Starting this month we will be introducing a series of guest blogs on other aspects of British cinema and colour. We’re delighted to open this series with a piece from our colleague and friend Dr Richard Farmer, who worked on the recent 1960s British cinema project (@1960sProject). As Britain became more affluent during the 1950s, […]

The festive period is here once again and the team have donned their Christmas jumpers to bring you the finest selection of films. As Mark Connelly describes, representations of Christmas on screen act as ‘emotional shorthand to impart mood and mise en scène to the viewer’ and can often ‘play a role in films not […]

Sarah Street, Principal Investigator. The last room of the National Gallery’s current exhibition Monochrome: Painting in Black and White (30 Oct 2017-18 Feb 2018) is a large-scale art installation called Room for one colour by Danish-Icelandic artist Olafur Eliasson. The installation uses single-frequency-monochromatic sodium-yellow lights that suppress all the other colours in the spectrum. This […]

  by Paul Frith An often over-looked offering from Hammer Film Productions, Fanatic (AKA Die! Die! My Darling: 1965) holds a unique position in the studio’s history as it represents the first, and only, of their 1960s cycle of psychological thrillers to be shot in colour. The film stars Tallulah Bankhead in her final screen […]

by Dr Carolyn Rickards, Research Associate. A review in Kinematograph Weekly from early 1959 heralded the release of a new British animated film: ‘three little men go to an island – their names are Truth, Good and Beauty.  They argue, the film enters the realm of the fantastic as they try to impress each other. […]

By Sarah Street, Principal Investigator Prism, a new play by Terry Johnson (Hampstead Theatre, London, 6 Sept-14 Oct 2017), is based on legendary colour cinematographer Jack Cardiff (Robert Lindsay) towards the end of his life, when past and present become intertwined through the effects of Alzheimer’s disease and as he struggles to write his autobiography. […]

By Keith M. Johnston, co-investigator In my last post – on special effects and early Eastman Colour – I commented on the fact that science fiction films have long been associated with a display of spectacular visual effects. But that got me thinking – while colour cinema has also been associated with spectacle, the dominant […]