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.
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
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