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The Hybrid Color Film: Multiplicity of Space, Time, and Matter

Stutz, Olivia Kristina (2021). The Hybrid Color Film: Multiplicity of Space, Time, and Matter. Comparative Cinema, 9(17):100-122.

Abstract

Hybrid color films of the 1920s such as The King of Kings (Cecil B. DeMille, 1927)—that is, films comprising a mix of different historical color processes—are a particularly fruitful resource for the comparison of the silent era’s various color technologies. This article analyzes these cinematic hybridizations and argues that this type of film is much more than the sum of its parts. In embodying a multiplicity of layers of space, time, and color on a literal and metaphorical level, hybrid color films are not only symptomatic of the transformation of the medium in the 1920s but also symbolic of current approaches to film historiography based on media archaeology.

Additional indexing

Item Type:Journal Article, not_refereed, original work
Communities & Collections:06 Faculty of Arts > Institute of Cinema Studies
Dewey Decimal Classification:700 Arts
900 History
Uncontrolled Keywords:Hybridity, Hybrid Film, Color Film Processes, Technology, Materiality, 1920s, Temporality, Film Historiography, Digital Reconstruction, Digital Recreation
Language:English
Date:19 December 2021
Deposited On:21 Feb 2022 09:58
Last Modified:21 Feb 2022 11:50
Publisher:Pompeu Fabra University
ISSN:2604-9821
Additional Information:Comparative Cinema (ISSN 2604-9821) is a biannual publication published by the Center for Aesthetic Research on Audiovisual Media (CINEMA) of Pompeu Fabra University (UPF). It was founded in 2012 in order to grant continuity to the research studies of the group on comparative cinema, developed through the research projects Corrientes Estéticas del Audiovisual en el Contexto Europeo (CEACE, 2003-2006) and Observatorio del Cine Europeo Contemporáneo (OCEC, 2006-2012), as well as the conferences and publications derived from these: the four editions of the Congreso-Muestra Internacional de Cine Europeo Contemporáneo (CICEC-MICEC, 2005-2008) and the Congreso Internacional Mutaciones del Gesto en el Cine Europeo Contemporáneo (2012), on one hand, and the collective volumes Derivas del cine europeo contemporáneo (eds. Domènec Font and Carlos Losilla, 2007) and Poéticas del gesto en el cine europeo contemporáneo (eds. Fran Benavente and Glòria Salvadó Corretger, 2007) on the other. Although published from 2012 to 2017 under the name Cinema Comparat/ive Cinema (ISSN 2014-8933), with a trilingual edition in Catalan, Spanish and English, the journal modified its designation from the issue number 11 onwards (2018) becoming Comparative Cinema (ISSN 2604-9821), published only in English, but including original texts in other languages. Since its inception, the journal has explored comparative methodology in order to tackle the connections between programming and montage, the relations between cinema and politics, the creation processes, mise-en-scène (with special emphasis on actors) and the links between film and other arts. To achieve this, the journal has worked with articles by international specialists, though it has also given particular importance to interviews and the re-publishing of documents.
OA Status:Green
Publisher DOI:https://doi.org/10.31009/cc.2021.v9.i17.06
Project Information:
  • Funder: H2020
  • Grant ID: 670446
  • Project Title: Film Colors. An Interdisciplinary Approach.
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  • Content: Published Version
  • Language: English
  • Licence: Creative Commons: Attribution 4.0 International (CC BY 4.0)

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