x 20.3 x 25.4 cm
  • Average Customer Review: 2.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 285,377 in Books (See Top 100 in Books)
  • See Complete Table of Contents

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Review

'Sarah Street's groundbreaking study is that rare film history text which is at once absolutely authoritative, and pitched at a very high level in terms of discourse, but still readily accessible to the general reader. In addition, the volume is richly — and I mean intensely – illustrated with numerous, exquisitely printed frame blowups from the many films it examines, all in full color, and Street's analysis of the development of color, not only in the commercial British cinema, but also in the the experimental work of artists such as Len Lye, is meticulous and detailed.' - Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, USA, 'Framd by Frame', UNiversity of Nebraska-Lincoln's Film Blog http://blog.unl.edu/dixon/2012/12/26/colour-films-in-britain-the-negotiation-of-innovation-1900-1955/
 
Read 'Britain's wonderful worlds of colour', John Wyver's article about the book on the Illuminations blog: http://www.illuminationsmedia.co.uk/2012/12/britains-wonderful-worlds-of-colour/
 

Book Description

Colour Films in Britain is the first nationally-focused study of colour style and technology

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0 of 1 people found the following review helpful
By Wingate
Format:Paperback|Verified Purchase
It is with some trepidation that I buy books friom the BFI catalogue.They are a very mixed bunch.The books on British B films are excellent.This book however is a different case.The problem with this book is the text and the way the book is set out.Unfortunately all too often this book lapses into what I term "Acadamese".A language spoken by an elite few academics which rather excludes the ordinary reader.For some strange reason they relegate to Appendix 2 an explanation of the technical terms rather than making this the first chapter of the book.So you don't know your subtractive process from your addadtive process.There is little in the way of photos of equipment to assist.No photo of the 2 lens Kinemacolour projector or copy of the film which had alternate red and green frames.No photo of the revoloutionary Technicolour camera.No detailed explanation as to how the 2 colour Technicolour system differed from the 3 colour sytem.Just pages and pages of dry,dull and boring text.There are some good frame enlargements and that is the best that can be said for this disappointing book.
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