Not that silent film history is complicated, but put it this way: it’s not black and white. Joshing aside, one of the most exciting themes to emerge in recent cinema scholarship is the exploration of film colour – from the earliest hand-painted frames to today’s teal-and-orange “realism”. And it’s arguably more exciting to learn about the colour pioneers and their various attempts to make films appear lifelike – or better than that – than later developments.
So I thought you’d like to hear about a two-day event in March that puts tinting in the frame – Colour in Film, which takes place in London, at the BFI Southbank and Friends House on Euston Road. The keynote speakers are Sarah Street, who will give a paper on British Cinema in Colour: Creativity, Culture and the Negotiation of Innovation and Barbara Flueckiger, tackling the subject of Bridging the Gap between Analogue Film History and Digital Technology. Other contributions will come from Ulrich Rüdel, Kieron Webb, and more names that will be familiar to you.