The Negotiation of Innovation: Colour Films in Britain, 1900-55

《创新谈判》是对1900-1955年英国引进的商业彩色胶片工艺的比较分析。它的目的是产生第一个经济，文化和美学历史的颜色在英国电影，根据档案文件，采访电影摄影师和艺术总监谁与颜色在20世纪40年代和50年代，和电影分析。现有的色彩学术研究关注的是技术过程的细节，而不是它们的文化影响和美学特性。虽然每种技术和工艺的技术特点将被调查，该项目的目的是除了阐明如何创新技术，代表了一个挑战，流行的美学制度进行谈判，并与什么后果。作为新兴技术，彩色处理必须不断证明其在市场上的优越性，市场由更便宜的单色电影主导，这些电影在美学方面也享有特权。与当代创新技术的情况一样，色彩系统必须为自己争取一个空间，经常面临来自竞争对手的激烈反对，这些竞争对手在保持现状方面有既得利益。将研究早期手工着色、调色和模板印刷等技术，以及Kinemacolor、Dufaycolor、Gasparcolor、Biocolor和Technicolor等工艺。重点将放在打算在影院上映的电影上，但将从技术和经济角度考虑为业余市场开发的工艺。除了通过色彩处理的档案来源和围绕其外观的当代辩论提供详细的历史信息外，该项目还将分析彩色电影的文本美学，并考虑其在英国电影文化中的地位。虽然看到彩色的世界是日常生活的一部分，但在屏幕上却是另一回事。虽然现在大多数电影都是彩色的，但这与1900-1955年的情况相去甚远，提出了该项目将解决的关键问题，即现实主义观念的变化，美学与现代性之间的关系，以及流行文化的意识形态影响。该项目的研究结果将提出分析电影的新方法，将颜色作为主要参照物，测试颜色如何以及以何种方式决定影响，引导注意力以及如何在特定电影类型中使用。它还将解决当前电影保存和修复的问题，并通过博洛尼亚和BFI国家档案馆的档案工作提供信息。因此，对创新谈判的研究将提供一个具有指导意义的历史先例模型，为当今技术挑战和变革的谈判提供有价值的见解。

The Negotiation of Innovation is a comparative analysis of commercial colour film processes introduced in Britain, 1900-1955. It aims to produce the first economic, cultural and aesthetic history of colour in British films, based on archival documents, interviews with cinematographers and art directors who worked with colour in the 1940s and 1950s, and film analysis. Existing academic work on colour has been concerned with the details of technological processes rather than with their cultural impact and aesthetic specificities. While the technical specificities of each technique and process will be investigated the project aims in addition to elucidate how innovative technologies that represent a challenge to prevalent aesthetic regimes are negotiated and with what consequences. As emergent technologies, colour processes constantly had to make a case for their superiority in a market that was dominated by cheaper, monochrome films that were also privileged in aesthetic terms. As is the case with contemporary innovative technologies, colour systems had to negotiate a space for themselves, often facing fierce opposition from competitors who had vested interests in preserving the status quo. Techniques such as early hand-colouring, toning and stencilling will be researched, as well as processes such as Kinemacolor, Dufaycolor, Gasparcolor, Biocolor and Technicolor. The concentration will be on films intended for theatrical release, although processes developed for the amateur market will be taken into account from a technical and economic perspective. As well as presenting detailed histories informed by archival sources of colour processes and contemporary debates that surrounded their appearance, the project will analyse the textual aesthetics of colour films and consider their place in British film culture. While seeing the world in colour was a part of everyday life, on screen it was another matter. Although the majority of films are now made in colour this was far from the case in 1900-1955, raising key questions that the project will address about changing notions of realism, the relationship between aesthetics and modernity, and the ideological impact of popular culture. The project's findings will suggest new ways of analysing films by taking colour as a primary referent, testing how, and in what ways colour determines impact, directs attention and how it was used in particular film genres. It will also address current issues of film preservation and restoration, informed by archival work at Bologna and at the BFI National Archive. The research for The Negotiation of Innovation will therefore provide an instructive model of historical precedent that will yield valuable insights into the negotiation of today's technological challenges and transformations.