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Title: Feeling Colour: Chromatic Embodiment In Film Culture, 1950s-1960s

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dc:title Feeling Colour: Chromatic Embodiment In Film Culture, 1950s-1960s
dc:creator Bregt Lameris
dc:rights ©2024 Bregt Lameris, CC BY-NC 4.0
dc:identifier calibre:170 | uuid:8b855e00-7e62-4d4d-b2ab-892fb3bb75f3 | urn:uuid:238836d3-4b6d-4810-ae05-223db752c805
dc:language en-US | nl-NL
dc:date 2025-03-06T10:24:34+00:00
dc:description The shift back from quasi monochrome to coloured motion picture during the 1950s and 1960s famously provided moviegoers the dazzling opportunity to more fully engage their senses, all the while opening new modes of affective possibilities for filmmakers. Set against the intersection of media studies, emotion theory, biology, and digital humanities, Feeling Colour: Chromatic Embodiment in Film Culture (1950s-1960s) delves into the role colour played in the oft-fraught relationship between cinema and its audiences. This transnational analysis of an extensive range of midcentury cinematography examines the multilayered effects which extend beyond the silver screen, offering a high-level theoretical elaboration and in-depth historical exploration of both experimental and mainstream movies. 
 
Lameris takes an interdisciplinary perspective, examining the different ways colour creates—or was believed to create—embodied reactions. From perception theory and 'putting the nerves in motion’, to colour psychology and how to ‘steer’ the spectator, to cross-modal perception (or ‘synaesthesia’), Lameris asks how how colours and feelings in film are entangled in the colour cultures, discourses and beliefs of a particular historical context. 
 
With its influential cultural scholarly contribution and accessible writing style, this book will delight both students and specialists in film and media studies. In addition, those interested in the history and use of color in advertising, neuroscience, gender studies, and emotion will find the book engaging and useful.
dc:subject Colour film;Film studies;Mid-20th-century culture;Cross-modal synesthesia;Colour psychology;psychedelic culture
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Outlines

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TOC Outline

  1. Cover
  2. Title page
  3. Copyright
  4. Contents
  5. Introduction
  6. 1. Feeling Film Colours: Theoretical Framework
  7. PART I STIRRING UP THE EYE WITH COLOUR
  8. 2. Colour Contrasts, Culture and Perception
  9. 3. Shocking, Shifting, Straining
  10. 4. Oscillating Op Art
  11. PART II COLOUR PSYCHOLOGIES
  12. 5. How Can Colours (Be) Control(led)
  13. 6. Coloured Light, Vibrations, Temperature, and Mood
  14. PART III: TOUCHING AND TASTING IN COLOUR
  15. 7. Colour, Taste and Food
  16. 8. Touching Colours
  17. Coda: Hallucinating Colours
  18. Bibliography
  19. Filmography
  20. List of Illustrations
  21. Index
  22. About the Team
  23. This book need not end here…
  24. You may also be interested in:
  25. Back cover

Headings Outline

  • Contents
  • Introduction
    • History and Theory of Colour in Film
    • Colour Film Technology in the Mid-Twentieth Century (1950s and 1960s)
    • Colour Culture of the Mid-Twentieth Century (1950s and 1960s)
    • Methodology
    • Colour Film as an Unstable Object of Research
    • Structure of the Book
  • 1. Feeling Film Colours: Theoretical Framework
    • Emotion, Subjectivity and Affect in Film Analysis
    • The History of Emotions
    • Layers of Embodied History and Colour Film
  • PART I STIRRING UP THE EYE WITH COLOUR
  • 2. Colour Contrasts, Culture and Perception
    • Quasi-Immobile Physiognomy of the Perception of Colour Contrasts
    • Colour Systems for Colour Harmony
    • Studying the Physiology of the Eye
    • Experimental Psychology and Early Phenomenology
    • How to (Not) Move the Eye with Colour
  • 3. Shocking, Shifting, Straining
    • Successive Dark-Light Contrasts: Shocking the Eyes
    • The Invasive Photo Camera
      • Destructive White Light
    • Successive Complementary Contrasts
      • Waking up the Audience
      • Abstract Colours
  • 4. Oscillating Op Art
    • Fluctuations and Interactions
    • Feeling Colour in Op Art
  • PART II COLOUR PSYCHOLOGIES
  • 5. How Can Colours (Be) Control(led)
    • Colour Consultancy
    • Functional Colours
    • Selling with Colour
    • Slowly Unleashing Colour in Film
    • Playing with Conditioned Colours
  • 6. Coloured Light, Vibrations, Temperature, and Mood
    • Immersed Bodies
      • Colour and Temperature
      • Coloured Light and the Vibrating Body
      • Mood, Atmosphere and Coloured Light
    • Coloured Light in Film
      • Diegetic Lights in Colour
      • Coloured Lights Hovering in Filmic Space
      • Coloured Light and the Creation of ‘Ostranenie’
  • PART III: TOUCHING AND TASTING IN COLOUR
  • 7. Colour, Taste and Food
    • Colour and Taste
    • The Fraught History of Food Dyes
    • Colour Change and Decay
    • Controlled Food Compositions
    • Subversion, Food and Touch
  • 8. Touching Colours
    • Haptic Mimicry
    • Smooth Surfaces and the Female Skin
    • Rough Surfaces and the Female Skin
    • Contrast and Tension
    • Porn and the Visceral Materiality of Colour
  • Coda: Hallucinating Colours
    • The Event: Films
    • The Longue Durée: Cultural Contexts
    • The Quasi Immobile: Biologies
    • Final Reflections
  • Bibliography
    • Websites
  • Filmography
  • List of Illustrations
  • Index
  • About the Team
  • This book need not end here…
    • Share
    • Donate
    • We invite you to connect with us on our socials!
    • Read more at the Open Book Publishers Blog
  • You may also be interested in:
  • Contents
    • Landmarks

HTML Outline

    1. Untitled BODY
    1. Untitled BODY
    1. Untitled BODY
    1. Untitled BODY
      1. Untitled SECTION
    1. Untitled BODY
      1. Contents
    1. Untitled BODY
      1. Introduction
        1. History and Theory of Colour in Film
        2. Colour Film Technology in the Mid-Twentieth Century (1950s and 1960s)
        3. Colour Culture of the Mid-Twentieth Century (1950s and 1960s)
        4. Methodology
        5. Colour Film as an Unstable Object of Research
        6. Structure of the Book
        7. Untitled SECTION
    1. Untitled BODY
      1. 1. Feeling Film Colours: Theoretical Framework
        1. Emotion, Subjectivity and Affect in Film Analysis
        2. The History of Emotions
        3. Layers of Embodied History and Colour Film
        4. Untitled SECTION
    1. Untitled BODY
      1. PART I STIRRING UP THE EYE WITH COLOUR
    1. Untitled BODY
      1. 2. Colour Contrasts, Culture and Perception
        1. Quasi-Immobile Physiognomy of the Perception of Colour Contrasts
        2. Colour Systems for Colour Harmony
        3. Studying the Physiology of the Eye
        4. Experimental Psychology and Early Phenomenology
        5. How to (Not) Move the Eye with Colour
        6. Untitled SECTION
    1. Untitled BODY
      1. 3. Shocking, Shifting, Straining
        1. Successive Dark-Light Contrasts: Shocking the Eyes
        2. The Invasive Photo Camera
          1. Destructive White Light
        3. Successive Complementary Contrasts
          1. Waking up the Audience
          2. Abstract Colours
        4. Untitled SECTION
    1. Untitled BODY
      1. 4. Oscillating Op Art
        1. Fluctuations and Interactions
        2. Feeling Colour in Op Art
        3. Untitled SECTION
    1. PART II COLOUR PSYCHOLOGIES
      1. Untitled SECTION
    1. Untitled BODY
      1. 5. How Can Colours (Be) Control(led)
        1. Colour Consultancy
        2. Functional Colours
        3. Selling with Colour
        4. Slowly Unleashing Colour in Film
        5. Playing with Conditioned Colours
        6. Untitled SECTION
    1. Untitled BODY
      1. 6. Coloured Light, Vibrations, Temperature, and Mood
        1. Immersed Bodies
          1. Colour and Temperature
          2. Coloured Light and the Vibrating Body
          3. Mood, Atmosphere and Coloured Light
        2. Coloured Light in Film
          1. Diegetic Lights in Colour
          2. Coloured Lights Hovering in Filmic Space
          3. Coloured Light and the Creation of ‘Ostranenie’
        3. Untitled SECTION
    1. Untitled BODY
      1. PART III: TOUCHING AND TASTING IN COLOUR
        1. Untitled SECTION
    1. Untitled BODY
      1. 7. Colour, Taste and Food
        1. Colour and Taste
        2. The Fraught History of Food Dyes
        3. Colour Change and Decay
        4. Controlled Food Compositions
        5. Subversion, Food and Touch
        6. Untitled SECTION
    1. Untitled BODY
      1. 8. Touching Colours
        1. Haptic Mimicry
        2. Smooth Surfaces and the Female Skin
        3. Rough Surfaces and the Female Skin
        4. Contrast and Tension
        5. Porn and the Visceral Materiality of Colour
        6. Untitled SECTION
    1. Untitled BODY
      1. Coda: Hallucinating Colours
        1. The Event: Films
        2. The Longue Durée: Cultural Contexts
        3. The Quasi Immobile: Biologies
        4. Final Reflections
        5. Untitled SECTION
    1. Untitled BODY
      1. Bibliography
        1. Websites
    1. Untitled BODY
      1. Filmography
    1. Untitled BODY
      1. List of Illustrations
    1. Untitled BODY
      1. Index
    1. Untitled BODY
      1. About the Team
    1. Untitled BODY
      1. This book need not end here…
        1. Share
        2. Donate
        3. We invite you to connect with us on our socials!
        4. Read more at the Open Book Publishers Blog
    1. You may also be interested in:
    1. Untitled BODY
    1. Untitled BODY
      1. Contents
      2. Landmarks

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A close-up shot from ‘Modesty Blaise’ where two characters are embracing. The woman’s hands hold a small sharp object behind the man’s back, creating a sense of tension. The purple and black patterned wall serves as the background.”, N/A N/A ch4.xhtml#epubcfi(/4[Lameris-0380]/2[Container069]/134/2[Container067]/2) N/A
A dramatic shot from ‘Modesty Blaise’ featuring Modesty grabbing a man by the neck, her expression intense. The purple and black triangle-patterned wall is prominent in the background, adding to the dynamic tension of the scene.”, N/A N/A ch4.xhtml#epubcfi(/4[Lameris-0380]/2[Container069]/140/2[Container068]/2) N/A
A scene from ‘Red Desert’ (1964) where a woman in a green coat walks down a set of industrial metal stairs. The environment is cold and mechanical, with pipes and metal structures dominating the background.”, N/A N/A partII.xhtml#epubcfi(/4[Lameris-0380]/2[Container074]/10/2[Container071]/2) N/A
A continuation from ‘Red Desert’ (1964) showing the same woman in a green coat walking through an industrial plant. Steam rises from the floor, and large pipes fill the scene, adding to the film’s industrial atmosphere.”, N/A N/A partII.xhtml#epubcfi(/4[Lameris-0380]/2[Container074]/14/2[Container072]/2) N/A
A scene from ‘Red Desert’ (1964) showing the woman walking up metal stairs in an industrial environment. The camera angle emphasizes the looming presence of machinery, with large pipes and shadows surrounding her.”, N/A N/A partII.xhtml#epubcfi(/4[Lameris-0380]/2[Container074]/20/2[Container073]/2) N/A
End credits of the film ‘Lassie Come Home’ showing Technicolor photography credits. The names include Leonard Smith as the director of photography and Natalie Kalmus as the Technicolor color director. The backdrop features a picturesque landscape with Lassie, the famous collie dog.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/18/2[Container076]/2) N/A
End credits of the film ‘Cleopatra’ showing key production roles such as assistant director Fred R. Simpson, production managers Forrest E. Johnston, C.O. Erickson, and color consultant Leonard Doss. The credits are displayed over a backdrop of an ancient Roman-style painting.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/22/2[Container077]/2) N/A
A still from the 1963 epic historical drama film ‘Cleopatra’, directed by Joseph L. Mankiewicz. The image shows a woman, presumably Cleopatra, waking up in a luxurious bed draped in golden curtains. The scene conveys the opulence and grandeur associated with Cleopatra’s rule in ancient Egypt.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/54/2[Container078]/2) N/A
A scene from the 1963 historical epic ‘Cleopatra’. The image captures a solemn moment where Cleopatra, dressed in a black cloak, stands in a dimly lit chamber. Hieroglyphics and ancient Egyptian motifs can be seen on the wall behind her, reinforcing the film’s historical setting.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/58/2[Container079]/2) N/A
A functional color code chart from a mid-20th century industrial manual. The image shows different safety colors (such as red, green, yellow, orange, and blue) along with descriptions explaining their uses, such as marking fire protection equipment, safety zones, and hazards in the workplace. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/82[table012]/4/2/2/2/2[Container080]/2) N/A
A page from an industrial brochure titled ‘Color Conditioning for Industry’. The image highlights the importance of using color in factory environments to boost production, improve morale, and promote safety. A large industrial machine is depicted at the bottom of the page. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/82[table012]/4/2/4/2/2) N/A
A still from the 1950 science fiction film ‘Destination Moon’. The image shows workers assembling a rocket structure with a red scaffolding in a desert-like environment. This film was one of the earliest depictions of a space mission in American cinema, focusing on the challenges of space exploration. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/90[table013]/4/2/2/2/2[Container082]/2) N/A
A scene from the 1950 science fiction film ‘Destination Moon’. A man is shown inside a rocket ship, seated in front of a control panel filled with various buttons, dials, and gauges. This early science fiction film explored the technological and human challenges of traveling to the moon. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/90[table013]/4/2/4/2/2[Container083]/2) N/A
A scene from the 1960 East German-Polish science fiction film ‘The Silent Star’ (Der Schweigende Stern). The image shows a man in a cloak standing in a room with futuristic, Egyptian-themed decorations. The scene conveys an atmosphere of mystery and tension, characteristic of this film’s plot about an international space mission to Venus.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/92/2[Container084]/2) N/A
A scene from the 1960 East German-Polish science fiction film ‘The Silent Star’ (Der Schweigende Stern). The image shows two men embracing in a futuristic setting, with a greyish industrial background. This film is a portrayal of an international team of astronauts on a mission to Venus.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/96/2[Container085]/2) N/A
A scene from the 1950 film ‘Destination Moon,’ showcasing three astronauts in space suits of blue, teal, and orange floating in space. The background is a starry sky, and the astronauts are connected by cables.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/102/2[Container086]/2) N/A
A scene from ‘Destination Moon’ (1950) with four astronauts in colorful space suits standing on a rocky moon surface near their spaceship. The suits are blue, teal, yellow, and orange, with large, rounded helmets.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/106/2[Container087]/2) N/A
A still from the 1960 East German science fiction film ‘The Silent Star’ (Schweigende Stern), depicting astronauts in red, blue, and teal space suits in a space environment. The colorful suits reflect the retro-futuristic aesthetic.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/110/2[Container088]/2) N/A
An image of the Bauhaus-inspired Josef Albers’ nesting tables. The set of four tables showcases modernist design with clean lines, oak frames, and tops painted in pastel colors like blue, orange, yellow, and mint green.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/118/2[Container089]/2) N/A
A scene from the 1957 film ‘Funny Face,’ showing two women sitting at desks in a stark, minimalist office with six brightly colored doors (blue, red, yellow, black, pink, orange, and green) in the background. One woman is walking toward the black door. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/126[table014]/4/2/2/2/2[Container090]/2) N/A
A scene from ‘Funny Face’ (1957), where an older woman is seated at a desk during a meeting. The room is filled with colorful cushions and fabric samples, emphasizing a fashion-oriented setting. She is surrounded by assistants who take notes. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/126[table014]/4/2/4/2/2[Container091]/2) N/A
The opening shot from the 1957 film ‘Funny Face,’ featuring a close-up of a model’s face with bold blue eyeshadow, red lipstick, and striking jewelry. The image is a classic representation of fashion photography from the film’s intro sequence.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/128[table015]/4/2/2/2/2[Container092]/2) N/A
A striking image from a fashion photography piece by Richard Avedon, featuring a model with slicked-back hair, bold red lipstick, red nails, and dramatic blue and green eyeshadow. The model wears two large rings, one with a turquoise stone and the other a dark gemstone.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/128[table015]/4/2/6/2/2[Container093]/2) N/A
A scene from the 1958 film “”Mon Oncle”” directed by Jacques Tati. Two women in dresses and hats stand in a minimalist modern room with bright sunlight. The room features a black dining table, wire chairs with pink cushions, and a zigzagging staircase in the background.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/136[table016]/4/2/2/2/2[Container094]/2) N/A
A scene from “”Mon Oncle”” (1958). A young boy, a man in a suit, and a man wearing a trench coat are seated outdoors around a small table. The wire chairs have pink cushions, and the modernist building with blue accents is visible behind them.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/136[table016]/4/2/4/2/2[Container095]/2) N/A
In the film “”Mon Oncle”” (1958), two businessmen examine a fire extinguisher in a modern industrial space with white and blue walls. One man, holding a clipboard, gestures towards the fire extinguisher, while the other in a suit and hat looks up.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/136[table016]/4/4/2/2/2[Container096]/2) N/A
From the movie “”Mon Oncle”” (1958), a humorous moment where a man in a gray work coat uses a fire hose, causing water to spray everywhere in an industrial workplace. The background shows white partitions and industrial equipment.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/136[table016]/4/4/4/2/2[Container097]/2) N/A
A tense moment from the 1953 film “Niagara,” with actress Marilyn Monroe peeking from behind a curtain inside a modern building. Her face is partially shadowed, with a glimpse of a red door and staircase in the background. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/148[table017]/4/2/2/2/2[Container098]/2) N/A
A dramatic shot from the 1953 film “Niagara” featuring Marilyn Monroe. She stands under harsh red lighting, smiling nervously while wearing a black suit with a white scarf. A red light fixture glows behind her. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/148[table017]/4/2/4/2/2[Container099]/2) N/A
A 1956 advertisement for DuPont Color Conditioning Flat Enamel paint. The ad promotes various paint finishes, including flat, semi-gloss, and specialty enamels, emphasizing qualities like durability, odorlessness, and quick drying. The text includes detailed product descriptions and a large image of a green paint can.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/158/2[Container100]/2) N/A
A hallway scene from the 1956 film “”Written on the Wind,”” directed by Douglas Sirk. A man in a gray suit walks down a brightly lit corridor with red walls, gray doors, and artwork on the walls. The polished floor reflects the stylish setting.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/182/2[Container101]/2) N/A
A scene from “”Written on the Wind”” showing a woman in a light grey jacket standing near a decorative mirror and a vibrant arrangement of red roses. The woman appears poised and deep in thought.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/186/2[Container102]/2) N/A
A hotel room scene from “”Written on the Wind”” where a man dressed in a suit and fedora enters the room while the hotel staff tidies up a table. The room has blue walls, mid-century modern furniture, and a comfortable atmosphere.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/190/2[Container103]/2) N/A
Another scene from “”Written on the Wind”” where a woman stands near an open window at night. The moonlight casts shadows on her face as she looks contemplative and troubled.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/198/2[Container104]/2) N/A
A wide shot of the iconic modernist interior from “”North by Northwest”” showing a futuristic lobby with sweeping architectural lines and people gathered in the background. The design emphasizes sleek, curved forms and open space.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/204/2[Container105]/2) N/A
A close-up from “”North by Northwest”” featuring the protagonist, played by Cary Grant, interacting with an airport clerk at the ticket counter. The protagonist is dressed in a grey suit, appearing calm yet concerned.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/208/2[Container106]/2) N/A
A scene from the dining car in “”North by Northwest”” where the protagonist, disguised with sunglasses, walks through a formal dining area filled with passengers and waitstaff. The car is lively, with white tablecloths and suited diners.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/212/2[Container107]/2) N/A
A hallway scene from “”Rebel Without a Cause”” where a young woman cautiously stands in the foreground, peering into a bedroom where two people are engaged in conversation. The lighting and composition create a tense and introspective mood.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/220/2[Container108]/2) N/A
A scene from “”Rebel Without a Cause”” featuring two characters standing in a bathroom. The woman, wearing a light pink robe, looks concerned as she faces her reflection in the mirror. A man, wearing a brown robe and holding a drink, stands in the doorway of the bedroom behind her.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/224/2[Container109]/2) N/A
A man in a light grey suit sits on a red velvet armchair, while a woman in an elegant white dress walks into the red-decorated Victorian parlor. The room is filled with luxurious decor and old-fashioned furniture. This scene is from the musical film ‘Gigi’ (1958).”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/232/2[Container110]/2) N/A
A man kisses a woman on the shoulder while she lies on a bed smiling. The room is decorated in deep red with gold accents. This scene comes from the romantic comedy ‘Lover Come Back’ (1961), showcasing an intimate moment.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/236/2[Container111]/2) N/A
A man and woman stand in a mid-century modern living room, the man holds a hat while observing the room. The living space is minimalistic with muted tones and colorful pillows. This scene is from the 1961 film ‘Bachelor in Paradise’.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/254/2[Container112]/2) N/A
A man in a grey suit stands in a blue pastel-colored bedroom holding a hat. The room has soft blue walls, a bed, and a side table with a lamp, creating a calm and orderly setting. This scene is from ‘Bachelor in Paradise’.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/258/2[Container113]/2) N/A
A man in a light-colored suit observes a woman standing on a chair, reaching for something on the kitchen cabinets. The kitchen has wood-paneled cupboards and a yellow refrigerator. This is a scene from ‘Bachelor in Paradise’.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/262/2[Container114]/2) N/A
A woman in a white hat and suit looks towards a wood-paneled wall, her back to the camera, in a mid-century modern room. The wall has a small horse artwork and modern furniture. This scene is from ‘Bachelor in Paradise’.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/270/2[Container115]/2) N/A
The same woman in a white hat and suit smiles at a man while showing him a colorful, hidden bar space in the wood-paneled room. Glassware and a television are visible. This is from ‘Bachelor in Paradise’.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/274/2[Container116]/2) N/A
A man and a woman shake hands in a design showroom. The man, dressed in a suit, holds a hat in his other hand. The woman, in a light blue suit, is in a professional interaction. Carpet and tile samples decorate the wall behind them. This scene is from the film ‘Bachelor in Paradise’. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/282[table018]/4/2/2/2/2/2) N/A
A retro office setting filled with color palettes and sample boards. The image depicts Faber Birren in a suit standing in a color consultation room, surrounded by 1950s design materials, including fabric, paint, and laminate samples. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/282[table018]/4/2/4/2/2[Container118]/2) N/A
A scene from the 1953 film ‘The Bachelor,’ featuring a man standing by a vibrant red sofa in a stylish living room. The setting features modern design elements and warm lighting, characteristic of mid-century interior design. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/288[table019]/4/2/2/2/2[Container119]/2) N/A
Another scene from the film ‘The Bachelor’ (1954), showcasing a woman in a black nightgown holding a cigarette. The colorful abstract artwork behind her reflects the bold color choices typical of the era. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/288[table019]/4/2/4/2/2[Container120]/2) N/A
A scene from ‘Lover Come Back’ (1961) where a maid opens a red door to reveal a modern living room with bold blue and red accents. The room’s color scheme reflects the vibrant palette popular in mid-century design. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/294[table020]/4/2/2/2/2/2) N/A
Another color palette diagram from ‘Lover Come Back’ (1961), with a focus on neutrals and reds, showing how the film’s scenes are dominated by muted tones with splashes of vivid color. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/294[table020]/4/2/4/2/2[Container122]/2) N/A
A still from the 1961 film ‘Lover Come Back,’ showing a woman in a 1960s kitchen with retro cabinetry in pastel colors like red, blue, and white. The kitchen represents the modern design aesthetic of the early 60s. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/296[table021]/4/2/2/2/2[Container123]/2) N/A
A color palette diagram from the film ‘Lover Come Back’ (1961), showing dots scattered on a dark background, representing a range of colors used in the film’s design, primarily focused on reds and neutrals. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/296[table021]/4/2/4/2/2[Container124]/2) N/A
An image of color swatches from 1963, showcasing popular colors from the 1950s including Flame Red, Chartreuse, Sulphur Yellow, and more. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/302[table022]/4/2/2/2/2/2) N/A
A color palette page from a 1963 design reference. The palette contains various pastel and neutral colors with labels such as Sandtone, Light Jade, Medium Coral, and Sunset Orange. N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/302[table022]/4/2/4/2/2/2) N/A
A scene from the film ‘Lover Come Back’ showing a bunch of colorful chocolate coins scattered on a surface, with multiple hands grabbing them. The shiny wrappers are in various colors like red, green, and blue.”, N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/308[table023]/4/2/2/2/2[Container127]/2) N/A
A visual analysis screenshot likely from ‘Lover Come Back’ showing a data representation in the form of a circular color palette with various shades of dots clustered around different sections. The image looks like a scientific or visual art analysis tool., N/A N/A ch5.xhtml#epubcfi(/4[Lameris-0380]/2[Container129]/308[table023]/4/2/4/2/2[Container128]/2) N/A
A scene from the film ‘Playtime’ where two women in hats are sitting at a table, gesturing animatedly. The setting is a modernistic office or exhibition space with clean lines and bright lighting, and a man is interacting with them using a microphone or device. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/14[table024]/4/2/2/2/2[Container131]/2) N/A
A scene from the film ‘Deserto Rosso’ showing a woman’s foot near a fire or some form of embers, possibly suggesting a moment of warmth or danger. The lighting casts dramatic shadows on the foot, with the background in deep, fiery tones. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/14[table024]/4/2/4/2/2[Container132]/2) N/A
A bar graph labeled ‘Keyword usage by Year’ shows data across many decades. The graph likely represents historical data with peaks and valleys showing frequency trends. It has a dark background and bright blue bars., N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/20/2[Container133]/2) N/A
A scene from the film ‘Deserto Rosso’ where several people are lying or sitting on a bed in a room with bright red walls. They seem engaged in some form of conversation or interaction, with an intimate or tense atmosphere. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/26[table025]/4/2/2/2/2[Container134]/2) N/A
A scene from the film ‘Deserto Rosso’ where a woman in a green outfit is investigating something hidden behind a wooden panel. The background includes some rustic elements, and she appears to be pulling out an object from a crevice. The colors are muted with earthy tones. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/26[table025]/4/2/4/2/2[Container135]/2) N/A
A still from ‘Deserto Rosso’ showing a woman smiling while holding a red object. The background is a cool, textured blue, creating a contrast with the bright red item she’s holding. The scene evokes themes of isolation and industrialization common in the film. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/26[table025]/4/2/6/2/2[Container136]/2) N/A
A close-up from ‘Sei Donne Per L’Assassino’ showing a hand reaching towards a glowing red object. The scene is intense with the red color signifying danger or mystery, typical of the film’s giallo style. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/32[table026]/4/2/2/2/2[Container137]/2) N/A
A still from ‘Sei Donne Per L’Assassino’ showing a woman with a shocked expression, her face illuminated in intense red lighting. The stylized use of red light heightens the horror and suspense central to the film. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/32[table026]/4/2/6/2/2[Container138]/2) N/A
A blue-tinted scene from the film ‘Le Brasier Ardent’ showing two characters sitting on a grand staircase in a large, dramatic interior. The use of blue light gives the scene a dreamlike, surreal quality.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/66/2[Container139]/2) N/A
A graph depicting color analysis from films over time, using ‘Chroma dYear.’ Each point on the graph is represented by small images, marking the increase in chroma values from 1938 to 1948, revealing shifts in color usage across films.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/130/2[Container140]/2) N/A
A film strip from ‘All That Heaven Allows’ showing a man entering a house, casting a blue light from the doorway. Inside, three characters stand on a staircase, creating a sense of tension through color and composition.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/134[table027]/4/2/2/2/2[Container141]/2) N/A
Film strip featuring two scenes from ‘All That Heaven Allows.’ In the first frame, a woman stands near a fireplace with dramatic lighting. The second frame shows a man silhouetted against a snowy window. The film uses warm and cool color contrasts to highlight the mood of each scene.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/134[table027]/4/2/4/2/2[Container142]/2) N/A
A scene from Alfred Hitchcock’s “Rope” where a character portrayed by James Stewart confronts another man, tense atmosphere heightened by dramatic lighting, set in a stylish New York apartment filled with books and furniture. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/142[table028]/4/2/2/2/2[Container143]/2) N/A
Another still from “Rope” showing James Stewart’s character holding a gun, with two other men in the room, one sitting at the piano. The scene captures the psychological tension of the thriller set in a single apartment location. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/142[table028]/4/2/6/2/2[Container144]/2) N/A
A still from the film “”Une Femme Est Une Femme”” by Jean-Luc Godard. This frame shows neon signs against a dark sky, showcasing the French New Wave film’s playful use of visual language and color.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/150/2[Container145]/2) N/A
A scene from Alfred Hitchcock’s “”Vertigo”” where Kim Novak’s character is bathed in green neon light from a nearby sign, creating an eerie and mysterious atmosphere, typical of the film’s use of lighting and color to evoke psychological tension.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/158[table029]/4/2/2/2/2[Container146]/2) N/A
A still from “”Vertigo”” showing a haunted figure of Kim Novak standing in the doorway of a room. The frame is bathed in green light, emphasizing the film’s themes of obsession and identity.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/158[table029]/4/2/4/2/2[Container147]/2) N/A
A close-up shot from “”Vertigo”” showing a woman illuminated with a moody, cool-toned light. This shot adds to the film’s themes of mystery and suspense.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/158[table029]/4/2/6/2/2[Container148]/2) N/A
A graph depicting color analysis from films over time, using ‘Chroma dYear.’ Each point on the graph is represented by small images, marking the increase in chroma values from 1938 to 1948, revealing shifts in color usage across films.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/170/2[Container149]/2) N/A
This close-up shot features a man with a full beard, wearing round spectacles and a dark coat, under dim lighting, creating a tense and moody atmosphere. This character is known as “The Duke,” portrayed by Richard Roxburgh, who is one of the antagonists in the film. His serious and imposing expression reflects his manipulative and possessive nature, pivotal in the film’s love triangle storyline involving the protagonist Christian and Satine, the cabaret star. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/200[table030]/4/2/2/2/2[Container150]/2) N/A
This still shows an antique gas wall lamp, casting a dramatic shadow against a wall, which evokes the turn-of-the-century Parisian setting central to Moulin Rouge!. The lighting is warm, yet the surrounding darkness hints at the underlying tension and complexity within the film’s narrative, which contrasts the vibrant, lively scenes of the Moulin Rouge cabaret. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/200[table030]/4/2/4/2/2[Container151]/2) N/A
An image from ‘Moulin Rouge’ (1952), showing José Ferrer portraying the famous artist Henri de Toulouse-Lautrec. The dim lighting and green tint create a melancholic mood, reflecting the character’s troubled life. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/200[table030]/4/2/6/2/2[Container152]/2) N/A
An image from ‘To Catch a Thief’ (1955) showing a black cat walking on a roof at night, a metaphor for the film’s central theme of cat burglary. The dark, atmospheric lighting adds tension to the scene.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/212/2[Container153]/2) N/A
An image from ‘To Catch a Thief’ (1955), showing a group of chefs and a tall man in a kitchen. This scene provides comic relief and adds depth to the characters, particularly Cary Grant’s lead role as a former thief. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/220[table031]/4/2/2/2/2[Container154]/2) N/A
An image from ‘To Catch a Thief’ (1955), featuring Cary Grant and Brigitte Auber in a cellar. The lighting and their body language hint at a developing romantic tension between the characters. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/220[table031]/4/2/4/2/2[Container155]/2) N/A
An image from ‘To Catch a Thief’ (1955), showing a lavish outdoor party with attendees in 18th-century-style costumes. The extravagant set design and costumes are reflective of Alfred Hitchcock’s attention to detail. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/220[table031]/4/2/6/2/2[Container156]/2) N/A
An image from ‘Der Schweigende Stern’ (1960), showing a barren alien landscape with skeletal remains, emphasizing the film’s bleak vision of interstellar exploration and the consequences of nuclear war.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/240/2[Container157]/2) N/A
Another image from ‘The War of the Worlds’ (1953), depicting a Martian hand struggling as it reaches out of a trap. The red lighting and smoke create a sense of urgency and fear as the alien tries to escape. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/246[table032]/4/2/2/2/2[Container158]/2) N/A
An image from ‘The War of the Worlds’ (1953), depicting a Martian’s clawed hand reaching out on a metal surface. The scene is significant for showing the first appearance of the alien life forms. N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/246[table032]/4/2/4/2/2[Container159]/2) N/A
An image from ‘Der Schweigende Stern’ (1960), showing a barren alien landscape with skeletal remains, emphasizing the film’s bleak vision of interstellar exploration and the consequences of nuclear war.”, N/A N/A ch6.xhtml#epubcfi(/4[Lameris-0380]/2[Container161]/276/2[Container160]/2) N/A
An image from ‘Daisies’ (1966) by Věra Chytilová. A woman’s hand reaches for food from a buffet table loaded with an array of dishes, reflecting the film’s surreal and anti-establishment themes. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/16[table033]/4/2/2/2/2[Container165]/2) N/A
A vibrant scene from ‘Daisies’ (1966) where an elaborate feast is displayed on a large table. The decadent spread reflects the film’s exploration of excess and consumerism, central to its critique of societal norms. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/16[table033]/4/2/6/2/2[Container166]/2) N/A
A scene from ‘Il Deserto Rosso’ (Red Desert) (1964) by Michelangelo Antonioni. A solitary woman sits next to a cart filled with objects, the muted colors evoking the film’s themes of alienation and modern industrial landscapes.”, N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/22/2[Container167]/2) N/A
A famous scene from ‘Singin’ in the Rain’ (1952), where a woman emerges from a large decorative cake during a glamorous party. The whimsical and joyful moment is characteristic of the musical’s lightheartedness and Hollywood setting. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/50[table034]/4/2/2/2/2[Container168]/2) N/A
A still from ‘Pierrot le Fou’ (1965) by Jean-Luc Godard, with colorful lighting and surrealistic elements. The image depicts people standing around a cake-like structure, reflecting the playful and anarchic spirit of the French New Wave. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/50[table034]/4/2/4/2[table035]/4/2/2/2/2[Container169]/2) N/A
A scene from the film ‘Playtime’ (1967) by Jacques Tati. The image shows a man standing in a shop, with a neon green cross indicating a pharmacy. The man in a white coat seems to be serving food while a customer is visible with a drink in hand. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/64[table036]/4/2/2/2/2[Container170]/2) N/A
A scene from Jacques Tati’s 1967 film ‘Playtime’ where two men in hats are dining inside a modern glass cafeteria with bright neon pharmacy sign visible outside, capturing the film’s satirical take on modern life. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/64[table036]/4/2/4/2/2[Container171]/2) N/A
A chaotic kitchen scene from Peter Greenaway’s 1989 film ‘The Cook, the Thief, His Wife & Her Lover’, showcasing an extravagant and grim array of food and kitchen preparations in a dark, theatrical setting.”, N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/70/2[Container172]/2) N/A
An iconic image from the 1966 film ‘Daisies’ directed by Věra Chytilová, featuring a hand holding a knife while cutting watermelons in a cluttered, graffitied kitchen, highlighting the film’s absurdist and anarchic style. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/80[table037]/4/2/2/2/2[Container173]/2) N/A
Another scene from ‘Daisies’ (1966), showing cracked, empty watermelon shells placed haphazardly on a table next to a tea cup, symbolizing the film’s themes of consumption and destruction. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/80[table037]/4/2/6/2/2[Container174]/2) N/A
A color chart from Faber Birren’s guide ‘Color for Interiors’ used in the context of food service, showcasing various shades such as Vermilion, Peach, and Cascade Blue, designed to influence appetite and dining environments.”, N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/90/2[Container175]/2) N/A
A kitchen table shot from Roman Polanski’s 1968 film ‘Rosemary’s Baby’ featuring an open cookbook, fresh seafood, and various cooking ingredients, setting a domestic yet unsettling mood as part of the film’s growing tension. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/96[table038]/4/2/2/2/2[Container176]/2) N/A
Catherine Deneuve appears as Geneviève in ‘The Umbrellas of Cherbourg’ (1964), sitting at a dinner table while casually eating a piece of lettuce. The pastel pinks and greens reflect the film’s romantic yet melancholic tone. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/96[table038]/4/2/4/2/2[Container177]/2) N/A
A vibrant still from the 1935 film ‘Color Rhapsodie’ showing a bowl of fresh oranges on a white pedestal with some peeled and cut pieces. The scene emphasizes color through natural fruit tones against a dark background. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/104[table039]/4/2/2/2/2[Container178]/2) N/A
Close-up image of a pile of fresh peaches arranged in a pyramid on a white plate. This scene from an unknown film emphasizes the natural beauty of the fruits, likely symbolizing abundance or sensuality. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/104[table039]/4/2/4/2/2[Container179]/2) N/A
Scene from Goldfinger (1964) directed by Guy Hamilton. A luxurious dinner table is set with fresh vegetables and garnishes, including fish, cucumbers, and tomatoes. This meal scene occurs in a high-class setting, representing wealth and sophistication. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/108[table040]/4/2/2/2/2[Container180]/2) N/A
Scene from Goldfinger (1964) directed by Guy Hamilton. Two people are lying in bed, their legs intertwined, suggesting intimacy or romance. The film’s tone often mixes luxury and desire, with this scene adding a sensual element to the narrative. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/108[table040]/4/2/6/2/2[Container181]/2) N/A
Scene from Daisies (1966) directed by Věra Chytilová. A woman wearing a flower crown cuts a banana with scissors in a bizarre and playful moment, reflecting the film’s surreal and anarchic style. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/116[table041]/4/2/2/2/2[Container182]/2) N/A
Scene from Daisies (1966) directed by Věra Chytilová. A woman with pigtails takes a large bite out of a piece of pizza, adding to the film’s chaotic, rebellious depiction of food and consumption as a form of protest or indulgence. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/116[table041]/4/2/4/2/2[Container183]/2) N/A
Scene from the film Mon Oncle (1958) directed by Jacques Tati. A food vendor prepares fried goods at a street stall, with three young boys watching eagerly. The film is a satire of modernity, and this scene captures the lively, everyday charm of the older neighborhood in contrast to the sterile modern life. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/126[table042]/4/2/2/2/2[Container184]/2) N/A
Scene from Mon Oncle (1958) directed by Jacques Tati. In a starkly modern kitchen, a boy in blue pajamas slumps sleepily at the table while a woman in a white uniform prepares food in a modern oven. The sterile, overly mechanized kitchen is part of the film’s critique of the sterile modern lifestyle. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/126[table042]/4/2/4/2/2[Container185]/2) N/A
Scene from Gigi (1958) directed by Vincente Minnelli. In a luxurious garden room, a butler pours wine for a young woman dressed in blue while an elderly woman sits at the table. This setting emphasizes the opulent, upper-class Parisian society that the film explores. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/132[table043]/4/2/2/2/2[Container186]/2) N/A
A scene from the musical film ‘Gigi’ (1958) directed by Vincente Minnelli. In a vintage kitchen, a woman stands smiling as a man bends over to smell or taste a pot on the stove. The setting is filled with retro decor, including a wooden stove and old-fashioned jars, evoking the Parisian setting of the story. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/132[table043]/4/2/4/2/2[Container187]/2) N/A
A scene from ‘Rosemary’s Baby’ (1968), directed by Roman Polanski. The main character Rosemary, played by Mia Farrow, eats a raw piece of meat in her kitchen. The white-tiled background and cookbook on the shelf contrast with the disturbing action, reflecting the film’s growing sense of unease and horror. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/142[table044]/4/2/2/2/2[Container188]/2) N/A
Another scene from ‘Rosemary’s Baby’ (1968), featuring a reflection of Rosemary in a toaster as she examines her hands after eating raw meat. This unsettling moment reflects the paranoia and tension building in the film as Rosemary becomes increasingly isolated and disturbed. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/142[table044]/4/2/4/2/2[Container189]/2) N/A
A comedic moment from Alfred Hitchcock’s ‘To Catch a Thief’ (1955), where a man gets hit in the face with a splatter of eggs while looking through a glass window. This slapstick-like visual gag contrasts with the film’s usual tone of suspense and romantic tension.”, N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/150/2[Container190]/2) N/A
A close-up of a character in ‘To Catch a Thief’ (1955), delicately salting a fried egg with a cigarette, another odd yet sophisticated action typical of Hitchcock’s use of visual humor amidst suspense.”, N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/154/2[Container191]/2) N/A
A surreal image from ‘The Tales of Hoffmann’ (1951), featuring a character reclining upside down with a medusa-like headdress. The baroque and theatrical design elements are central to the film’s vibrant and otherworldly aesthetic. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/164[table045]/4/2/2/2/2[Container192]/2) N/A
A fantastical scene from ‘The Tales of Hoffmann’ (1951), directed by Michael Powell and Emeric Pressburger, depicts a luxurious, surreal banquet with extravagant costumes and makeup. The opulent and dreamlike setting underscores the film’s operatic and fantastical nature. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/164[table045]/4/2/4/2/2[Container193]/2) N/A
A scene from the Czech film ‘Daisies’ (1966), directed by Věra Chytilová, shows an unusual jar filled with green liquid on a cluttered table with a retro alarm clock and ornate lamp beside it. This surreal moment reflects the film’s avant-garde style and absurdist commentary on societal norms. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/174[table046]/4/2/2/2/2[Container194]/2) N/A
A scene from the avant-garde film ‘Daisies’ (1966) where a character playfully handles a fork with a cucumber slice, showcasing the film’s absurdist humor and rebellious style. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/174[table046]/4/2/4/2/2[Container195]/2) N/A
In ‘Daisies’ (1966), a character in a bathtub, with daisies in her hair, submerges her face in the water, symbolizing the surreal and chaotic themes of the film. N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/174[table046]/4/2/6/2/2[Container196]/2) N/A
Another iconic moment from ‘Daisies’ (1966), where characters disrupt a lavish feast, here one of them stepping onto plates of food, illustrating their rebellion against societal norms.”, N/A N/A ch7.xhtml#epubcfi(/4[Lameris-0380]/2[Container198]/180/2[Container197]/2) N/A
A scene from ‘The Tales of Hoffmann’ (1951), where a dancer steps onto a red-clay sculpture, part of the film’s visually stunning and fantastical opera narrative.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/36[table047]/4/2/2/2/2[Container200]/2) N/A
A romantic moment from ‘The Quiet Man’ (1952), with John Wayne and Maureen O’Hara passionately kissing in the rain, epitomizing the film’s lush Irish setting and classic love story. N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/36[table047]/4/2/4/2/2[Container201]/2) N/A
Cover of Photoplay magazine from August 1954 featuring Terry Moore in a swimsuit on the beach, symbolizing the glamour of 1950s Hollywood starlets. N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/44[table048]/4/2/2/2/2[Container202]/2) N/A
A Photoplay magazine spread from 1952 featuring Marilyn Monroe, titled ‘I Want Women to Like Me’, emphasizing her public persona as she sought appeal beyond being a sex symbol. N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/44[table048]/4/2/4/2/2[Container203]/2) N/A
Cover of Photoplay magazine from November 1955 featuring Kim Novak in a bubble bath, representing her rising stardom during the 1950s in Hollywood. N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/44[table048]/4/2/6/2/2[Container204]/2) N/A
A vintage Playboy image featuring a pin-up model from the mid-20th century, posed against a bright red backdrop. The playful and sensual tone reflects the iconic aesthetic of the era’s glamor photography.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/74/2[Container205]/2) N/A
A still from the movie ‘Le Mépris’ (1963), featuring a semi-nude couple lying in bed in a dimly lit, red-hued room. This scene conveys intimacy and alienation, key themes in Jean-Luc Godard’s exploration of love and disillusionment.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/94[table049]/4/2/2/2/2[Container206]/2) N/A
A color palette visualization related to the film ‘Le Mépris’ (1963), displaying shades of dark red and black. This image represents a color space related to a specific scene or thematic element in the movie, emphasizing its somber and intense emotional tones.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/94[table049]/4/2/4/2/2[Container207]/2) N/A
A scene from ‘Le Mépris’ (1963), showing a woman lying naked on a red couch. The framing and the use of red highlight the sensuality and visual aesthetic Godard employs to examine the female form and personal alienation.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/94[table049]/4/4/2/2/2[Container208]/2) N/A
Another color palette visualization from ‘Le Mépris’ (1963), focusing on the contrast between skin tones and dark reds. This visualization reflects the tension and emotional depth of a particular scene from the film.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/94[table049]/4/4/4/2/2[Container209]/2) N/A
A still from ‘Le Mépris’ (1963) featuring a woman in a blue-lit scene, with strong shadows that suggest mystery or detachment. The scene uses blue lighting to evoke coldness or emotional distance.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/94[table049]/4/6/2/2/2[Container210]/2) N/A
A color palette related to a scene from ‘Le Mépris’ (1963), featuring various shades of blue and black. This palette reflects the somber and distant emotional state represented in the film’s imagery.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/94[table049]/4/6/4/2/2[Container211]/2) N/A
Another scene from ‘Le Mépris’ (1963), showcasing a woman lying in a soft, blue-lit environment, her figure emphasized by lighting that evokes a cold, detached atmosphere. The visual style contrasts warm human forms with cool surroundings.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/94[table049]/4/8/2/2/2[Container212]/2) N/A
A color palette visualization from ‘Le Mépris’ (1963), with shades of beige, black, and blue. This palette represents a specific scene’s color scheme, showing the film’s atmospheric use of contrasting warm and cool tones.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/94[table049]/4/8/4/2/2[Container213]/2) N/A
A luxurious bath scene from ‘Cleopatra’, with a woman being massaged by an attendant, capturing the opulence of ancient Egypt.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/104/2[Container214]/2) N/A
A scene from ‘Cleopatra’, where a woman is relaxing in a luxurious bath, showing the lavish lifestyle of the Egyptian elite.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/112/2[Container215]/2) N/A
A man in a bath from ‘Cleopatra’, representing the Roman and Egyptian political and personal alliances in the film.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/114/2[Container216]/2) N/A
A scene from ‘Et Dieu Crea La Femme’, featuring a young woman in a red dress standing by a blue door, with a serious expression.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/150/2[Container217]/2) N/A
A scene from ‘Et Dieu Crea La Femme’, showing a man and a woman standing by a jukebox, reflecting a tense or reflective moment.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/154/2[Container218]/2) N/A
A scene from ‘La Prisonnière’, showing a man in a red jacket standing by a large rusted metallic structure, likely part of an abandoned ship.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/166/2[Container219]/2) N/A
A scene from ‘La Prisonnière’, showing a person in a yellow raincoat and beret exploring the remains of an old boat.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/170/2[Container220]/2) N/A
Opening credits scene from ‘Barbarella’, featuring the name of the original comic and showing the titular character in a dynamic pose.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/178/2[Container221]/2) N/A
An opening credit scene from ‘Barbarella’, showing a partially nude woman with the title credits overlaid on the image.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/182/2[Container222]/2) N/A
A close-up of a blue-faced doll-like figure dressed in a red outfit. This surreal image is from the 1968 film ‘Barbarella,’ directed by Roger Vadim, known for its campy, colorful, and futuristic visuals.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/190/2[Container223]/2) N/A
A reclining woman covered in fur on a luxurious, futuristic bed. This scene is from the 1968 science fiction film ‘Barbarella,’ known for its psychedelic aesthetic and sexualized portrayal of its protagonist.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/200/2[Container224]/2) N/A
A woman lying on the grass, holding a feather, her expression one of relaxation. This is from ‘Barbarella’ (1968), which portrays the titular character in various sensual and dreamlike settings.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/204/2[Container225]/2) N/A
A flying man with bird-like wings set against a backdrop of clouds. This fantastical image is from ‘Barbarella’ (1968), a science fiction film known for its creative and surreal set pieces.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/208/2[Container226]/2) N/A
A close-up, blurry, and abstract image with swirling psychedelic patterns. This is from ‘The Trip’ (1967), directed by Roger Corman, which captures a character’s hallucinatory experience while on an LSD trip.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/236/2[Container227]/2) N/A
A woman lying down, her body projected with abstract psychedelic patterns. This is from ‘Separation’ (1968), a film that deals with existential themes through avant-garde visuals and surreal storytelling.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/248/2[Container228]/2) N/A
A woman with her back facing the camera, her body covered in abstract, psychedelic projections. This image is from ‘Separation,’ a 1968 British experimental film directed by Jack Bond, which explores themes of identity and isolation.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/252/2[Container229]/2) N/A
A dark and grainy abstract image featuring nude figures in close proximity. This is from ‘Fuses’ (1967), an avant-garde film by Carolee Schneemann that merges visual abstraction with raw, intimate moments.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/260/2[Container230]/2) N/A
An abstract, heavily distorted image featuring nudity. This is from ‘Fuses’ (1967) by Carolee Schneemann, an experimental film exploring themes of intimacy and sexuality through fragmented and artistic visuals.”, N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/264/2[Container231]/2) N/A
A psychedelic, abstract shot from the film “Behind the Green Door” with two silhouettes facing upwards, and colorful lines above. The image evokes a surreal, dream-like aesthetic typical of experimental cinema from the late 1960s and early 1970s. N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/296[table050]/4/2/2/2/2[Container232]/2) N/A
A surreal close-up of two faces in “Behind the Green Door”, a film known for its avant-garde and provocative visual style. The vivid red and green coloring emphasizes the abstract nature of the scene, suggesting a blending of reality and fantasy. N/A N/A ch8.xhtml#epubcfi(/4[Lameris-0380]/2[Container234]/296[table050]/4/2/4/2/2[Container233]/2) N/A
A kaleidoscopic pattern from the film “”The Trip”” (1967), capturing the hallucinatory effects experienced by the protagonist. The vibrant colors and symmetrical patterns are reflective of the era’s fascination with altered states of consciousness and experimental cinematography.”, N/A N/A coda.xhtml#epubcfi(/4[Lameris-0380]/2[Container241]/30[table051]/4/2/2/2/2[Container236]/2) N/A
An image from “”The Trip”” (1967), featuring a multi-layered, abstract visual effect that resembles flames or fiery movements. This scene likely represents the heightened, surreal experiences of the film’s characters during a psychedelic journey.”, N/A N/A coda.xhtml#epubcfi(/4[Lameris-0380]/2[Container241]/30[table051]/4/2/6/2/2[Container237]/2) N/A
A still image from the film ‘2001: A Space Odyssey’ showing a vibrant red light moving through a tunnel of multicoloured neon streaks, symbolising a journey through space and time. N/A N/A coda.xhtml#epubcfi(/4[Lameris-0380]/2[Container241]/50/2[Container238]/2) N/A
A frame from an experimental film by Loy A. Jones featuring a kaleidoscopic, symmetrical pattern with vibrant green and purple colours against a dark background, resembling a psychedelic aesthetic. N/A N/A coda.xhtml#epubcfi(/4[Lameris-0380]/2[Container241]/96[table052]/4/2/2/2/2[Container239]/2) N/A
A frame from a 16mm film strip featuring displaying an abstract pattern of iridescent colours with rainbow-like streaks and dark angular lines, characteristic of experimental or artistic cinematography. N/A N/A coda.xhtml#epubcfi(/4[Lameris-0380]/2[Container241]/96[table052]/4/2/6/2/2[Container240]/2) N/A
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Featured book cover N/A N/A further-reading.xhtml#epubcfi(/4[Lameris-0380]/2[Container259]/4/4/2[Container254]/2) N/A
Featured book cover N/A N/A further-reading.xhtml#epubcfi(/4[Lameris-0380]/2[Container259]/6/4/2[Container256]/2) N/A
Featured book cover N/A N/A further-reading.xhtml#epubcfi(/4[Lameris-0380]/2[Container259]/8/4/2[Container258]/2) N/A
Back cover of Feeling Colour: Chromatic Embodiment In Film Culture, 1950s-1960s N/A N/A back-cover.xhtml#epubcfi(/4/2/2) N/A

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