Steven Peacock
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Film writing has rather overlooked cinematic colour. In a scrutiny of cinematic moments, and when colour comes to the fore, films open up in new ways. This book explores a spectrum of colourful applications. It begins by considering films that use colour in sparing amounts, and moves on to discuss increasingly abundant displays. While highlighting the use of colour, the book also considers the connections between different stylistic elements such as camerawork, editing, performance, music, and lighting. It also offers an alternative to national, socio-political, and historically chronological approaches to film style. Six films present chromatic measures moving from understatement to amplification. Leading from one end of narrative cinema's colour spectrum, the book examines Three Colours: White. It then explores Equinox Flower hat is similarly restrained and concerned with reservation. The book discusses how delicate colours accrue to convey a fragile sensibility in The Green Ray. Written on the Wind is about Technicolor schemes. It also considers the resemblances, after Sirk's work, of a film by Rainer Werner Fassbinder. Next, it addresses The Umbrellas of Cherbourg as a multicoloured fantasia of the everyday. The music, story, and colour combine and clash in surprising ways in this film, in shifting forms of the 'style-subject economy'. The book looks for language matching the rhetoric of the films under scrutiny. It notes and moves beyond generally inscribed meanings of certain colours, paying attention to shifting connections and comparisons.

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