Drawing together theoretical and philosophical debates about the nature of colour, this book examines the significance of colour for film theories of subjectivity and sexual difference. While existing studies on colour and film have focussed on its histories, technologies and aesthetics, an extended analysis of the semiotics and affectivity of colour has yet to be undertaken. This book foregrounds the importance of colour for key concepts in film studies including the gaze, voyeurism, spectacle, and narrative through readings of colour practices in different film forms, from classic Hollywood cinema, melodrama, and film noir, to feminist and experimental films. It argues that colour, as the residual image of film design, different film materials, processes, and media offers a semiotic dimension that allows us to reframe film studies that have tended to be dominated by theories of a sexualised but disembodied gaze. The affectivity of colour is addressed through Freud’s attention to colour sensations and dreams; a Kristevan semiotic as the drive invested underside of the symbolic; Deleuze’s sense of colour as the flux and flow of subjectivity and affect through endlessly shifting cinematographic configurations; Merleau-Ponty’s concept of the phenomena of colour as embodied perception and the intertwining of the subject in and of the visible world; and Luce Irigaray’s reading of colour as the forgotten maternal ground of subjectivity in Western discourse. Watkins offers an innovative and timely analysis of key concepts and philosophies of colour and their impact for film theories of spectatorship, subjectivity, perception, and sexual difference.
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International Horror Film Directors: Global Fear
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Film and Video Production in the Cloud: Concepts, Workflows, and Best Practices
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Unseen by My Open Eyes
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Movies Are Prayers: How Films Voice Our Deepest Longings
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Sweden
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The Hollywood Surreal: How the European Surrealists Changed American Cinema
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Jump Cut: How to Jumpstart Your Career As a Film Editor
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Mosaic Space and Mosaic Auteurs: On the Cinema of Alejandro Gonzalez Inarritu, Atom Egoyan, Hou Hsiao-hsien, Michael Haneke
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Celluloid War Memorials: The British Instructional Films Company and the Memory of the Great War
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The Lost Jungle: Cliffhanger Action and Hollywood Serials of the 1930s and 1940s
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The African Queen and the Night of the Hunter: First and Final Screenplays
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The Swedish Porn Scene: Exhibition Contexts, 8mm Pornography and the Sex Film
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Seeing the Story: Storyboarding Techniques for Filmmakers and Media Artists
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Aleksandr Sokurov: Russian Ark
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The Art of Rogue One: A Star Wars Story
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Independent Filmmaking and Digital Convergence: Transmedia and Beyond
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Cinema Is a Dream: New Images and the Principles of Modernity
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Hollywood Ending
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Film and Video Production in the Cloud: Concepts, Workflows, and Best Practices
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The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema
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