Synopses & Reviews
This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with color such as Hitchcock, Jarman and Sirk as well as others whose use of color has not yet been explored in such detail including Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.
“Lucid and well-informed, the argument posed is a stimulating one. I, for one, look forward to reading it.”
“Well-written and original, it opens up the subject in a thoroughly new way. This will be an important book.”
This book offers an industrial, economic, and aesthetic history of the early years of the British film industry from 1899-1911 through a case study of one of the most celebrated pioneer film makers, Cecil Hepworth. Film production went from being a cottage industry to a multi-modal complex economic national system, and this book will present a picture of daily life in his film studio and offer an analysis of his films including their content, production, and marketing. It also charts the development of the British film industry, with an emphasis on the changing nature of exhibition and distribution, which caused a major crisis in the years 1908-1911, causing Britain to lose its status as a world leader in film making.
This book presents a thorough industrial, economic, and aesthetic history of the early years of the British film industry through a case study of one of the most celebrated pioneers of the period, Cecil Hepworth. As film production shifted from being a cottage industry to a complicated, large-scale national industry, Hepworth and his studio were at the heart of developments. Simon Brown presents a picture of daily life in Hepworths studio through these changes, along with analysis of the content, production, and marketing of his films. He also charts the larger development of the British film industry, with an emphasis on the changing nature of exhibition and distribution.
About the Author
Simon Brown is director of studies for film studies and television and new broadcasting media at Kingston University.