Fantasia of Color in Early Cinema by Tom Gunning, Joshua Yumibe, Giovanna Fossati, Jonathon Rosen, 2015, EYE Filmmuseum, Amsterdam University Press.Intro by Martin Scorsese
Applying Color, creating fantasy of cinema by Tom Gunning
Page 21, "in this new ear, 'lithographic culture' became a code word for cheap, vulgarity, aimed at the sensational tastes of the masses rather than the educated tastes of the elite"
Page 22, "But the superimposition of nonphotographic colours over photographic images also creates a collision of modes that has an uncanny dimension. Even when the coloring-in of objects has been carefully done, so that the edges of colours and objects match, an impression persists that the colour hovers over the object rather than inheres in it."
Page 25, "one of the first projected colored films, Edison's Umbrella Dance shown at Koster and Bial's in March of 1896, not only presented the dancers with hand-painted costumes, but that these costumes actually changed colours as the film progressed. This effect may have been intended to replicate the ever-transforming coloured lights projected onto Loie Fuller and other performers."
Techniques of the Fantastic by Joshua Yumibe
Page 29, Anidine dye history from 1830 and impact discussed.
Page 32-34, stencil cutting practice described, from fully manual to device aided.
Page 36, in the 1910s, filmstock companies began to distribute pre-tinted positive filmstocks that were coloured at the factory ... this removed the need to tint the films in post production. Follow up with Yumibe in "Film and Media Technologies: the film archive as a research laboratory" from 2010.
The Archival Life of Early Color Films, restoration and presentation by Giovanna Fossati
Discusses issues around archiving, of how purists declared black and white to be the art of early cinema and colour being dismissed as a sideline. How the original, even when preserved, could not be shown like a restored painting was and how digital technologies allow the public to see the archival preserved colours for the first time.
Jonathon Rosen is an artist who has designed the book.
Applying Color, creating fantasy of cinema by Tom Gunning
Page 21, "in this new ear, 'lithographic culture' became a code word for cheap, vulgarity, aimed at the sensational tastes of the masses rather than the educated tastes of the elite"
Page 22, "But the superimposition of nonphotographic colours over photographic images also creates a collision of modes that has an uncanny dimension. Even when the coloring-in of objects has been carefully done, so that the edges of colours and objects match, an impression persists that the colour hovers over the object rather than inheres in it."
Page 25, "one of the first projected colored films, Edison's Umbrella Dance shown at Koster and Bial's in March of 1896, not only presented the dancers with hand-painted costumes, but that these costumes actually changed colours as the film progressed. This effect may have been intended to replicate the ever-transforming coloured lights projected onto Loie Fuller and other performers."
Techniques of the Fantastic by Joshua Yumibe
Page 29, Anidine dye history from 1830 and impact discussed.
Page 32-34, stencil cutting practice described, from fully manual to device aided.
Page 36, in the 1910s, filmstock companies began to distribute pre-tinted positive filmstocks that were coloured at the factory ... this removed the need to tint the films in post production. Follow up with Yumibe in "Film and Media Technologies: the film archive as a research laboratory" from 2010.
The Archival Life of Early Color Films, restoration and presentation by Giovanna Fossati
Discusses issues around archiving, of how purists declared black and white to be the art of early cinema and colour being dismissed as a sideline. How the original, even when preserved, could not be shown like a restored painting was and how digital technologies allow the public to see the archival preserved colours for the first time.
Jonathon Rosen is an artist who has designed the book.
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