Color and Empathy

Essays on Two Aspects of Film

Christine N. Brinckmann

Color and Empathy

Christine N. Brinckmann

Distributed for Amsterdam University Press

282 pages | 88 color plates | 6 x 9 1/5
Cloth $99.00 ISBN: 9789089646569 Published October 2015 For sale only in the United States, its dependencies, the Philippines, and Canada
This book focuses on two areas of interest: the poetics of color in film and the affective responses of viewers. Each essay is built around the analysis of a particular film or group of related films, which are then used to explore a range of issues including the difference between black-and-white and color, the emergence of bold color schemes in the 1950s, and empathetic viewer reactions to fictional characters, documentary subjects, animals, and architecture in film.
Contents
Preface
Cinematic Color as Likeness and as Artifact
Chords of Color
The Tension of Colors in Colorized Silent Films
Structural Film, Structuring Color: Jenny Okun’s Still Life
Desert Fury: A Film Noir in Color
The Work of the Camera: Beau Travail
Empathy with the Animal
Motor Mimicry in Hitchcock
Abstraction and Empathy in the Early German Avant-garde
The Role of Empathy in Documentary Film: A Case Study
Genre Conflict in Tracey Emin’s Top Spot
Viewer Empathy and Mosaic Structure in Frederick Wiseman’s Primate
Casta Diva: An Empathetic Reading
Publication Data
Index of Films
Index of Subjects
Review Quotes
Millennium Film Journal
“It is rare to find a specialist who looks at color in so many different contexts.”
Film Quarterly
“Bold. . . . Whether she is examining an art film like Claire Denis’s Beau Travail (1999), with detailed attention to Agnès Godard’s cinematographic foregrounding of the colors and textures of landscapes, objects, and architecture, or a structural film like Jenny Okun’s Still Life (1976), via its strategic and self-reflexive use of color complementarity, Brinckmann is especially alert to color’s sensual and perceptual effects in unexpected cinematic places.”
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