LEADER 04047nam 22006133 450 001 9911009162503321 005 20240806080308.0 010 $a1-9788-3683-X 035 $a(MiAaPQ)EBC31580032 035 $a(Au-PeEL)EBL31580032 035 $a(CKB)33645670600041 035 $a(DE-B1597)701215 035 $a(DE-B1597)9781978836839 035 $a(OCoLC)1451807480 035 $a(EXLCZ)9933645670600041 100 $a20240806d2024 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aGlobal Film Color $eThe Monopack Revolution at Midcentury 205 $a1st ed. 210 1$aNew Brunswick :$cRutgers University Press,$d2024. 210 4$dİ2024. 215 $a1 online resource (259 pages) 311 08$a1-9788-3681-3 311 08$a1-9788-3680-5 327 $aCover -- Title Page -- Copyright -- Contents -- Introduction -- 1. Mapping the Laboratory: Technicolor across Asia and Europe -- 2. "Keeping Your Enemies Closer": Strategies of Knowledge Transfer at the East German Filmfabrik Wolfen -- 3. "We're Not in Sweden Anymore": Technicolor's Brief Venture in Swedish Cinema -- 4. "Risk versus Conformity": Soviet Color Film, 1956-1982 -- 5. Eastman Color in 1960s India -- 6. Coloring the Coastline: Italian Beachside Comedies and the Color Film Transition -- 7. Technological and Athletic Splendor: The Formation of Color in the Socialist Sports Film in China -- 8. The Chinese Film Collection at the University of South Carolina -- 9. The Lights That Raised Up a Storm: Neon and the Nikkatsu Action Color Film, 1957-1963 -- 10. Color as a Foreign Accent: Brazilian Films and Film Laboratories in the 1950s -- 11. British Film Criticism and Global Color -- 12. All about Landscape: The Shift to Color in Australian Film at Midcentury -- 13. Moving Monochromatics: Paul Sharits and Color Field Aesthetics in a Global Context -- 14. On Vivid Colors and Afrotropes in African and Diasporic Cinemas -- Acknowledgments -- Notes on Contributors -- Index. 330 $aGlobal Film Color: The Monopack Revolution at Midcentury explores color filmmaking in a variety of countries and regions including India, China, Japan, and Russia, and across Europe and Africa. Most previous accounts of color film have concentrated on early 20th century color processes and Technicolor. Far less is known about the introduction and application of color technologies in the period from the mid-1940s to the 1980s, when photochemical, ?monopack? color stocks came to dominate global film markets. As Eastmancolor, Agfacolor, Fujicolor and other film stocks became broadly available and affordable, national film industries increasingly converted to color, transforming the look and feel of global cinema. Covering a broad range of perspectives, the chapters explore themes such as transnational flows, knowledge exchange and transfer, the cyclical and asymmetrical circulation of technology in a global context, as well as the accompanying transformation of color film aesthetics in the postwar decades. 606 $aColor cinematography$xHistory$y20th century 606 $aColor motion pictures$xHistory$y20th century 606 $aPERFORMING ARTS / General$2bisacsh 615 0$aColor cinematography$xHistory 615 0$aColor motion pictures$xHistory 615 7$aPERFORMING ARTS / General. 676 $a777 700 $aStreet$b Sarah$0800826 701 $aYumibe$b Joshua$01827328 701 $aSoloman$b Stefan$01827329 701 $aMillard$b Kathryn$01624427 701 $aMazumdar$b Ranjani$01827330 701 $aCavendish$b Philip$01681646 701 $aSinclair Dootson$b Kirsty$01827331 701 $aSanyal$b Kamalika$01827332 701 $aHeckman$b Heather$01827333 701 $aMajor$b Laura$01827334 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911009162503321 996 $aGlobal Film Color$94395495 997 $aUNINA