2. Liminal Perceptions: Intermediality and the Exhibition of Nonfiction Film

Kapitel in diesem Buch

1. Frontmatter 1
2. TABLE OF CONTENTS 5
3. Introduction 9
4. Prologue. Questions of Colours: Taking Sides 19
5. NONFICTION AND AMATEUR CINEMA
6. 1. Fireworks and Carnivals: Applied and Natural Colours in Italian Home Movies 33
7. 2. Liminal Perceptions: Intermediality and the Exhibition of Nonfiction Film 51
8. 3. Rough Seas: The Blue Waters of Early Nonfiction Film 75
9. NATURAL-COLOUR PROCESSES: THEORY AND PRACTICE
10. 4. ‘Taking the color out of color’: Two-Colour Technicolor, The Black Pirate, and Blackened Dyes 97
11. 5. Why Additive? Problems of Colour and Epistemological Networks in Early (Film) Technology 109
12. 6. Ziegfeldized Slapstick, Useful Comedy: Mack Sennett’s Slapstick Comedies under the Influence of Natural Colour 125
13. 7. Kinemacolor and Kodak: The Enterprise of Colour 145
14. INTERMEDIALITY AND ADVERTISING
15. 8. Rainbow Ravine: Colour and Animated Advertising in Times Square 163
16. 9. Kodachrome’s Hope: The Making and Promotion of McCall Colour Fashion News 179
17. 10. Chromatic Objects: Colour Advertising and French Avant-garde Films of the 1920s 195
18. ARCHIVING AND RESTORATION: EARLY DEBATES AND CURRENT PRACTICES
19. 11. La Ligue du Noir et Blanc: French Debates on Natural Colour Film and Art Cinema 1926–1927 221
20. 12. A Material-Based Approach to the Digitization of Early Film Colours 237
21. ARCHIVAL PANELS (EDITED TRANSCRIPTS)
22. Preservation, Restoration, Presentation, and Policy 261
23. Digital Restoration 272
24. AUTHORS’ BIOGRAPHIES 279
25. BIBLIOGRAPHY 281
26. ACKNOWLEDGEMENTS 301
27. INDEX 303