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Socialist identity in the making – Lea aus dem Süden (Gottfried Kolditz, GDR 1963) between French chic, socialist values and consumer culture


Diecke, Josephine (2018). Socialist identity in the making – Lea aus dem Süden (Gottfried Kolditz, GDR 1963) between French chic, socialist values and consumer culture. In: Third International Conference, Colour in Film, London, 19 March 2018 - 21 March 2018, 1-13.

Abstract

Lea aus dem Süden was digitized as part of Barbara Flueckiger’s ERC Advanced Grant FilmColors and the SNF Filmfarben project. Ph.D. candidates from these teams presented work throughout the three days of the conference. Despite working on disparate time periods and styles, each demonstrated how different colour film technologies operate as a site of negotiation between political and aesthetic demands. For instance, Noemi Daugaard’s paper “Technological Development Between Art and Politics: The Case of Gasparcolor” explored the fraught political landscape into which Gasparcolor emerged in 1930s Germany, considering how a colour technology considered at the time to be coded as problematically Jewish and Hungarian could be co-opted for nationalist purposes. Josephine Diecke’s insightful paper “Socialist Identity in the Making”returned to Lea aus dem Süden to consider how the film troubled the associations between femininity, consumerism and capitalism in postwar Europe, provoking animated discussion about how Socialist ideals of femininity in the GDR might help complicate the overdetermined links between women and colour in film scholarship. [Quelle: What We Talk About When We Talk About Colour. Kirsty Sinclair Dootson. Conference report. May 2018. https://colourandfilm.com/2017/12/03/featured-content/ , retrieved 12.02.2018 ]

Abstract

Lea aus dem Süden was digitized as part of Barbara Flueckiger’s ERC Advanced Grant FilmColors and the SNF Filmfarben project. Ph.D. candidates from these teams presented work throughout the three days of the conference. Despite working on disparate time periods and styles, each demonstrated how different colour film technologies operate as a site of negotiation between political and aesthetic demands. For instance, Noemi Daugaard’s paper “Technological Development Between Art and Politics: The Case of Gasparcolor” explored the fraught political landscape into which Gasparcolor emerged in 1930s Germany, considering how a colour technology considered at the time to be coded as problematically Jewish and Hungarian could be co-opted for nationalist purposes. Josephine Diecke’s insightful paper “Socialist Identity in the Making”returned to Lea aus dem Süden to consider how the film troubled the associations between femininity, consumerism and capitalism in postwar Europe, provoking animated discussion about how Socialist ideals of femininity in the GDR might help complicate the overdetermined links between women and colour in film scholarship. [Quelle: What We Talk About When We Talk About Colour. Kirsty Sinclair Dootson. Conference report. May 2018. https://colourandfilm.com/2017/12/03/featured-content/ , retrieved 12.02.2018 ]

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Additional indexing

Item Type:Conference or Workshop Item (Speech), not_refereed, original work
Communities & Collections:06 Faculty of Arts > Institute of Cinema Studies
Dewey Decimal Classification:700 Arts
900 History
Language:English
Event End Date:21 March 2018
Deposited On:12 Feb 2019 09:31
Last Modified:15 Feb 2021 12:38
Publisher:s.n.
Additional Information:[T]he Third International Colour in Film Conference, organized by the Colour Group GB in collaboration with the University of Applied Science HTW in Berlin and the University of Zurich was held at both the British Film Institute Southbank and Birkbeck, University of London. The conference once again delivered three rich days of screenings, papers and discussion. One of the major strengths of this conference is the chance to see recently-restored and otherwise inaccessible colour films. The first day was largely dedicated to showcasing this moving image material, from Technicolor shorts and tinted talkies, to hand-coloured silent films and Agfacolor excerpts. Lea aus dem Süden (1963) was a particular highlight. Made in the GDR at the height of the Cold War by the state-owned DEFA Studio, this Agfacolor short, featuring rambunctious Bulgarian jazz singer Lea Iwanowa, delighted attendees with its mixture of Schlager music, quirky design and striking colour. [Quelle: What We Talk About When We Talk About Colour. Kirsty Sinclair Dootson. Conference report. May 2018. https://colourandfilm.com/2017/12/03/featured-content/ , retrieved 12.02.2018 ]
OA Status:Green
Related URLs:https://filmcolors.org/2018/02/14/cif2018/ (Organisation)
https://zauberklang.ch/filmcolors/

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