Chromatic modernity [electronic resource] : color, cinema, and media of the 1920s / Sarah Street and Joshua Yumibe.
- 作者： Street, Sarah.
- 其他作者：
- 其他題名：
- Film and culture.
- 出版： New York, NY : Columbia University Press c2019.
- 叢書名： Film and culture
- 主題： Color motion pictures--History. , Color in advertising--History.
- ISBN： 9780231542289 (electronic bk.)
- URL：
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- 一般註：Includes bibliographical references and index. Chromatic modernity : color, cinema, and media of the 1920s -- CONTENTS -- ILLUSTRATIONS -- Acknowledgments -- Introduction -- Chapter 1. Color Standards and the Industrial Field of Film -- Chapter 2. Advertising, Fashion, and Color -- Chapter 3. Synthetic Dreams: Expanded Spaces of Cinema -- Chapter 4. Color in the Art and Avant-Garde of the 1920s -- Chapter 5. Chromatic Hybridity -- Chapter 6. Color and the Coming of Sound -- Chapter 7. Conclusion -- Notes -- Selected Bibliography -- Index. 111年度臺灣學術電子書暨資料庫聯盟採購
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讀者標籤：
- 系統號： 000299196 | 機讀編目格式
館藏資訊
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.
摘要註
"In Chromatic Modernity, Sarah Street and Joshua Yumibe provide a fascinating history of the use of color in film and consumer goods during the 1920s. They contextualize color's role in film, other art forms, and consumer culture to produce a comprehensive, comparative study that situates color cinema firmly within the culture of its time. With advances in technology, the use of color surged internationally and was applied to consumer goods, buildings, magazines, neon advertisements, and theatrical performances creating an exciting, chromatically rich visual culture. The use of color was not without its controversies, and the authors examine the intense debates during this period about color and its artistic, scientific, philosophical, and educational significance. Drawing on archives in the history of film, popular culture, and advertising, the authors consider such topics as the rise of the 'color consultant,' the gendered nature of color, ideas of color psychology and consciousness in advertising and fashion, the standardization and experimentation of color in popular and avant-garde film, and how the rise of sound in cinema changed the use of color in film. Ultimately, the authors argue that this expansion of color across the international media environment demonstrates the extent to which it was forging new ways of looking at and experiencing the modern world"-- Provided by publisher.