Color and the Moving Image ─ History, Theory, Aesthetics, Archive

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with color—such as Hitchcock, Jarman and Sirk—as well as others whose use of color has not yet been explored in such detail—including Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.

Anna Batistova works as the head of audiovisual collections at National Film Archive in Prague (Czech Republic), and an assistant professor at Department of Film Studies and Audiovisual Culture at Masaryk University, Brno (Czech Republic). She does research in history of screening technologies and teaches cinema technology, early cinema, Czech cinema, and audiovisual archiving.

John Belton teaches film at Rutgers University, USA. Author of Widescreen Cinema (Harvard University Press, 1992) and American Cinema/American Culture (McGraw Hill, 1994, 2004, 2008, and 2012), in 2005-2006 he received a Guggenheim Fellowship to work on digital cinema. In 2008 he won an Academy Fellows grant to research a book on motion picture color.

Simon Brown is Director of Studies for Film and TV at Kingston University, UK. He has published widely on a variety of topics including the development of the early British film industry, early colour cinematography and contemporary American television.

William Brown is a Lecturer in Film at Roehampton University. He is the author of the forthcoming monograph, Supercinema: Film Theory in the Digital Age (Berghahn), and co-editor of Deleuze and Film (with David Martin-Jones, Edinburgh University Press, 2012).

Daniela Curro is Project Manager for the Haghefilm Foundation and Film Preservation Specialist and Color Grader at Haghefilm Conservation. She has previously collaborated in research and restoration projects with Italian film archives such as Museo Nazionale del Cinema in Turin.

Hilde D'haeyere is a photographer and a film researcher. She lectures at the School of Arts, University College Ghent (BE), where she wrote a PhD on "funny" cinematography and special effects photography in Mack Sennett slapstick comedies of the 1920s.

Rosalind Galt is Senior Lecturer in Film Studies at the University of Sussex. She researches film theory and international cinema, and is the author of The New European Cinema: Redrawing the Map (Columbia University Press, 2006) and Pretty: Film and the Decorative Image (Columbia University Press, 2011)

Jason Gendler is a Cinema and Media Studies PhD Candidate in the UCLA

Department of Film, Television, and Digital Media. He is currently working

on his dissertation on the narration of beginnings in films.

Tom Gunning is Distinguished Service Professor in Department of Cinema and Media at the University of Chicago, and author of D.W. Griffith and the Origins of American Narrative Film (University of Illinois Press, 1994), The Films of Fritz Lang; Allegories of Vision and Modernity (BFI, 2000), and over a hundred articles.

Fiona Handyside is Lecturer in European Film at the University of Exeter. She is the editor of Eric Rohmer: Interviews (University of Mississippi Press, 2013) and is completing her monograph Cinema at the Shore: The Beach in French Cinema.

Heather Heckman Heather Heckman is Assistant Director of Moving Image Research Collections at the University of South Carolina.

Scott Higgins is associate professor of Film Studies Wesleyan University, USA. His books include Harnessing the Technicolor Rainbow (University of Texas Press, 2007) and Rudolf Arnheim for Film and Media Studies (Routledge 2011). His current project is a history of sound-era serials entitled Matinee Melodrama.

Steven Jacobs is an art historian, who has published The Wrong House: The

Architecture of Alfred Hitchcock (Uitgeverij, 2007) and Framing Pictures: Film and the Visual Arts (Edinburgh University Press, 2011). He currently teaches at the Department of Art History of the University of Ghent in Belgium

Andrew Robert Johnston is a Visitin