Since the earliest days of cinema, film has been a colorful medium and art form. More than 230 film color processes have been devised in the course of film history, often in close connection with photography. In this regard, both media institutionalized numerous techniques such as hand and stencil coloring and, subsequently,printing and halftone processes. Apart from these fundamental connections in terms of the technology of color processes, film and photography also share and exchange color attributions and aesthetics.
This publication highlights material aspects of color in photography and film, while also investigating the relationship of historical film colors and present-day photography. Works of contemporary photographers and artists—Dunja Evers, Raphael Hefti, Alexandra Navratil, and others—who reflect on technological and culture-theoretical aspects of the material of color, underline these relations. Thematic clusters focus on aesthetic and technological parallels, including fashion and identity, abstraction and experiment, politics, exoticism and travel.
Introductory articles on color, technology and materiality in film and photography are followed by a series of short essays on specific aspects of the individual exhibition clusters and an interview dealing with the technical and scientific aspects of the research and restoration/digitisation of historical film colour systems. An extensive illustration section illustrates the texts and color systems and continues the aesthetic experience of the various processes and exhibits in book form.
available from September
Edited by Barbara Flückiger, Eva Hielscher, and Nadine Wietlisbach