The Eastmancolor Revolution and British Cinema, 1955-85

这个项目调查了柯达在20世纪50年代引入的胶卷Eastmancolor对英国电影业的影响。作为一种相对便宜的、可以用于任何相机的单一库存，伊斯曼色彩彻底改变了彩色胶片的制作方式。在接下来的三十年里，彩色电影第一次成为有声电影的主宰。该项目的重点是英国电影、电影制作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，最初仅限于几种类型，然后完全接受了彩色电影制作的经济和美学优势。它将确定关键的流派和电影、试验彩色电影的人员以及与彩色电影的保存和修复有关的重大问题。该项目将更好地理解颜色在英国电影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。关于英国电影历史上参与彩色电影制作的研究，伊斯曼色彩在英国的经历从来都不是重点。颜色的扩大是在经济困境、观众人数下降以及仍占主导地位的受纪录片影响的黑白社会现实主义批评传统的背景下进行的。该项目团队将考察三个关键的发展阶段，从最初像Hammer这样的制片厂以其一系列恐怖和冒险电影的热情，到黑白摄影在20世纪60年代的新浪潮周期中的持续。分析20世纪70年代以来更全面的色彩转变背后的一系列因素，包括经济因素，将提供一个机会，全面记录和审查主流、短片/教学/业余电影和艺术电影中出现的丰富的色彩制作主体。该项目旨在突出三个相互关联的主要主题：经济和工业视角；中间美学；以及电影修复。该项目团队将制作关于英国彩色电影的数据，它们的财务历史，以及为什么某些公司在数十年的黑白制作后被吸引到彩色电影中。色彩与其他关键技术开发的关系也将被调查，包括宽屏和3-D电影，以及色彩在试图在国际市场竞争中所扮演的角色。此外，我们亦会调查其他媒体，例如广告、出版、绘画和设计等，在色彩制作方面的发展对电影的影响。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下来的彩色胶片拷贝的状况，其中许多拷贝容易褪色和变质。关于保护和修复我们的光化学彩色胶片遗产的严重问题是该项目与英国电影学会合作的一个重要背景。该项目得益于与其他几个主要组织的联系，包括拥有那个时期英国电影拷贝档案的Canal工作室、跨学科的英国色彩集团、BECTU(广播、娱乐、电影和剧院联盟)和东盎格鲁电影档案馆。该小组将针对学术和非学术受益者编写若干产出。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。四个视频短文的制作将为团队提供一个接触更广泛受众的机会，以及公共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。

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.