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Colour and the Film Poster
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 […]
Threads of Colour and Meaning in the film work of Nicolas Roeg and Anthony Richmond
by Dr Liz Watkins. University of Leeds (e.i.watkins@leeds.ac.uk) From the vibrant hue of a detail that punctuates the image to a single colour that envelopes the screen, the chromatic, in films by Nicolas Roeg, signals a greater acuity than cosmetic distraction. In Roeg’s work I would find both an attention to a central paradox of […]
Colour advertising films in British cinemas
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, […]
Richard Williams: The Artistic Animator’s Vision
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. […]
“Now on the big screen in COLOUR!” Eastman Colour and British Science Fiction films, 1955-65
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 […]
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