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The motion picture is art for the masses; it is mass art. Sectarianism, chilly aestheticism, attempts at escape from inadequate culture -- these are not known to the motion picture. Art for the masses, art for the money. That is the entire story. But does art for the masses mean art such as the masses themselves would create? Rabble art? The film in which the plebeian soul alone takes interest and from which it derives pleasure is not a good film. Nor is that a good film which is understood only by the aesthetic soul. To be good, satisfactory, excellent, a film must carry along with it and enrapture all, those whose hearts are simple and those whose hearts are intricate, complex, full of intertwined sensations. To do this is hard. If and when done, it is done through the medium of great art. - Introduction.
In this innovative book, Sarah Cooper revisits the history of film theory in order to bring to the fore the neglected concept of the soul and to trace its changing fortunes. The Soul of Film Theory charts the legacy of this multi-faceted, contested term, from the classical to the contemporary era.
Beginning in the late 1970s, a number of visual artists in downtown New York City returned to an exploration of the cinematic across mediums. Vera Dika considers their work within a greater cultural context and probes for a deeper understanding of the practice.
Color was used in film well before The Wizard of Oz. Thomas Edison, for example, projected two-colored films at his first public screening in New York City on April 23, 1896. These first colors of early cinema were not photographic; they were applied manually through a variety of laborious processes—most commonly by the hand-coloring and stenciling of prints frame by frame, and the tinting and toning of films in vats of chemical dyes. The results were remarkably beautiful. Moving Color is the first book-length study of the beginnings of color cinema. Looking backward, Joshua Yumibe traces the legacy of color history from the beginning of the nineteenth century to the cinema of the early twentieth century. Looking forward, he explores the implications of this genealogy on experimental and contemporary digital cinemas in which many colors have become, once again, vividly unhinged from photographic reality. Throughout this history, Moving Color revolves around questions pertaining to the sensuousness of color: how color moves us in the cinema—visually, emotionally, and physically.