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[null,"1.","Record Nr.",null,"UNINA9910787400203321"]
[null,null,"Autore",null,"Brinckmann Christine <1937->"]
[null,null,"Titolo",null,"Color and empathy : essays on two aspects of film / / Christine N. Brinckmann [[electronic resource]]"]
[null,null,"Pubbl/distr/stampa",null,"Amsterdam : , : Amsterdam University Press, , 2014"]
[null,null,"ISBN",null,"90-485-2326-5"]
[null,null,"Descrizione fisica",null,"1 online resource (269 pages) : digital, PDF file(s)"]
[null,null,"Collana",null,"Film culture in transition"]
[null,null,"Disciplina",null,"791"]
[null,null,"Soggetti",null,"Colors in motion pictures - History"]
[{"$nulls":4},"Color cinematography - History"]
[{"$nulls":4},"Color motion pictures - History"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Title from publisher's bibliographic system (viewed on 23 Jun 2021)."]
[null,null,"Nota di contenuto",null,"Front matter -- Table of Contents -- Preface / Brinckman, Christine N. -- Cinematic Color as Likeness and as Artifact -- Chords of Color -- The Tension of Colors in Colorized Silent Films -- Structural Film, Structuring Color: Jenny Okun's Still Life -- Desert Fury: A Film Noir in Color -- The Work of the Camera: Beau travail -- Empathy with the Animal -- Motor Mimicry in Hitchcock -- Abstraction and Empathy in the Early German Avant-garde -- The Role of Empathy in Documentary Film: A Case Study -- Genre Conflict in Tracey Emin's Top Spot -- Viewer Empathy and Mosaic Structure in Frederick Wiseman's Primate -- Casta Diva: An Empathetic Reading -- Publication Data -- Index of Films -- Index of Subjects -- Film Culture in Transition"]
[null,null,null,"Sommario/riassunto","The collection of essays brings together texts from two decades, documenting two of the author's ongoing areas of interest: the poetics of colour in film as well as affective viewer responses. Employing a bottom-up approach as a basis for theoretical exploration, each of the essays concentrates on a particular film or a number of related films to come to terms with a set of issues. These include the differences between black-and-white and color works, the emergence of bold chromatic schemes in the 1950s, experimental aesthetics of color negative stock, idiosyncratic uses of colour, idiosyncratic uses of motor mimicry, genre-specific reactions to the documentary, and empathetic reactions to animals and to architecture in film."]