by Dr Paul Mazey The Gothic shocker The Black Torment (1964) represented a departure for the exploitation producers Michael Klinger and Tony Tenser and their company Compton Films.  They had worked with director Robert Hartford-Davis on his debut feature The Yellow Teddy Bears (1963), a salacious (for the time) film about promiscuity in a girls’ […]

Global Colour and the Moving Image: Call for Papers Conference, University of Bristol, 10-12 July 2019 Keynote speakers: Professor Barbara Flueckiger, University of Zurich Professor Ranjani Mazumdar, Jawaharlal Nehru University Ten years on from the Colour and the Moving Image conference in Bristol, the study of film colour has grown impressively. While the majority of […]

by Dr Paul Frith The use of colour in cinematic representations of hypnosis is as old as the medium itself, often employed for the purpose of theatrical spectacle. Possibly the earliest use of hypnosis captured on film is a performance of the ‘serpentine dance’ original created by Loïe Fuller for the play Quack M.D. in […]

by Professor Sarah Street (PI). Colour was used for a number of affective purposes in films covered by the Eastmancolor project’s timeline. As Richard Farmer’s blog post of 18 January 2018 notes, colour’s increasing ubiquity in advertising attracted a multitude of arresting designs, from vibrant newspaper supplements and TV commercials to Lulu’s amazing ‘Happy Shoes’ […]

In an earlier blog post I commented on the use (or different uses) of the brand ‘Eastman Colour’ within the British film industry, particularly in relation to the dominant brand identity of Technicolor. Since then, additional project research has revealed the legal agreements that Technicolor insisted on that dictated the appearance of the Technicolor brand […]