![]() Since 2016, the team of the research project ERC Advanced Grant FilmColors has been collecting and adding written sources and photographs. Technologies, Cultures, Institutions funded by a grant from Swiss National Science Foundation. Since February 2016 the database has been redeveloped in the framework of the research project Film Colors. Many further persons and institutions have supported the project, see acknowledgements. In addition, the Institute for the Performing Arts and Film, Zurich University of the Arts provided a major contribution to the development of the database. ![]() 80 financial contributors sponsored the crowdfunding campaign Database of Historical Film Colors with more than USD 11.100 in 2012. In 2013 the University of Zurich and the Swiss National Science Foundation awarded additional funding for the elaboration of this web resource. Timeline of Historical Film Colors was started with Barbara Flueckiger’s research at Harvard University in the framework of her project Film History Re-mastered, funded by Swiss National Science Foundation, 2011-2013. This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptual predecessors. An extensive image section illustrates the texts and color systems and continues the aesthetic experience of the various processes and objects in book form. Thematic clusters focus on aesthetic and technological parallels, including fashion and identity, abstraction and experiment, politics, exoticism, and travel.Ĭolor Mania contains a general introduction to color in film and photography (technique, materiality, aesthetics) as well as a series of short essays that take a closer look at specific aspects. Works of contemporary photographers and artists who reflect on technological and culture-theoretical aspects of the material of color underline these relations. This publication highlights material aspects of color in photography and film, while also investigating the relationship of historical film colors and present-day photography. Apart from these fundamental connections in terms of the technology of color processes, film and photography also share and exchange color attributions and aesthetics. In this regard, both media institutionalized numerous techniques such as hand and stencil coloring as well as printing and halftone processes. More than 230 film color processes have been devised in the course of film history, often in close connection with photography. And who could forget the scene where Jessie Royce Landis disdainfully stubs out a cigarette in an expensive plate of eggs? Adapted by frequent Hitchcock collaborator John Michael Hayes from a novel by David Dodge To Catch a Thief won an Academy Award for cinematographer Robert Burks.Since the earliest days of cinema, film has been a colorful medium and art form. Though the Riviera location photography is pleasing, our favorite scene takes place in a Paramount Studios mockup of a luxury hotel suite, where Grant and Kelly make love while a fireworks display orgasmically erupts outside their window. Occasionally written off as a lesser Alfred Hitchcock film (did we really need that third-act fashion show?), To Catch a Thief is actually as enjoyable and engaging now as it was 40 years ago. But by film's end, it's obvious that Kelly has fallen hard for Grant, crook or no crook. Being Cary Grant, of course, he can't possibly be guilty, which is proven in due time. Part of Kelly's attraction to Grant is the possibility that he is the thief the prospect of danger really turns this gal on. But still waters run deep, as they say, and soon Kelly is amorously pursuing the far-from-resistant Grant. One such person is heavily bejeweled Jessie Royce Landis, who is as brash and outspoken as her daughter Grace Kelly is quiet and demure. With the reluctant aid of detective John Williams, Grant launches his investigation by keeping tabs on the wealthiest vacationers on the Riviera. But Grant pleads innocence, and vows to find out who's been copying his distinctive style. All of them had been pardoned due to their courageous activities in the wartime Resistance, and all are in danger of arrest thanks to this new crime wave. Escaping the law, Grant heads to the Cote D'Azur, where he is greeted with hostility by his old partners in crime. A jewel thief is at large on the Riviera, and all evidence points to retired cat burglar Cary Grant.
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