Pygmalion in the archive: the mythic desires of colourisation.
In order to argue against the continued use of colourisation by our visual archives, I explore the desire for colour from the origins of photography onwards. I focus on the first desires for colour, which underpin all subsequent chromatic elaborations in both photography and film. Rather than dwelli...
| Publicado en: | Visual Studies Vol. 40; no. 1; pp. 41 - 56 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=183128855&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 183128855 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 1472586X J6I jtl: Visual Studies issn: 1472586X maglogo: N pubinfo: dt: Feb2025 vid: 40 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 183128855 10.1080/1472586X.2024.2431553 ppf: 41 ppct: 15 formats: fmt: – @attributes: type: T db: hlh ui: 183128855 – @attributes: type: P db: hlh ui: 183128855 tig: atl: Pygmalion in the archive: the mythic desires of colourisation. aug: au: Jolly, Martyn affil: Australian National University, Canberra, Australia su: Color photography Color motion pictures Filmmaking Monochromatic filters Filmmakers sug: subj: Independent Artists, Writers, and Performers Independent actors, comedians and performers Motion Picture and Video Production Color photography Color motion pictures Filmmaking Monochromatic filters Filmmakers ab: In order to argue against the continued use of colourisation by our visual archives, I explore the desire for colour from the origins of photography onwards. I focus on the first desires for colour, which underpin all subsequent chromatic elaborations in both photography and film. Rather than dwelling on the metropolitan inventors of various colour processes, I look at some less well-known examples of colour in use by photographers and filmmakers associated with Australia and New Zealand. I argue that colourisation is another process within the continual entanglements of the 'monochromatic', the 'tinted', the 'toned', the 'painted' and the 'naturally coloured' which have defined the desire for colour from the beginning. Further, these original desires were realised differently in different places. Our archives should respect this richly variegated history and the capacity of their audiences to appreciate it, rather than being seduced by a mythic notion of a 'lifelike' image. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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