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=100  1\$aLameris, Bregt,$eauthor.$uOpen University in the Netherlands.$0(orcid)0000000330777331$1https://orcid.org/0000-0003-3077-7331
=245  10$aFeeling Colour :$bChromatic Embodiment in Film Culture, 1950s–1960s /$cBregt Lameris.
=264  \1$aCambridge, UK :$bOpen Book Publishers,$c2025.
=264  \4$c©2025
=300  \\$a1 online resource (vi+300 pages): $b206 illustrations.
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=500  \\$aAvailable through Open Book Publishers.
=505  0\$aIntroductionChapter One: Feeling Film Colours: Theoretical FrameworkPART I: Stirring up the Eye with ColourChapter Two: Colour Contrasts, Culture and PerceptionChapter Three: Shocking, Shifting, StrainingChapter Four: Oscillating Op ArtPART II: Colour PsychologiesChapter Five: How Can Colours (Be) Control(led)Chapter Six: Coloured Light. Vibrations, Temperature and MoodPART III: Touching and Tasting in ColourChapter Seven: Colour, Taste and FoodChapter Eight: Touching ColoursCoda: Hallucinating ColoursBibliographyFilmographyList of IllustrationsIndex
=506  0\$aOpen Access$fUnrestricted online access$2star
=520  \\$aThe shift back from quasi monochrome to coloured motion picture during the 1950s and 1960s famously provided moviegoers the dazzling opportunity to more fully engage their senses, all the while opening new modes of affective possibilities for filmmakers. Set against the intersection of media studies, emotion theory, biology, and digital humanities, Feeling Colour: Chromatic Embodiment in Film Culture (1950s-1960s) delves into the role colour played in the oft-fraught relationship between cinema and its audiences. This transnational analysis of an extensive range of midcentury cinematography examines the multilayered effects which extend beyond the silver screen, offering a high-level theoretical elaboration and in-depth historical exploration of both experimental and mainstream movies. Lameris takes an interdisciplinary perspective, examining the different ways colour creates—or was believed to create—embodied reactions. From perception theory and 'putting the nerves in motion’, to colour psychology and how to ‘steer’ the spectator, to cross-modal perception (or ‘synaesthesia’), Lameris asks how how colours and feelings in film are entangled in the colour cultures, discourses and beliefs of a particular historical context. With its influential cultural scholarly contribution and accessible writing style, this book will delight both students and specialists in film and media studies. In addition, those interested in the history and use of color in advertising, neuroscience, gender studies, and emotion will find the book engaging and useful.
=536  \\$aOpen University in the Netherlands$eOpen Access Stimulation Fund
=538  \\$aMode of access: World Wide Web.
=540  \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc/4.0/
=588  0\$aMetadata licensed under CC0 Public Domain Dedication.
=653  \\$aColour film
=653  \\$aFilm studies
=653  \\$aMid-20th-century culture
=653  \\$aCross-modal synesthesia
=653  \\$aColour psychology
=653  \\$apsychedelic culture
=710  2\$aOpen Book Publishers,$epublisher.
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