Category Film
Distant Observers: Colour and the Critics II
Sarah Street As colour was incorporated into British cinema during the period covered by our project, films from other countries were occasionally heralded as genuinely offering a new way forward in terms of aesthetic experiment. In this time of lockdown, it is great to see how many colour films are being recommended for another look, […]
‘Global Colour and the Moving Image’ Conference – The University of Bristol, 10th-12th July 2019
Conference report by Cathy Lomax (Queen Mary University of London) Image: Gate of Hell/ Jigokumon(Teinosuke Kinugasa, 1953, Japan) The ‘Global Colour and the Moving Image’ conference took place over three sunny summer days at The University of Bristol and featured a dazzling array of perspectives on the theme from a truly global group of contributors. […]
International Colour in Film Conference Report 25th-27th February 2019
The Fourth International ‘Colour in Film’ Conference took place at the BFI Southbank on the 25th– 27th February 2019. The conference has been increasing in scope and scale since its initiation in 2016 with a truly global audience of academics, archivists and specialists in film colour. Full credit to the Colour Group (GB), HTW Berlin […]
RESISTING THE LURE OF THE LURID: COLOUR IN THE BLACK TORMENT (1964)
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’ […]
Hypnosis as Spectacle in British Horror Cinema
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 […]
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