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. A close reading of the colour aesthetics in film, tracing the historical development of film styles in relation to colour.
Preface (1) Color in Film and Film Posters (2) Structural Film,
Structuring Color: Jenny Okun's STILL LIFE (3) Cinematic Color, as Likeness
and as Artifact (4) Chords of Color (5) The Tension of Colors in Hand-colored
Silents (6) DESERT FURY: A Film Noir in Color (7) The Work of the Camera:
BEAU TRAVAIL (8) Empathy with the Animal (9) Motor Mimicry in Hitchcock (10)
Abstraction and Empathy in the Early German Avant-garde (11) The Role of
Empathy in Documentary Film: A Case Study (12) Genre Conflicts in Tracey
Emin's TOP SPOT (13) Viewer Empathy and Mosaic Structure in Frederick
Wiseman's PRIMATE (14) CASTA DIVA: An Empathetic Reading, Acknowledgments.
Christine N. Brinckmannis professor emerita of the Department of Cinema Studies at the University of Zürich. She has published widely on the poetics of film, on documentary and experimental work, on narrative, and on viewer response.
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