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.
Introduction SARAH STREET AND JOSHUA YUMIBE
Mapping the Laboratory: Technicolor across Asia and Europe: KIRSTY SINCLAIR DOOTSON
“Keeping Your Enemies Closer”: Strategies of Knowledge Transfer at the East German Filmfabrik Wolfen: JOSEPHINE DIECKE
“We’re Not in Sweden Anymore”: Technicolor’s Brief Venture in Swedish Cinema: KAMALIKA SANYAL
“Risk versus Conformity”: Soviet Color Film, 1956–1982: PHILIP CAVENDISH
Eastman Color in 1960s India: RANJANI MA ZUMDAR
Coloring the Coastline: Italian Beachside Comedies and the Color Film Transition: ELENA GIPPONI
Technological and Athletic Splendor: The Formation of Color in the Socialist Sports Film in China: LINDA C. ZHANG
The Chinese Film Collection at the University of South Carolina: HEATHER HECKMAN, LAURA MAJOR, AND LYDIA PAPPAS
The Lights That Raised Up a Storm: Neon and the Nikkatsu Action Color Film, 1957–1963: WILLIAM CARROLL
Color as a Foreign Accent: Brazilian Films and Film Laboratories in the 1950s: RAFAEL DE LUNA FREIRE
British Film Criticism and Global Color: SARAH STREET
All about Landscape: The Shift to Color in Australian Film at Midcentury: KATHRYN MILLARD AND STEFAN SOLOMON
Moving Monochromatics: Paul Sharits and Color Field Aesthetics in a Global Context: GREGORY ZINMAN
On Vivid Colors and Afrotropes in African and Diasporic Cinemas: JOSHUA YUMIBE
Acknowledgments
Notes on Contributors
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List of Figures
List of Tables
List of Color Plates
Acknowledgments
Introduction
Chapter 1: Mapping the Laboratory: Technicolor across Asia and Europe, Kirsty Sinclair Dootson
Chapter 2: “Keeping Your Enemies Closer”: Strategies of Knowledge Transfer at the East German Filmfabrik Wolfen, Josephine Diecke
Chapter 3:“We’re not in Sweden Anymore”: Technicolor’s Brief, Brief Venture in Swedish Cinema, Kamalika Sanyal
Chapter 4: “Risk versus Conformity”: Soviet Color Film, 1956–1982, Philip Cavendish
Chapter 5: Eastman Color in 1960s India, Ranjani Mazumdar
Chapter 6: Coloring the Coastline: Italian Beachside Comedies and the Color Film Transition, Elena Gipponi
Chapter 7: Technological and Athletic Splendor: The Formation of Color in the Socialist Sports Film in China, Linda Zhang
Chapter 8: The Chinese Film Collection at the University of South Carolina, Heather Heckman, Laura Major, Lydia Pappas
Chapter 9: The Lights that Raised Up a Storm: Neon and the Nikkatsu Action Color Film (1957–1963), William Carroll
Chapter 10: Color as a Foreign Accent: Brazilian Films and Film Laboratories in the 1950s, Rafael de Luna Freire
Chapter 11: British Film Criticism and Global Color, Sarah Street
Chapter 12: All about Landscape: The Shift to Color in Australian Film at Midcentury, Kathryn Millard and Stefan Soloman
Chapter 13: Moving Monochromatics: Paul Sharits and Color Field Aesthetics, Greg Zinman
Chapter 14: On Vivid Colors and Afrotropes in African and Diasporic Cinemas, Joshua Yumibe
Notes on Contributors
Index
Sarah Street is a professor of film and Foundation Chair of Drama at the University of Bristol in the UK. She has written and co-edited several books, including Colour Films in Britain: The Negotiation of Innovation, 1900-1955 and Chromatic Modernity: Color, Cinema, and Media of the 1920s, co-authored with Joshua Yumibe.
Joshua Yumibe is a professor of film studies and English at Michigan State University. He has written, edited, and co-edited several books, including Moving Color: Early Film, Mass Culture, Modernism (Rutgers University Press, 2012) and Fantasia of Color in Early Cinema, w co-authored with Giovanna Fossati, Tom Gunning, and Jonathon Rosen.
