BritishAssociationofFilm,

TelevisionandScreenStudies

OrganisedbyDrLizWatkins(UniversityofLeeds)andProfessorSarahStreet(UniversityofBristol)fortheBritishAssociationofFilm,TelevisionandScreenStudies’SpecialInterestGrouponColourandFilm.

ColourinContextSymposium

11:00-18:00Friday23rdMarch2018.

DepartmentofFilmandTelevision,5thfloor,TheRichmondBuilding,105-115QueensRoad,UniversityofBristol,BristolBS81LN.

Colour-itsspecifichues,meaningsandperception–areacontentiousissueinthestudyoffilm.Fromthehistoryofitstechnologiesandtheproductionofa‘naturalcolour’imagetoitsassociationwithallthatisartificialandunreal,theinterpretationofcolourhasbeencloselylinkedtoitscultural,socialandhistoricalcontexts.ColourinContextisaone-dayinterdisciplinarysymposiumandoffersaspaceinwhichtodiscussthediversewaysinwhichfilmmakersandartistshaveusedcolour(andthestrategyofitsabsence)asatechniqueofcinematicexpressionaswellasthosewhohavemadeasubversiveuseofcolourthatisintendedtodisruptcinematicformsofrepresentationinarangeofcultural,socialorhistoricalcontexts.Thus,thissymposiumaimstoexplorethespecificitiesofcolouranditscontradictionsinarangeofcultural,socialorhistoricalcontexts.FurtherInformation:BAFTSSSpecialInterestGrouponColourandFilmhttps://colourandfilm.wordpress.com/cfps/ThankstoBAFTSS,UniversityofBristol,UniversityofLeeds,CarolynRickards,SamTaylorandLauraKingfortheirsupport.PROGRAMMEFriday23rdMarch201811:00–11:15Welcome11:15-12:15Keynote:ProfessorLyndaNead‘GreyscaleandColour:TheHuesofNationandEmpirec.1945-60’.Location:SeminarRoom1,DepartmentofFilmandTelevision,5thfloor,TheRichmondBuilding,105-115QueensRoad,BristolBS81LN.12:15-13:00LunchSymposiumsessions:LectureRoom5.65,DepartmentofFilmandTelevision,5thFloor,TheRichmondBuilding,105-115QueensRoad,BristolBS81LN.13:00-14:30Session:HistoricalandCulturalContexts.

• ‘PastoralPalettesandPageantry:Colour,ModernityandtheHomeinThisHappyBreed’,HolliePrice,QueenMaryUniversityofLondon.

• ‘TravellersTalesinColour’,JanFaull,PhDCandidate,RoyalHolloway,UniversityofLondon.• ‘ImperialTechnicolor:Printing,DyeingandtheMovingColoursofEmpire’,KirstySinclairDootson,

YaleUniversity• ‘Dianyingranyinfa:Dye-transferprocessinChina’sCulturalRevolution’ZhaoyuZhu,King’s

CollegeLondon14:30-14:45Break

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14:45–16:00Session:RevolutionsandShiftingBorderlines

• ‘TravelsinColour:AttheMarginsandintheMainstream’,ProfessorJeffreyGeiger,UniversityofEssex.

• ‘TheColourWars:TheExpansionofColourFilminthePost-WarEra’,ProfessorKathrynMillard,ProfessorofScreenandCreativeArts,MacquarieUniversity.

• ‘WorkinProgress:KeyQuestionsforTheEastmancolorRevolutionprojectteam’.TheEastmancolorRevolutionandBritishCinema,1955-85projectteam:ProfSarahStreet(UniversityofBristol),DrKeithJohnston(UEA),DrCarolynRickards(UniversityofBristol),DrPaulFrith(UEA).Thethree-yearproject(2016-19)isfundedbytheArtsandHumanitiesResearchCouncil.

16:00-16:30Coffee16:30-18:00-SessionC:Colour,HybridsandAffect.

• ‘Registeringallemotions’:craftingmomentsofrevelationinmulti-formatcolourfilmssince1994’StevenRoberts,PhDCandidate,UniversityofBristol.

• ‘CrayonsontheArchive:NewColourizationPracticesinNon-FictionFilm’,TomLivingstone,UniversityofKent.

• ‘PsychedelicFilminthe1960s.ColouredLightProjections’,BregtLameris.• ‘Simultaneouslycloseyetseparate’:FilmFormandAffectintheFilmsofAndreaArnold.DrLiz

Watkins,UniversityofLeeds.Close.

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Saturday24thMarch2018.ANEASTMANCOLOURREVOLUTIONANDBRITISHCINEMA,1955-85PROJECTWORKSHOPTime:13:00-17:00Saturday24thMarch2018 Location:Watershed,1Canon'sRoadHarboursideBristolBS15TXRegistration:Tickets£4.50(symposiumdelegateswillneedtopurchaseticketsforthisevent.WhentheNewWaveCametoBristol:RememberingSomePeople(1962)SomePeople(CliveDonner,1962)presentsafantasticandlittle-knownearlyexampleofBritish'NewWave'cinema,filmedinEastmancolorandshotentirelyonlocationinBristol.Thefilm,whichstarredKennethMore,RayBrooks,DavidHemmingsandAnnekeWills,alsofeaturedasoundtrackthatpromotedlocalmusiciansandremainedintheUKalbumchartsforweeks.SomePeoplewasacriticalandcommercialsuccessbutsincethenithasdisappearedfrompublicview.Thiseventrediscoversacolourfulandvibrantfilmthatremainsanimportantsnapshotofeverydaylifeforyoungpeoplegrowingupinthe1960s.AsBristolcelebratesitsrecentUNESCOCityofFilmsuccess,thiseventexploresthe‘swinging’cityonscreeninadaypackedwithsixtiesfun,fashion,musicandcolour.WearedelightedAnnekeWillswillbejoiningusforaspecialQ&Aalongwithguestspeakersfromindustryandacademiatodiscussmusic,fashionandlocationsfeaturedinthefilm,and1960sBritishcinemaandculture.Schedule13:00–14:45Filmscreening-SomePeople(CliveDonner,1962)

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14:45–15:15Tea,coffee&cake15:15–15:45SpecialguestQ&AwithAnnekeWills(SomePeople,DoctorWho,TheAvengers)15:45–17:00PaneldiscussionwithEstellaTincknell(UWE),MelanieWilliams(UEA),KieronWebb(BFI),SarahCronin-Stanley(TalkingPictures),RichardLovejoy(ReelStreets),NatalieMoore(BristolFilmOffice)TheColourinContextSymposiumisaffiliatedwiththeEastmancolorworkshop.ThehasbeenorganisedbytheUniversityofBristolincollaborationwiththeWatershedandtheAHRC-fundedproject‘EastmancolorRevolutionandBritishCinema1955–1985’.Close.

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COLOURINCONTEXTSYMPOSIUM:KEYNOTELECTUREProfessorLyndaNead,Birkbeck,UniversityofLondon.

KeynoteLectureanddiscussion:GreyscaleandColour:TheHuesofNationandEmpirec.1945-60

Thislectureexaminesthesymboliclanguagesofgreyscaleandcolourasthefilterforahistoryofpost-warBritainc.1945-60.Memoriesofthelate-1940sand1950saremonochrome;peoplerecalltheseyearsthroughveilsofmistandshadesofgrey,conjuringimagesofblackandwhitephotographyornewsreel.Greynesscanonlybethecolourofthepastthroughitsrelationshipswithcolour,whichtakeonaveryspecificsignificanceinthecontextofpost-warBritain.TherewasadistinctivequalitytoBritishcolouraswellasaparticularlyBritishwayofdealingwithit.FormanyprofessionalphotographersandcinematographerstherewasalooktoBritishcolourthatdifferentiateditfromEuropeanandAmerican.Itwasasthoughtheweather,therain,hadinfiltratedthefilmstockanddyesandhaddilutedtheintensityofthehues;Britishcolourwasinfusedwithanationalistideologythatdefineditintermsoftheweather:misty,restrainedandsubtle.LyndaNeadisPevsnerChairofHistoryofArtatBirkbeck,UniversityofLondon.HerresearchfocussesprimarilyonBritishvisualcultureandshehaspublishedonanumberofdifferentaspectsofthisareaincluding:RepresentationsofVictorianfemininity;Thevisualcultureofthemetropolis;Painting,photographyandfilmc.1900;Post-warBritishartandculture.Shehasalsopublishedonthehistoryandsignificanceofthefemalenude,examiningdebatesandimagesfromantiquitytorecentfeministinterventions.IhavealsopublishedoncontemporaryartistssuchasChilaKumariBurmanandMarkQuinn.HermanybooksincludeTheHauntedGallery:Painting,PhotographyandFilmc.1900(LondonandNewHaven:YaleUniversityPress,2008),VictorianBabylon:People,StreetsandImagesinNineteenthCenturyLondon(LondonandNewHaven:YaleUniversityPress,2000)and,mostrecentlyTheTigerintheSmoke:ArtandCultureinPostwarBritain(LondonandNewHaven:YaleUniversityPress/PaulMellonStudiesinBritishArt,2017).Thisbookbringstogetherawiderangeofvisualmediaandculturaldebatesthatweregeneratedinthisperiodtorepresenttheatmosphereofthenationinthenewpost-warenvironment.Itincludesfineartandphotography,film,televisionandadvertising.ThebooktracestheexpressivevisuallanguagesofblackandwhitemediaandthediverseattemptswithinBritaininthepost-warperiodtotakeoncolour.

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ColourinContextSymposium:Abstractsanddelegatebiographies:

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SESSIONA:HistoricalandCulturalContexts.HolliePrice,KingsCollegeLondon.‘PastoralPalettesandPageantry:Colour,ModernityandtheHomeinThisHappyBreed’ABritishTechnicolorfilm,ThisHappyBreed(1945)looksbacktotheinterwaryearsbychartingthelivesofthelower-middleclassGibbonsfamilyintheirClaphamhouseagainstabackgroundofnationalevents.TheopeningsequenceestablishestheGibbons’homeaspartofasharedsettingofnationwidehomecomingfollowingtheFirstWorldWar,inwhich‘hundredsandhundredsofhousesarebecominghomesoncemore’.Throughout the film, a muted colour palette evokes the Gibbons’ home as part of a rural landscape,reinforced by occasionally vibrant tones that convey connections between home, national history andpageantry. Thispaper contextualises theuseof colour inThisHappyBreed asengagingwithamodeofaddress–negotiatingnationalidentity,pastorallandscapesandpageantry–developedintheinterwaryearsaspartofapopularpicturingofthemodernhome.Usingarchivalevidence,Iwillexplorehowadviceoncolourininteriordecorationandvisualrepresentationsofthedomesticinteriorprintedincolourinmonthlyhomemagazinesand furniturecataloguesnegotiatedbothtraditionand innovationduring the1930s. Indoingso,thepaperanalysescolourinThisHappyBreedintermsofinterwardevelopmentsinprintcultureandvisionsofaconservative,domesticmodernity.HolliePriceisaTeachingAssociateinFilmStudiesatQueenMary,UniversityofLondonandwasaPostdoctoralResearchFellowontheAHRC-fundedMinistryofInformationProjectbasedattheSchoolofAdvancedStudy,UniversityofLondonuntilJanuary2018.HolliecompletedherPhDondomesticlifein1940sBritishfilmsatQueenMaryin2015andherrecentpublicationsinclude‘“ALivingSet”:AtHomewithVivienLeigh’,VivienLeigh:ActressandIcon(Manchester:ManchesterUniversityPress,2017).JanFaull,PhDcandidate,RoyalHolloway,UniversityofLondon‘TravellersTalesinColour’TheRoyalGeographicalSociety-IBGcontainsmanyafascinatingrecordinitsarchivecollections.Thefilmcollection,housedattheBFI,hasnowbeendigitisedaspartoftheHLF‘UnlockingBritain’sFilmHeritage‘Projectandrepresentsauniquerecordofscientificexplorationandgeographicaldocumentary.Amixofamateurandprofessionalfilm,manytakenbytheSociety’sFellowsorthoseinvolvedinprojectssupportedbytheSociety,thecollectioncontainsanumberofuniqueimages–vanishingculturesandgeographicallocations.Agoodproportionweretakenoncolourfilm–andincludeoriginalmaterialonKodachromeandKodacolor(lenticular)filmstock.Filmmakersincludemountaineers,diplomatsandplanthunters.ThispaperwillprovideexamplesandcontextualisethematerialusingsupportingdocumentationheldattheSociety,includingjournalarticlesandunpublishedlettersfromthefield.JanFaulliscurrentlyaPhDCandidateconductingresearchintotheformandfunctionofexpeditionaryfilminthefirsthalfofthetwentiethcentury,specificallytheproduction,distributionandpresentationoffilmsmadeonvariousEverestexpeditionsbetween1922and1953.ThisisaCDAwithRoyalHolloway,UniversityofLondonandtheRoyalGeographicalSociety–IBG.JanwasformerlyArchiveProductionCuratorattheBFI.Herroleinvolveddeveloping,negotiatinganddeliveringarchiveco-productionswithbroadcasters,producingDVDsandsupervisingthedigitisationofarchivalcollections.ShewasleadcuratorontherestorationofTheEpicofEverest(1924)andco-programmedaseasonofmountaineeringfilms,ExtremeSummits,forBFISouthbankin2013.MostrecentlysheadvisedtheRGS-IBGonthedigitisationofitsfilmcollection.KirstySinclairDootson,YaleUniversity‘ImperialTechnicolor:Printing,DyeingandtheMovingColoursofEmpire’Thispaperconsidersthelinksbetweencolour,cinemaandempireintwentiethcenturyBritainbyplacingBritishTechnicolorfilmswithinalongerhistoryofimperialprintinganddyingtechnologies.Theproductionandconsumptionofcolour,particularlytheprintinganddyeingoftextiles,wasintimatelycoupledwiththeeconomyoftheBritishEmpiresincetheeighteenthcentury.Fromcottondyeingin

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ManchestertoindigoplantationsinBengal,colourwascrucialtodisplaysofBritishimperialpower.Yetinthetwentiethcentury,Britain’sprimacyinglobalchromaticregulationwasweakenedbytheemergenceofcheaplymass-producedsyntheticdyesandthedissolutionofcolonialruleinAsia,AfricaandtheCaribbean.Thispaperarguesthatinthismomentofimperialcrisis,BritishTechnicolorfilms,producedbyindustrialprintinganddyingmechanismsandexportedallovertheworld,revisitedthehistoryofBritain’stextileindustryasametaphorforthecorporation’sownimperialambitions.TakingtheindustrialshortQueenCotton(1941)asaprimarycasestudy,thispaperdemonstrateshowthematerialprocessofprintinganddyeingTechnicolorfilmsusingthedye-transferprocess(from1937to1978)madethesefilmspotentsitesforcontinuingtonegotiateBritain’sroleincontrollingandregulatingcolourontheglobalstageinthetwentiethcentury.KirstySinclairDootsonisadoctoralcandidateinYale’scombinedHistoryofArt,FilmandMediaStudiesProgram.HerdebutarticleonTechnicolorcosmeticswashighlycommendedforScreen’sAnnetteKuhnEssayAwardandrunnerupfortheBestDoctoralStudentArticlePrizeawardedbyBAFTSS.ZhaoyuZhu,King’sCollegeLondon‘Dianyingranyinfa:Dye-transferprocessinChina’sCulturalRevolution’TheCulturalRevolutionwasthemostchaoticperiodinthemodernChina.Thefilmindustrywashugelystagnatingitscreativeproductionandthequantityoffilmsproducedwasdramaticallyreducedcomparedwiththeperiodbeforethischaoticera.However,ironically,thedye-transferprocess,translatedasDianyingranyinfa,wasintroducedinChinaatthatmomentandbecameanimportantmeansofcolourfilmprinting.Lookingbacktotheglobalconditionoftheuseofdye-transfertechnologyintheseventies,wecanfindthattheprestigiousTechnicolorfilmlabsweresteadilyabandonedintheWestinthefactsthattheAmericanonewasclosedin1975andtheBritishonehalteditsbusinessin1978.Thus,aquestionisrevealedhere.WhyChinaadoptedacolourfilmtechnologywhichthefilmindustriesintheWestdeterminedtodiscontinue?Inthispaper,Iamgoingtoanswerthisquestionwithsomenewlydiscoveredmaterials.Furthermore,Iwillofferahistoricalexaminationofhowthedye-transferprocesscaughttheattentionofChinesefilmindustrybeforeitsmassiveadoption.ZhaoyuZhu:IampursuingaM.Phil/Ph.DdegreeatKing’sCollegeLondon.Thecurrentworkingtitleofmydoctoraldissertationis“theCriticalHistoryofFilmTechnologyinRevolutionaryChina,1949-1979.”Myresearchinterestsincludethehistoriographyoffilm/mediatechnology,screenindustriesinEastAsia,andChinesecinema.IhavewidelywrittenabouttheChinesecinemaandChinesescreenindustriesonSensesofCinemaandtheotherChinesemedia.SESSIONB:RevolutionsandShiftingBorderlines.ProfessorJeffreyGeiger,UniversityofEssex‘TravelsinColour:AttheMarginsandintheMainstream’Addressingmediatransitionthroughthelensofcolour,thispaperstressesthatmediadon’timperceptiblydevelop,interrelate,andactonusers,buttendtoemergeinunevenwaysthatchangehowwethinkaboutanygivenmediumandhowwecomprehendtheworldmoregenerally.UsefulareAleidaandJanAssmann’sobservationsthat“everythingthatcanbeknown,thoughtandsaidabouttheworldisonlyknowable,thinkable,andsayabledependentlyuponthemediathatcommunicatethisknowing…Itisnotthelanguageinwhichwethink,butthemediainwhichwecommunicatethatmodelourworld.”Expandingonthis,I’mgoingtoexploreelementsofcolourperceptionanditsrelationstotravelandcinematicrealismacrossthe‘mainstream’and‘margins’,consideringusesofcolourrangingfromwidelydistributedTechnicolorseriessuchasFitzPatrick’sTraveltalks(MGMandParamount)topersonalandsmallerscaleproductionsmadeonKodachrome.Kodak’sclaimstothe“beauty,”“realism,”and“trueness”ofitsmultilayeremulsionsystem,producingcolours“justastheyareinnature,”alongwiththeproduct’spopularimpactonitsreleasein1935,resultedinabodyofworkcirculatingoutsideofandinmanyways

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countering(whilealsoinfluencing)mainstreamindustrypractices.Drawingonhistoriesofcolourtechnologiesaswellasoncontemporaryaccounts,thispaperconsidersthevariableandoftencompetingwaysthatcolourtravelfilmsengagedwithperceptionsofcinematicrealism;beyondthis,itinvestigatesthewaysinwhichso-called“new”mediagraduallycometoreplacethe“old.”JeffreyGeigerisProfessorofFilmStudiesattheUniversityofEssex,wherehefoundedtheCentreforFilmandScreenMedia.BooksincludeFacingthePacific:PolynesiaandtheU.S.ImperialImagination(2007),AmericanDocumentaryFilm:ProjectingtheNation(2011),theco-editedFilmAnalysis:ANortonReader(2005,expandededition2013),andco-editedCinematicityinMediaHistory(2013).HisworkhasappearedinmanybookcollectionsandjournalssuchasNewFormations,ThirdText,AfricanAmericanReview,FilmInternational,CinemaJournal,andPMLA.ProfessorKathrynMillard,ProfessorofScreenandCreativeArts,MacquarieUniversity‘TheColourWars:TheExpansionofColourFilminthePost-WarEra’.Thispresentationfocusesontheexpansionofcolourfilmproductionintheimmediatepost-warera–inthecontextofabroadercolourrevolution.Fromtheso-called‘colourwars’betweenTechnicolorandEastmanKodak,tothetailoringofpsychologyandtheproductionofimagesdesignedtopromoteanexpandeduseofcolourinindustry,theofficeandonthedomesticfront.Asthefeaturefilmindustrymarchedtowardsitstargetof‘100%colourproduction’,colourtelevisionformassconsumptionwaswaitinginthewings.Inindustrialresearchlaboratories,modern-dayalchemiststestednewshadesandtones.Expertsinpsychologydevisedscientific-lookinginstrumentstomeasureindividualresponsestospecifiedhuesandsaturations.Inlocalhardwarestores,meninwhitecoatsdemonstratedthenewscientificpaintchipsystemstotheir(mostly)femaleclientele.TheColourWarsconsidersanumberofsponsoreddocumentariesproducedtopromotetheuseofnewcolourtechnologiesinthishistoricalcontext.Delvingintotheaudio-visualarchive,filmmakerandacademicKathrynMillardexploresthedemocratisationofcolourfilminthe1950sandtheblurringofart,advertisingandscience.KathrynMillardisawriter,dramaturgandfilmmaker.Psychology,designandtheafterlifeofimagesarerecurringthemesinherbodyofworkwhichspansaward-winningfeaturedramasanddocumentaries.MajorcreditsaswriteranddirectorincludethefeaturesShockRoom,Random8,TheBootCake,TravellingLight,ParklandsandLightYears.Kathryn’sfilmshavescreenedatdozensofmajorfestivalsandsymposiaontopicsincludingfilm,socialpsychologyandhistory.HerbookofessaysScreenwritinginaDigitalErawaspublishedbyPalgravein2014.ColourFiles,herseriesofshortdocumentaries(inproduction),exploreskeymomentsinthesocialhistoryofcolour.KathrynisProfessorofScreenandCreativeArtsatMacquarieUniversity,Sydney.WorkinProgress:KeyQuestionsforTheEastmancolorRevolutionprojectteam.TheEastmancolorRevolutionandBritishCinema,1955-85projectteam:ProfSarahStreet(UniversityofBristol),DrKeithJohnston(UEA),DrCarolynRickards(UniversityofBristol),DrPaulFrith(UEA).Thethree-yearproject(2016-19)isfundedbytheArtsandHumanitiesResearchCouncil.TheEastmancolorRevolutionandBritishCinemaprojectinvestigatestheimpactofEastmancolor,afilmstockintroducedbyKodakinthe1950s,onBritishcinema.Asarelativelycheap,'monopack'stockthatcouldbeusedinanycamera,Eastmancolorrevolutionisedthewaysinwhichcolourfilmsweremade.Overthenextthirtyyearscolourfilmmakingcametodominatesoundcinemaforthefirsttime.Theproject'sfocusisonhowBritishcinema,itsfilmmakersandotherprofessionalsadaptedtooneofthemostimportanttechnicalinnovationsinfilmhistory.Inaseriesofshortpresentations,theprojectteamreportonkeyissuesthathaveemergedasbeingofparticularimportanceintheresearchconductedsofar.SarahStreetwilldiscusshow‘TheCanon’presentscriticalissuesforresearchersintocolourcinema:HowdoeslookingatBritishcinemafromtheperspectiveofcolourchallengereceivedopiniononkeyfilms,filmmakersandtechnicians?Also,howdoesthestoryofcolourinBritishcinemaduringtheyears1955-85contributetoourwiderunderstandingofcolour?PaulFrithwillgiveademonstrationoftheproject

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databasewhichcoversallBritishfeaturefilmsproducedincolourwithintheperiodofourstudy.Comprisedofinformationcollatedfromtradeandindustrypublicationspertainingtomorethan2000titles,thedatabaserepresentsauniquerecordofkeypersonnel,colourprocessesandlaboratoriesforeachBritishfilmshotincolourduringthisperiod.CarolynRickardswillfocusonhowthecollecteddatacanbeusedtointerpretshiftsinuseoftheEastmancolorprocessthroughoutourresearchperiod.Thiswillincludeadiscussiononfilmgenres,studiosandpersonnelwhorepresentthemajorinterestsforourstudy.Thiscontributionprovidesageneralupdateonandoversightofsomeofthekeyresearchareas,themesandmomentsofinterestacrossthethirtyyearperiodascoveredsofarbytheprojectteam.DrPaulFrithisaResearchAssociateworkingontheprojectattheUniversityofEastAnglia.In2014,hecompletedhisthesisonhorrorandrealisminBritainduringthe1940s,withpublicationsonthissubjectappearinginTheJournalofBritishCinemaandTelevisionandHorrorStudies.HisresearchspecialismisinBritishcinemawithanemphasisuponcensorshipandthehorrorfilm.HehasrecentlybeenresearchingtheuseofcolourbyamateurfilmmakersandtheriseofcolourinBritishhorrorcinema.DrCarolynRickardsisaResearchAssociateworkingontheprojectbasedattheUniversityofBristol.ShereceivedherPhDfromtheUniversityofEastAngliain2015.Herthesisinvestigatedcriticaldiscoursesattachedtofantasygenreand‘Britishness’withinthecontextofcontemporarycinema.Sheiscurrentlyresearchingtheimpactofcolouronfilmgenresthroughouttheperiodcoveredbytheprojectandtrackingchangesinreceptiontowardsthefilmsproducedduringthistime.Furtherareasofresearchinterestincludetheinfluenceofcolouronfashion,designandotherrelatedmediatexts.SarahStreetisProfessorofFilmattheUniversityofBristol,UK.ShehaspublishedwidelyincludingBritishNationalCinema(1997;2nded.2009),TransatlanticCrossings:BritishFeatureFilmsintheUSA(2002),CostumeandCinema(2001),BlackNarcissus(2005)and(co-authoredwithTimBergfelderandSueHarris)FilmArchitectureandtheTransnationalImagination:SetDesignin1930sEuropeanCinema(2007).Herlatestpublicationsareoncolour:ColourFilmsinBritain:TheNegotiationofInnovation,1900-55(2012),winneroftheBritishAssociationofFilm,TelevisionandScreenStudies’AwardforBestMonograph.Shehasalsoco-edited(withSimonBrownandLizWatkins),ColorandtheMovingImage:History,Theory,Aesthetics,Archive(2012)andBritishColourCinema:PracticesandTheories(2013).SheiscurrentlyPrincipalInvestigatoronTheEastmancolorRevolutionandBritishCinema,1955-85AHRC-fundedproject.SESSIONC:Colour,HybridsandAffects.StevenRoberts,UniversityofBristol‘“Registeringallemotion”:craftingmomentsofrevelationinmulti-formatcolourfilmssince1994’Thispaperexaminesrecentusageofsupra-35mmfilmtechnologiesinAmericanfictionfilmswhichcombinedifferentlysizedformatswithinasinglenarrative.Colourisanimportantstylisticconsiderationinthesefilms,thoughtherearevariancesintreatmentwhichrangefromoutrightchromaticsymbolismtomaterialconceptionsofcolouraslight-surface.Ingeneral,however,largeformatdiscourseencouragesthedelicatecraftingofvisualdetail,partlyduetotheunforgivinglyhighresolutionsoflargerstocks,whichaccentuateperceived‘flaws’incolourcinematography,productiondesignandpracticaleffects.Whenusedwithcare,theabilitytorenderdetailmakeslargeformatsparticularlyusefulfordramaticflashbacksandotheremotional-visualdisclosures.Forexample,VittorioStorarospeaksof‘registeringalltheemotionsandenergyofeveryone,includingtheactors,directorandcinematographer’inmomentsofLittleBuddha(1994)whichdepartfrom35mm.Althoughthecostsinvolvedlimitsuchpractices,thepaperarguesthatmulti-formatfilmspresentmethodologicalifnotcommercialopportunities.Namely,theviewercandetectaestheticqualitieswhichmightotherwisegounnoticed,withthevisibilityortimingofformattransitionsitselfposingissuesfordebate.

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StevenRobertsisaPhDcandidateinFilmattheUniversityofBristol,wherehehasalsoservedasAssistantTeacherontheFilmHistoryto1960unit.HisAHRC-fundeddoctoralresearchconcernslargeformatfilmproduction,styleandcommerceinthepost-warera,usingtheVistaVisionformatasacasestudy.TomLivingstone,SchoolofATS,UniversityofKent.‘CrayonsontheArchive:NewColourizationPracticesinNon-FictionFilm’InthispaperIwillexaminethecuriousphenomenologicalappealofdigitalcolourizationasithasstartedtore-occurinnon-fictionfilmmaking(cf.filmography).Despiteincreasinglysophisticatedprocesses,thedigitalcolourizationofarchivematerialretainsanumberofaestheticmarkersthatinhibitthecredulousperceptionofcolourizedfootageas‘natural.’Iwillexplorehowtheinterpolatednatureofdigitalcolourincolourizedfootagepreventsthecompleteintegrationofthecolourinformationwiththemonochromaticisomorphicinformation.Iwillframecolourizationasthehybridisationofonemediumbyanotherandshowhowthishybriditydisruptsthetransparencyofthefinalimage,generatingthedistinct(ifnotuniversallyloved)aestheticofcolourization.Thisdisruptionrunscountertocolourization’spurportedaims:integratingoldfilmintonewformsofvisualspectacle.Neverthelessinrevealingthelimitsofcolourasameansofhomogenisingvisualmediamyhybridperspectiveaimstoproductivelyexploretheoddhorizonbetweendigitalcolourspaceandtheblackandwhitearchive.Givencolourization’snewroleinremediatingthearchive,andthepossibilitythatcolourizationtechniqueswillsoonexceedourabilitytorecognisethem,acritiqueofcolourization’scurrentaestheticisnecessarybeforeitdisappearsintoubiquityandseamlessness.BregtLameris‘PsychedelicFilminthe1960s.ColouredLightProjections’Icurrentlyinvestigatehowcolorfilmtechnologyandaestheticpatternscorrelateandhowthisfeedsintoaffect.Thisincludesaninvestigationofthewayssubjectivity,affect,andaestheticscanbeapproachedfromanhistoricalpointofview.AssuchIaimtobuildamethodologicalandtheoreticalframeworkthatplacescomputer-basedformalistfilmanalysesinanhistoricalperspective.Colorisaveryenlighteningcasestudyforthispurpose,becauseitallowsanemphasisbothontheproblemofmateriality(differentcolorsystemsresultindifferentmaterialities),andthatofaffectandemotion(colorasasensuous,perceptiveentity,asqualia).Thispresentationfocusesontherepresentationofcolouredlightprojectionsinfilmsfromthe1960s.Basedontheresultsofouranalyses,Iwilllayoutavarietyofexamplesofcolouredlightprojectionsthatshowupinourcorpus.Basedontheseexamples,Iwillshowthatcolouredlightprojectionsarefrequentlyusedtorepresenthallucinations.ZoominginonthisphenomenonIwillelaborateonthefilmTHETRIP(Corman,1967)thatshowsthesubjectiveexperienceofanLSD-trip.Forthisitusescolouredlightprojectionsinaninterestingway.Thesecolouredlightprojectionsoriginatedinthenightlifeandpopularartsceneofthe1960s.Robert(Bob)Beck,oneofthetechniciansworkingonTHETRIPandauthorofthebookColorGamesLightShowManual(1966)connectsbothworldshistorically.Othersourcematerialsgiveaninsightintothetechnologicaldifficultiesthatoccurredwhenfilmingthesecolouredlightshows,duetothelimitedtechnologicalcapacitiesoftheavailablecolourfilmstocksofthetime.Summarizing,withtheexampleofTHETRIPIwillshowhowfilmanalyses,culturalhistory,andthehistoryoftechnologycanbecombinedeffectively.BregtLamerisisaPostdoctoralResearcherERCAdvancedGrantprojectFilmColorsattheUniversityofZürich.SheholdsaPhDinMediaandCultureStudies(UtrechtUniversity,Netherlands),andanMAinCinemaandTheatreStudies(RadboudUniversityandSorbonneNouvelleParisIII).Researchinterestsarethehistoryoffilmarchiving,filmhistoriography,filmcolors(technologyandaesthetics),medicalimages,andtherepresentationofmadness.ShehastaughtalargevarietyofcoursesinfilmandmediastudiesattheUniversityofAmsterdam,UtrechtUniversityandtheUniversityofZurich.DrLizWatkins,UniversityofLeeds.

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‘“Simultaneouslycloseyetseparate”:FilmFormandAffectintheWorkofAndreaArnold’Theoriesofcinematicexcess,whichsignaldetailsthataretoomuchorsuperfluoustonarrativeactionandthreatenthedecompositionofthefilmicsystem,haveassociatedcolourdesigninmelodramawiththefeminineanddesire(Heath,Willemen,Neale).Suchanalyseshaveattendedtothehistoricalandculturalcontextoffilmproduction,findingthatcolourmanifeststhe‘innerviolenceandenergyofthecharacters’andlinkingfilmstyleandtechniquetotheme(Elsaesser).Thedepictionoffraughtfamilialrelationships,identityandexpressionpersistsinAndreaArnold’sfilmsRedRoad(2006)andFishTank(2009),whichshowyoungwomeninprosaicscenariosintercutwithfraughtsexualencounters.RedRoad,commissionedbyAdvancePartyProject,followsselectcriteriaoftheDogme‘95Manifesto:thefilm‘mustbeincolour’,yet‘avoidtheelevationofcosmetics’makingminimaluseofpropsandrefusingtheuseofopticalwork,filtersorsupplementarylighting.AnanalysisoffilmforminRedRoadandFishTankdiscernstheinfluenceofprojectswithLarsvonTrierandSigmaFilms,yetcontendsthatArnoldemploysthecinematicdevicesoffilmmelodramatorefiguretheworkofsocialandpoeticrealism(Christie2011;Roddick2009).Recallingrecentstudiesoffilmform,whichdemandacriticalreadingofitsrelationtopoliticsandaffect(Brinkema,Koutsourakis),thispresentationanalysesthewaysinwhichArnold’sfilmsestablishafemaleprotagonistaspointofidentificationanddisquietfilmform.Arnold'sfilmscombineclaustrophobicdomesticitywiththeperipheralspacesoccupiedbyeachfemaleprotagonist-doorwaysandcorridors,stairwells,estuarymarshlands–adjunctspacesfromwhichdevices,suchasmirrorsandwindowsmediatetheprotagonist’spoint-of-view.Mirrorsreveal‘aspacethatissimultaneouslycloseyetseparate’,whichlikeascreen(CCTV,camcorders),showsanotherplaceorlocation(Metz[1990]2015)withindependentsignificanceunderscoringthemainaction.Therecurrenceofthesedevicesthroughoutthefilmcombinedwiththedifferentiationbetweennaturalcolourandthecosmetictracksa‘rhythmofexperienceoftenestablishesitselfagainstitsvalue(moral,intellectual)’(Elsaesser1987)torevisitagendereddiscourseofclass,identityandfantasy.DrLizWatkins’researchinterestsincludefilmtheoriesofsexualityandgesture;theoriesandphilosophiesofcolourandperception;historiographyandthefantasticinnarrativesofearly1900sscientificexpeditionfilmsandtheirpublicexhibition;thearchivallifeoffilm.HerpublicationsincludearticlesinScreen,Paragraph,andtheJournalforCulturalResearch.Shehasco-editedbooksonGestureandFilm:SignallingNewCriticalPerspectives(Routledge2017)andColourandtheMovingImage(Routledge,2013).HermonographFilmTheoriesandPhilosophiesofColour(Routledge)examinescolourasacinematographiccomplexinwhichliminalityandperceptionarevitaltotheoriesofsexuality,desireandtheimage.