LEADER 04345nam 2200601 a 450 001 9910806214403321 005 20200520144314.0 010 $a0-292-79490-8 024 7 $a10.7560/716278 035 $a(CKB)1000000000479646 035 $a(OCoLC)646760643 035 $a(CaPaEBR)ebrary10245667 035 $a(SSID)ssj0000168965 035 $a(PQKBManifestationID)11178038 035 $a(PQKBTitleCode)TC0000168965 035 $a(PQKBWorkID)10202686 035 $a(PQKB)10487217 035 $a(MiAaPQ)EBC3443199 035 $a(MdBmJHUP)muse2262 035 $a(Au-PeEL)EBL3443199 035 $a(CaPaEBR)ebr10245667 035 $a(DE-B1597)588016 035 $a(OCoLC)1286806944 035 $a(DE-B1597)9780292794900 035 $a(EXLCZ)991000000000479646 100 $a20070209d2007 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aHarnessing the Technicolor rainbow $ecolor design in the 1930s /$fScott Higgins 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2007 215 $a1 online resource (313 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-71627-3 320 $aIncludes bibliographical references (p. 265-274) and index. 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $tONE. Introduction: The Challenge of Technicolor -- $tTWO. Forging a New Aesthetic: From Opera to Color Consciousness -- $tTHREE. A Feature-Length Demonstration: Becky Sharp -- $tFOUR. Unobtrusive Design: Introducing Three-Color to Conventional Production -- $tFIVE. Delicate Expansions: Designing in the Restrained Mode -- $tSIX. Broadening the Palette: The Adventures of Robin Hood -- $tSEVEN. A Fully Integrated Design: Light and Color in Gone with the Wind -- $tEIGHT. Beyond the 1930s: The Legacies of Three-Color Aesthetics -- $tAppendix 1. Types of Prints Consulted and Variables in Color Reproduction -- $tAppendix 2. Chronological Filmography: Three-Color Features of the 1930s -- $tAppendix 3. Pantone Numbers for Color Names -- $tNotes -- $tWorks Cited -- $tIndex 330 $aLike Dorothy waking up over the rainbow in the Land of Oz, Hollywood discovered a vivid new world of color in the 1930s. The introduction of three-color Technicolor technology in 1932 gave filmmakers a powerful tool with which to guide viewers' attention, punctuate turning points, and express emotional subtext. Although many producers and filmmakers initially resisted the use of color, Technicolor designers, led by the legendary Natalie Kalmus, developed an aesthetic that complemented the classical Hollywood filmmaking style while still offering innovative novelty. By the end of the 1930s, color in film was thoroughly harnessed to narrative, and it became elegantly expressive without threatening the coherence of the film's imaginary world. Harnessing the Technicolor Rainbow is the first scholarly history of Technicolor aesthetics and technology, as well as a thoroughgoing analysis of how color works in film. Scott Higgins draws on extensive primary research and close analysis of well-known movies, including Becky Sharp, A Star Is Born, Adventures of Robin Hood, and Gone with the Wind, to show how the Technicolor films of the 1930s forged enduring conventions for handling color in popular cinema. He argues that filmmakers and designers rapidly worked through a series of stylistic modes based on the demonstration, restraint, and integration of color?and shows how the color conventions developed in the 1930s have continued to influence filmmaking to the present day. Higgins also formulates a new vocabulary and a method of analysis for capturing the often-elusive functions and effects of color that, in turn, open new avenues for the study of film form and lay a foundation for new work on color in cinema. 606 $aColor cinematography$xHistory 606 $aColor motion pictures$xHistory 615 0$aColor cinematography$xHistory. 615 0$aColor motion pictures$xHistory. 676 $a778.5/342 700 $aHiggins$b Scott$f1968-$01123451 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910806214403321 996 $aHarnessing the Technicolor rainbow$94107338 997 $aUNINA