![]() ![]() He also said that the human eye could see colour without light, while the trace of light without colour is visible in monochrome photographic images. In his Peri Chromaton, he wrote that colours come from lightness and darkness. Aristotle believed that rays of light allow chromatic vision. The issue of colour tends to have been overlooked by media studies scholarship. ![]() Joshua Yumibe is author of Moving Color: Early Film, Mass Culture, Modernism (2012), co-author of Fantasia of Color in Early Cinema (2015, with Giovanna Fossati and Tom Gunning), and co-editor of the issue ‘Cinema and Mid-Century Colour Culture’ of the journal Cinéma et Cie. Both authors have worked on the topic of film colour extensively among many other works, Street wrote Colour Films in Britain: The Negotiation of Innovation, 1900-55 (2012) and is co-editor of The Colour Fantastic, Chromatic Worlds of Silent Cinema, (2018, with Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakci, and Joshua Yumibe). The 1920s is not only the final decade of silent film, but also a time when cross-media relations converge, impacting cinema and consumer culture with technologies used in film, advertising, fashion, and industrial design. It contains an encyclopaedia of the historical colour systems in cinema and photographic colour processes, offering a precious free tool for learning about material media history.Ĭhromatic Modernity: Color, Cinema, and Media of the 1920s (New York: Columbia University Press, 2019), a monograph by Sarah Street and Joshua Yumibe, focuses on the 1920s as a transitional decade between early cinema and the rise of Technicolor processes. Since 2010, Flueckiger has pursued scientific research on film colors, making it accessible through the online database Timeline of Historical Film Colors ( ). Moreover, as a catalogue of an extensive exhibition, the book collects a fascinating set of images, mainly film frames, photographed by Barbara Flueckiger (University of Zurich) and her collaborators throughout the years of their research. If the exhibition has already been acclaimed in highly reputed reviews and can be acknowledged as a valuable tool for media literacy, the catalogue accomplishes the goals of deep research in visual culture, media archaeology, history of technology, and aesthetics. Several historical accounts of colour in film have appeared, but in 2019 two volumes come as significant contributions to film and media studies: Color Mania and Chromatic Modernity. Color Mania: The Material of Color in Photography and Film (Zurich: Lars Müller Publishers, 2019) started out as an exhibition curated by Nadine Wietlisbach and Eva Hielscher at the Fotomuseum in Winterthur, with a catalogue edited by Barbara Flueckiger in collaboration with the curators. Only in recent years has a new awareness about the role of colour in film aesthetics arisen.
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