Chromatic Modernity: Color, Cinema, and Media of the 1920s (Film and Culture Series)

Sarah Street is professor of film at the University of Bristol. She is the author of Colour Films in Britain: The Negotiation of Innovation, 1900–55 (2012) and Deborah Kerr (2018), among other works. Joshua Yumibe is associate professor and director of the Film Studies Program at Michigan State University. He is the author of Moving Color: Early Film, Mass Culture, Modernism (2012) and coauthor of Fantasia of Color in Early Cinema (2015). PER004030,Performing Arts/Film/History & Criticism,ART057000,Art/Film & Video "In Chromatic Modernity, Sarah Street and Joshua Yumibe provide a fascinating history of the use of color in film and consumer goods during the 1920s. They contextualize color's role in film, other art forms, and consumer culture to produce a comprehensive, comparative study that situates color cinema firmly within the culture of its time. With advances in technology, the use of color surged internationally and was applied to consumer goods, buildings, magazines, neon advertisements, and theatrical performances creating an exciting, chromatically rich visual culture. The use of color was not without its controversies, and the authors examine the intense debates during this period about color and its artistic, scientific, philosophical, and educational significance. Drawing on archives in the history of film, popular culture, and advertising, the authors consider such topics as the rise of the 'color consultant, ' the gendered nature of color, ideas of color psychology and consciousness in advertising and fashion, the standardization and experimentation of color in popular and avant-garde film, and how the rise of sound in cinema changed the use of color in film. Ultimately, the authors argue that this expansion of color across the international media environment demonstrates the extent to which it was forging new ways of looking at and experiencing the modern world"-- Provided by publisher The era of silent film, long seen as black and white, has been revealed in recent scholarship as bursting with color. Yet the 1920s remain thought of as a transitional decade between early cinema and the rise of Technicolor--despite the fact that new color technologies used in film, advertising, fashion, and industry reshaped cinema and consumer culture. In Chromatic Modernity , Sarah Street and Joshua Yumibe provide a revelatory history of how the use of color in film during the 1920s played a key role in creating a chromatically vibrant culture. Focusing on the final decade of silent film, Street and Yumibe portray the 1920s as a pivotal and profoundly chromatic period of cosmopolitan exchange, collaboration, and experimentation in and around cinema. Chromatic Modernity explores contemporary debates over color's artistic, scientific, philosophical, and educational significance. It examines a wide range of European and American films, including Opus 1 (1921), L'Inhumaine (1923), Die Nibelungen (1924), The Phantom of the Opera (1925), The Lodger (1927), Napolon (1927), and Dracula (1932). A comprehensive, comparative study that situates film among developments in art, color science, and industry, Chromatic Modernity reveals the role of color cinema in forging new ways of looking at and experiencing the modern world. The era of silent film, long seen as black and white, has been revealed in recent scholarship as bursting with color. Yet the 1920s remain thought of as a transitional decade between early cinema and the rise of Technicolor—despite the fact that new color technologies used in film, advertising, fashion, and industry reshaped cinema and consumer culture. In Chromatic Modernity , Sarah Street and Joshua Yumibe provide a revelatory history of how the use of color in film during the 1920s played a key role in creating a chromatically vibrant culture. Focusing on the final decade of silent film, Street and Yumibe portray the 1920s as a pivotal and profoundly chromatic period of cosmopolitan exchange, collaboration, and experimentation in and around cinema. Chromatic Modernity explores contemporary debates over color's artistic, scientific, philosophical, and educational significance. It examines a wide range of European and American films, including Opus 1 (1921), L'Inhumaine (1923), Die Nibelungen (1924), The Phantom of the Opera (1925), The Lodger (1927), Napoléon (1927), and Dracula (1932). A comprehensive, comparative study that situates film among developments in art, color science, and industry, Chromatic Modernity reveals the role of color cinema in forging new ways of looking at and experiencing the modern world.