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The Eastmancolor Revolution and British Cinema, 1955-85

伊士曼色彩革命和英国电影，1955-85

基本信息

批准号：
AH/N009444/1
负责人：
Sarah Street
金额：
$ 97.72万
依托单位：
University of Bristol
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2016
资助国家：
英国
起止时间：
2016 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FN009444%2F1
关键词：
Eastmancolor Revolution British Cinema 1955

项目摘要

This project investigates the impact of Eastmancolor, a film stock introduced by Kodak in the 1950s, on British cinema. As a relatively cheap, 'monopack' stock that could be used in any camera, Eastmancolor revolutionised the ways in which colour films were made. Over the next thirty years colour filmmaking came to dominate sound cinema for the first time. The project's focus is on how British cinema, its filmmakers and other professionals adapted to one of the most important technical innovations in film history. It explores British cinema's response, at first confined to a few genres, before fully embracing the economic and aesthetic advantages of colour filmmaking. It will identify key genres and films, personnel who experimented with colour and significant issues relating to the preservation and restoration of colour films. The project will achieve a greater understanding of the significance of colour in British film history and culture while contributing to knowledge about the state of Britain's colour film heritage. The British experience of Eastmancolor has never been the focus of studies of British cinema's historic engagement with colour filmmaking. The expansion of colour was set against a backdrop of financial struggles, declining audiences, and a still-dominant critical tradition of documentary-influenced black-and-white social realism. The project team will examine three key phases of development, from the initial enthusiasm of studios such as Hammer, with its range of horror and adventure films, to the persistence of black-and-white cinematography in the 'new wave' cycle of the 1960s. Analysing the range of factors, including economic, behind the more complete shift towards colour from the 1970s will provide an opportunity to fully document and examine the emergence of a rich corpus of colour production in mainstream, short/instructional/amateur and art cinema. The project is designed to highlight three interrelated major themes: Economic and Industrial perspectives; Intermedial Aesthetics; and Film Restoration. The project team will produce data on British colour films, their financial histories and why particular companies were attracted to colour after decades of black-and-white production. Colour's relationship with other key technological developments including Widescreen and 3-D cinema will also be investigated, as well as colour's role in attempts to compete in international markets. The influence on cinema of developments in colour production in other media such as advertising, publishing, painting and design will also be investigated. The project team will interview a number of film practitioners to learn more about their engagement with colour aesthetics, as well as the British and non-British films which inspired their creative choices. The project will also investigate the condition of surviving colour film prints, many of which are subject to fading and deterioration. The serious issues concerning the preservation and restoration of our photochemical colour film heritage is an important context for the project's collaboration with the British Film Institute. The project benefits from links with several other key organisations including Studio Canal, owner of an archive of British film prints from the period, the interdisciplinary UK Colour Group, BECTU (Broadcasting, Entertainment, Cinematograph and Theatre Union) and the East Anglian Film Archive. The team will produce a number of outputs directed at academic and non-academic beneficiaries. A book, four articles and a conference will bring to attention for the first time the rich chromatic range and heritage of British cinema during a key stage in its historical development. The production of four video essays will provide an opportunity for the team to engage a wider audience, as well as public screenings and a workshop with the UK Colour Group. The practitioner interviews constitute a permanent record of interest to multiple users.

这个项目调查了柯达在20世纪50年代推出的Eastmancolor胶片对英国电影的影响。作为一种相对便宜的、可以用在任何相机上的“背包”原料，伊士曼彩色胶卷彻底改变了彩色胶卷的制作方式。在接下来的30年里，彩色电影制作第一次主导了有声电影。该项目的重点是英国电影，电影制片人和其他专业人士如何适应电影史上最重要的技术创新之一。它探讨了英国电影的反应，首先局限于几个流派，然后才完全拥抱彩色电影制作的经济和美学优势。它将确定主要类型和电影，谁与彩色和有关的保存和恢复彩色电影的重要问题实验人员。该项目将更好地理解色彩在英国电影历史和文化中的重要性，同时有助于了解英国彩色电影遗产的状况。伊士曼色彩的英国经验从来没有成为研究英国电影与彩色电影制作历史的焦点。色彩的扩张是在财政困难、观众减少以及受纪录片影响的白色社会现实主义的批评传统仍然占主导地位的背景下进行的。该项目团队将研究三个关键的发展阶段，从最初的热情工作室，如锤，其范围内的恐怖和冒险电影，以坚持黑白白色摄影在“新浪潮”周期的20世纪60年代。分析从20世纪70年代开始向色彩更全面转变背后的一系列因素，包括经济因素，将提供一个机会，充分记录和研究主流，短/教学/业余和艺术电影中色彩制作的丰富语料库的出现。该项目旨在突出三个相互关联的主题：经济和工业前景;中间美学;和电影修复。该项目小组将提供有关英国彩色电影的数据，他们的财务历史以及为什么某些公司在几十年的黑白白色制作之后被彩色电影所吸引。色彩与其他关键技术发展的关系，包括宽屏和3D电影，以及色彩在国际市场竞争中的作用也将被调查。在其他媒体，如广告，出版，绘画和设计的色彩生产的发展对电影的影响也将被调查。项目团队将采访一些电影从业者，以了解他们对色彩美学的参与，以及激发他们创作选择的英国和非英国电影。该项目还将调查幸存的彩色电影拷贝的状况，其中许多可能会褪色和变质。保护和修复我们的光化学彩色电影遗产是该项目与英国电影学院合作的一个重要背景。该项目受益于与其他几个主要组织的联系，包括Studio Canal，该时期英国电影拷贝档案的所有者，跨学科的UK Colour Group，BECTU（广播，娱乐，电影和剧院联盟）和东盎格鲁电影档案馆。该小组将针对学术界和非学术界的受益者提出若干产出。一本书，四篇文章和一次会议将首次引起人们对英国电影在其历史发展的关键阶段的丰富色彩范围和遗产的关注。四个视频文章的制作将为团队提供一个吸引更广泛观众的机会，以及公开放映和与英国色彩集团的研讨会。从业者访谈构成了多个用户感兴趣的永久记录。