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.

A Cultural History of Color in the Modern Age covers the period 1920 to the present, a time of extraordinary developments in colour science, philosophy, art, design and technologies. The expansion of products produced with synthetic dyes was accelerated by mass consumerism as artists, designers, architects, writers, theater and filmmakers made us a 'color conscious' society. This influenced what we wore, how we chose to furnish and decorate our homes, and how we responded to the vibrancy and chromatic eclecticism of contemporary visual cultures.The volume brings together research on how philosophers, scientists, linguists and artists debated color's polyvalence, its meaning to different cultures, and how it could be measured, manufactured, manipulated and enjoyed. Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Anders Steinvall is Senior Lecturer in English Linguistics at Umeå University, Sweden. Sarah Street is Professor of Film at the University of Bristol, UK. Volume 6 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf

Color was used in film well before The Wizard of Oz. Thomas Edison, for example, projected two-colored films at his first public screening in New York City on April 23, 1896. These first colors of early cinema were not photographic; they were applied manually through a variety of laborious processes—most commonly by the hand-coloring and stenciling of prints frame by frame, and the tinting and toning of films in vats of chemical dyes. The results were remarkably beautiful. Moving Color is the first book-length study of the beginnings of color cinema. Looking backward, Joshua Yumibe traces the legacy of color history from the beginning of the nineteenth century to the cinema of the early twentieth century. Looking forward, he explores the implications of this genealogy on experimental and contemporary digital cinemas in which many colors have become, once again, vividly unhinged from photographic reality. Throughout this history, Moving Color revolves around questions pertaining to the sensuousness of color: how color moves us in the cinema—visually, emotionally, and physically.

Color is a visible technology that invisibly connects so many puzzling aspects of modern Western consumer societies—research and development, making and selling, predicting fashion trends, and more. Building on Regina Lee Blaszczyk’s go-to history of the “color revolution” in the United States, this book explores further transatlantic and multidisciplinary dimensions of the topic. Covering history from the mid nineteenth century into the immediate past, it examines the relationship between color, commerce, and consumer societies in unfamiliar settings and in the company of new kinds of experts. Readers will learn about the early dye industry, the dynamic nomenclature for color, and efforts to standardize, understand, and educate the public about color. Readers will also encounter early food coloring, new consumer goods, technical and business innovations in print and on the silver screen, the interrelationship between gender and color, and color forecasting in the fashion industry.

This book offers a new perspective on the issue of modernity through a series of interconnected essays. Drawing centrally on the works of Castoriadis, Luhmann, Heller and Lefort, and in critical discussion with Weber, Durkheim, Simmel, Adorno, Habermas and Taylor, the author argues that modernity is not only a unique historical creation but also a multiple one. With a focus on five broad themes - the problem of understanding of modernity after the decline of grand narratives; the complexity of the modern condition; politics, especially with reference to freedom and totalitarian regimes; the variety and density of modern life; and the centrality of a concept of culture to social and critical theory - John Rundell advances the view that modernity is not the outcome of an evolutionary process or historical development, but is unique and indeterminate, as are the constitutive dimensions that can be identified as 'modern'. There are, then, different modernities. A rigorous engagement with a range of prominent and contemporary social theorists, Imaginaries of Modernity casts new light on the significance of understanding the multidimensional character of modernity and the plurality of its forms beyond the conventional paradigms associated with only the West. As such, it will appeal to scholars of social theory, critical theory, sociology and philosophy concerned with questions of culture, politics and modernity.

Global Film Color: The Monopack Revolution at Midcentury explores color filmmaking in a variety of countries and regions including India, China, Japan, and Russia, and across Europe and Africa. Most previous accounts of color film have concentrated on early 20th century color processes and Technicolor. Far less is known about the introduction and application of color technologies in the period from the mid-1940s to the 1980s, when photochemical, “monopack” color stocks came to dominate global film markets. As Eastmancolor, Agfacolor, Fujicolor and other film stocks became broadly available and affordable, national film industries increasingly converted to color, transforming the look and feel of global cinema. Covering a broad range of perspectives, the chapters explore themes such as transnational flows, knowledge exchange and transfer, the cyclical and asymmetrical circulation of technology in a global context, as well as the accompanying transformation of color film aesthetics in the postwar decades.

Chromatic Cinema provides the first wide-ranging historicaloverview of screen color, exploring the changing uses and meaningsof color in moving images, from hand painting in early skirt dancefilms to current trends in digital color manipulation. Offers both a history and a theory of screen color in the firstfull-length study ever published Provides an in-depth yet accessible account of color's spreadthrough and ultimate effacement of black-and-white cinema,exploring the technological, cultural, economic, and artisticfactors that have defined this evolving symbiosis Engages with film studies, art history, visual culture andtechnology studies in a truly interdisciplinary manner Includes 65 full-color illustrations of films ranging fromExpressionist animation to Hollywood and Bollywood musicals, fromthe US ’indie' boom to1980s neo-noir, Hong Kong cinema, andrecent comic-book films

In One Shot Hitchcock, some of the best writers and thinkers in film studies have taken up the challenge of writing about a single shot from an Alfred Hitchcock film. Fifteen of Hitchcock's most engaging, horrifying, beautiful, sexual, and bizarre shots are interrogated and loved. Single shots are looked at from multiple angles, considering its importance for the film in question, and for other ways we can think about the cinema. This book is not only for people who enjoy watching and discussing Hitchcock's films, but for those who wish to discover new ways of writing about the films they love.

As far back as the earliest Greek temples, color has been an integral part of architecture but also one of its least understood elements. Color theory is rarely taught in architecture schools, leaving architects to puzzle out the hows and whys of which colors to select and how they interact, complement, or clash. Color for Architects is profusely illustrated and provides a clear, concise primer on color for designers of every kind. This latest volume in our Architecture Briefs series combines the theoretical and practical, providing the basics on which to build a fuller mastery of this essential component of design. A wealth of built examples, exercises, and activities allows students to apply their learning of color to real-world situations.

The first major literary and cultural history of color in America, 1880-1930 Chromographia tells the story of how color became modern and how literature, by engaging with modern color, became modernist. From the vivid pictures in children's books to the bold hues of abstract painting, from psychological theories of perception to the synthetic dyes that brightened commercial goods, color concerned both the material stuff of modernity and its theoretical and artistic formulations. Chromographia spans these diverse practices to reveal the widespread effects on U.S. literature and culture of the chromatic revolution that unfolded at the turn of the twentieth century. In analyzing color experience through the lens of U.S. writers (including Charlotte Perkins Gilman, L. Frank Baum, Stephen Crane, Charles Chesnutt, Gertrude Stein, Nella Larsen, and William Carlos Williams), Chromographia argues that modern aesthetic techniques are inseparable from the theories and technologies that drove modern color. Nicholas Gaskill shows how literature registered the social worlds within which chromatic technologies emerged, and also experimented with the ideas about perception, language, and the sensory environment that accompanied their proliferation. Chromographia is the only study of modern color in U.S. literature. It presents a new reading of perception in literature and a theory of experience that uses color to move beyond the usual divisions of modern thought.