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  1. Dufaycolor : the spectacle of reality and British national cinema

    QuellenartElektronische Volltexte & Multimedia>>Berichte aus Forschung, Projekten, Tagungen>>
    UrheberBrwon, Simon
    Verleger Arts and Humanities Research Council (AHRC), Centre for British Film and Television Studies <London>
    Schlagworte FWFilmgeschichtsschreibung; Farbfilm
    Freie Schlagworte FW Dufaycolor
    Beschreibung "Dufaycolor was one of the more successful of the British natural-colour cinema processes that were promoted in the 1930s. In the two years before the outbreak of the Second World War, the process, which had been undergoing a costly research and development phase since 1926, finally began to achieve a reasonable amount of success and exposure in the home market, only to be interrupted by the conflict as the labs were put towards vital government work. At the end of the war, Dufaycolor was launched again, but had lost too much ground in the international market to competitors like Kodachrome. By 1950 Dufaycolor as a cine film process was all but moribund, and the company was concentrating on producing still cameras, black and white roll film for still photography, and colour roll film for still photography. The colour film was being promoted mostly in Italy, “as in England and America the taste and requirement seems to be the more exaggerated colours of other processes”, [1] but this attempted expansion was unsuccessful. My purpose here is to examine some of these Dufaycolor films and to use this examination to draw out issues regarding the conflict between the realist and the spectacular in British National Cinema. This debate has up until now been required to straddle a fiction/non-fiction divide. Both Pam Cook and Andrew Higson have been seeking to redress the notion that quality British cinema was and should be part of a realist tradition, but have done so by drawing new attention to previously despised spectacular genres. However, the realist tradition, though ingrained in fiction film, is inherently a non-fiction tradition, whilst the spectacular genres of Gainsborough or Merchant Ivory, or indeed the films of Powell and Pressburger are nonetheless part of British fiction cinema. I propose here that Dufaycolor films, which are part of a hitherto largely unexplored area of British cinema of non-fiction filmmaking outside of the documentary films of the so-called Documentary Movement, maintain within themselves the discourse of the spectacular, but placed here within the traditions of the non-fiction film. Such a discourse of the spectacular can perhaps be enlightening, especially within a type of film which as we shall see cuts across the political, gender and class boundaries of the Movement film, and addresses itself to a much wider and more generalised audience of the nation." (Information des Anbieters)
    Themen FWFilm>>Biographie, Filmgeschichte; Film>>Filmherstellung, Filmtechnik
    RVK FWAP 44800; AP 44930; AP 55000
    DDC FWPhilosophie, Theorie, Ästhetik; Techniken, Verfahren, Geräte, Ausstattung, Materialien, Verschiedenes; Historische, geografische, personenbezogene Behandlung
    geographischer BezugEuropa, Westeuropa>>Britische Inseln>>; Europa, Westeuropa>>England und Wales>>
    zeitlicher Bezug20. Jahrhundert, 1900 – 1999>>1930 - 1939>>