'The curse of the thing is Technicolor blood: why need vampires be messier feeders than anyone else?': The BBFC and Hammer's Colour Films, 1957-1962'
'The curse of the thing is Technicolor blood: why need vampires be messier feeders than anyone else?': The BBFC and Hammer's Colour Films, 1957-1962'
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“这件事的诅咒是特艺彩色血液：为什么吸血鬼需要比其他人更混乱的喂养者？”：BBFC 和 Hammer 的彩色电影，1957-1962 年
DOI：
10.1080/01439685.2018.1527065
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发表时间：
2018
期刊：
影响因子：
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通讯作者：
Frith P
中科院分区：
文献类型：
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作者：
Frith P
20世纪50年代，汉默电影制作公司转向彩色电影，人们经常讨论他们对血和血腥的应用，这成为英国电影审查委员会的主要关注点，他们试图删除一些被认为在彩色电影中比黑白电影更令人反感的镜头。为了规避这些限制，有人认为哈默违背了英国电影委员会的意愿，提交了他们的黑白彩色电影的作品，希望审稿人无法发现令人反感的材料。然而，这一时期的记录表明，英国电影委员会并不完全反对这一过程，在后期制作中使用黑白胶片更多的是为了削减成本，而不是试图超越审查机构。因此，本文将主要通过对这一时期英国电影委员会报告的分析，来探讨汉默早期彩色电影审查制度的复杂性，并特别关注这种提交黑白照片的做法所揭示的董事会在观看单色和彩色恐怖电影时所做的决定。
Hammer Film Productions’ move to colour in the 1950s has often been discussed in terms of their application of blood and gore becoming the primary concern for the British Board of Film Censors who sought to remove a number of shots deemed to be more objectionable when seen in colour rather than black-and-white. In order to circumvent these restrictions, it has been suggested that Hammer went against the BBFC’s wishes by submitting work prints of their colour films in black-and-white in the hope that the examiner would be unable to detect the objectionable material. However, records from the period suggest that the BBFC were not entirely against this process, and that using black-and-white stock during post-production had more to do with cost-cutting than an attempt to out-do the censor. Primarily through an analysis of BBFC reports from this period, this article will therefore address the complexities surrounding the censorship of Hammer’s early colour films, paying specific attention to what this practice of submitting black-and-white prints reveals about the decisions taken by the Board when viewing horror in both monochrome and colour.