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Wider contextual research. Inter-textual link with the interest in colour film during the second world war, and the portrayal of WWII in colour in 'World War II in HD Colour'.

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Wider contextual research. Inter-textual link with the interest in colour film during the second world war, and the portrayal of WWII in colour in 'World War II in HD Colour'.

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Colour Films in Britain: The Negotiation of Innovation 1900-1955

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Colour Films in Britain: The Negotiation of Innovation 1900-1955

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The following paragraphs suggest that due to wartime austerity, a rising cultural interest in colour and the scarcity of such resources, people became interested in colour and its representation of life and from it they seeked "relief from their problems" (Street S. 2012: 71).

Street S. (2012: 71) Colour Films in Britain: The Negotiation of Innovation 1900-1955. British Film Institute. 2012 edition.

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Against Arguments are more applicable towards fiction work than non-fiction work in some cases

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Against Arguments are more applicable towards fiction work than non-fiction work in some cases

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For:

"The first and assumed general opinion of most colourists is that it brings new life to the movie. It makes it more accessible to newer, younger audiences."

Against:

"The second way to look at colorising films, and this one is held by most film purists and directors, is that is degrades the work of the filmmakers. The sets, lighting, costumes and atmosphere are all set up to be shot and shown on black-and-white film. It ruins the mood and tone the filmmaker wanted, because the colour scheme, more or less, is chosen by the colourist."

2012. The Future of Film Colorization. The Solomon Society, YouTube Channel. https://www.youtube.com/watch?v=zBR1l21J70I

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Frame by Frame: Colorizing Classic B&W Movies 

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Frame by Frame: Colorizing Classic B&W Movies 

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For:

"Surveys have shown that fifty percent of your audience will tune out immediately upon seeing a black-and-white image. You lose ninety percent of your audience with a subtitled film."

Against:

"So colorization was an attempt to make money at the expense of the artistic impulse in the film, destroying the original intent of the director, strictly in the name of commerce and the public rejected it and continues to do so today."

Dickson W. 2012. Frame by Frame: Colorizing Classic B&W Movies. University of Nebraska - Lincoln, YouTube Channel. https://www.youtube.com/watch?v=zBR1l21J70I

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Frame by Frame: Colorizing Classic B&W Movies

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Is it a good idea to digitally colorize old black and white movies? UNL Film Studies professor weighs in on this colorful controversy.

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5. To preserve archival footage and document history, while revitalising it for a contemporary audience.

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5. To preserve archival footage and document history, while revitalising it for a contemporary audience.

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3. To explore the technological boundaries of documentary filmmaking and the ethics of such processes. Discovering new technologies and processes along the way.

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3. To explore the technological boundaries of documentary filmmaking and the ethics of such processes. Discovering new technologies and processes along the way.

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4. To provide a view of the second World War as never seen before.

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4. To provide a view of the second World War as never seen before.

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Are there no true versions of reality? Only what has become culturally accepted within a larger society?

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Are there no true versions of reality? Only what has become culturally accepted within a larger society?

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Black-and-white film was perceived as the true version of reality during its time, but now colour is accepted as a 'truer' version of reality. In a similar way to resolution, from HD to 4K, from 2D; to 3D; to 4D; does each element represent a better version of reality than its predecessor? Are any of these elements an accurate representation of reality/ reflect realism? Is it just a case of technology evolving, with corporations capitalising on advancements in film production? Are practices such as film coloration ethical? Will the growing process of film footage becoming clearer and even more colourful (i.e. HDR) ever truly represent reality?

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Chapter:
Toward a Poetics of Documentary

The Four Functions as Modalities of Desire:

"These four functions operate as modalities of desire, impulsions which fuel documentary discourse. As such, the record/reveal/preserve mode might be understood as the mimetic drive common to all of cinema, intensified by the documentary signifier's ontological status - its presumed power to capture "the imponderable movement of the real."

Renov M. (1993: 22) Theorizing Documentary. (First Edition) Routledge.

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Thematic Conclusion: Most sources of collated research regarding coloration and documentary link to the exploration of the themes: realism and reality

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Thematic Conclusion: Most sources of collated research regarding coloration and documentary link to the exploration of the themes: realism and reality

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Fundamental Tendency of World War II in HD Colour

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Fundamental Tendency of World War II in HD Colour

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The most appropriate fundamental tendency of World War II in HD Colour is "1 to record, reveal, or preserve" (Renov M. 1993: 21).

The documentary serves to remind us of the importance of learning from history, through documenting all available film footage of WWII's biggest events, presented in a format and form most applicable to and desired by contemporary audiences.

Coloration can be said to be one of the main aspects of the documentary's "signifier's ontological status" (Renov M. 1993: 22), fulfilling its purpose to provide an enhanced version of realism.

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Chapter:
Toward a Poetics of Documentary

The Four Fundamental Tendencies of Documentary:

"I state the four tendencies in the active voice appropriate to their role in  a "poesis," an "active making":
1. to record, reveal, or preserve
2. to persuade or promote
3. to analyze or interrogate
4. to express. "

Renov M. (1993: 21) Theorizing Documentary. (First Edition) Routledge.

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1. To attract and target a younger audience. 

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1. To attract and target a younger audience. 

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Structural Elements of 'World War II in HD Colour'

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Structural Elements of 'World War II in HD Colour'

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1. For most of it's narrative discourse (colorised) archive footage is utilised.
2. At one point in the episode high resolution digital video is inserted to show Bletchley park - contextually, the building was a highly secret location for British codebreakers during the second World War so inevitably no film footage would have been captured.
3. The documentary is narrated by a voiceover from English television and film actor Robert Powell, whose distinct voice has become somewhat of a signifier of war documentaries - narrating World War II in HD Colour, Hitler's Bodyguard, Secrets of World War II and The Story of the Third Reich (http://www.imdb.com/name/nm0694293/).

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Archive footage has been upscaled to fit fullscreen HD displays, diminishing the 'letterbox effect' of it's aspect ratio. Is this a fair representation of reality?

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Archive footage has been upscaled to fit fullscreen HD displays, diminishing the 'letterbox effect' of it's aspect ratio. Is this a fair representation of reality?

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Documentary Modes in World War II in HD Colour

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Documentary Modes in World War II in HD Colour

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World War II in HD Colour shares the traits of a few Modes, each reflecting varying aspects of each mode.
1. The documentary definitely "emphasizes verbal commentary", taking the audience on a journey through Winston Churchill's tactics in 1940, however it simply informs the audience of the facts, it doest not emphasize "an arugmentative logic" as Nichols B. (2001: 33) suggests.
2. World War II in HD Colour highlights elements of the participatory mode as about 98% of the discourse is "coupled with archival footage to examine historical issues", though the non-fiction text does not showcase interviews or other more direct practices between the filmmaker and its subjects.
3. The documentary also contains features of the reflexive mode, it "increases our awareness of the construcedness of the film's representation of reality". This can be said to be true solely due to the reasoning that the black-and-white archive footage has been colorised to presented a fabricated version of reality. Furthermore, the narrative has been constructed by piecing together hundreds of clips of archive footage, but does the footage accurately represent the thing that Robert Powell is narrating at that particular time? Or has the most suitable piece of footage been used for the purposes of storytelling? - It would be difficult to find indexically-linked* footage for every line of narration?

*archive footage that was actively filmed in the 1940s WWII to represent the 1940s WWII

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1. "Poetic Mode: emphasizes visual associations, tonal or rhythmic qualities, descriptives passages, and formal organization. This mode bears a close proximity to experimental, personal, or avant-garde filmmaking."
2. "Expository Mode: emphasizes verbal commentary and an argumentative logic. This is the mode that most people identify with documentary in general."
3. "Observational Mode: emphasizes a direct engagement with the everyday life of subjects as observed by an unobstructive camera."
4. "Participatory Mode: emphasizes the interaction between filmmaker and subject. Filming takes place by means of interviews or other forms of even more direct involvement. Often coupled with archival footage to examine historical issues."
5. "Reflexive Mode: calls attention to the assumptions and conventions that govern documentary filmmaking. Increases our awareness of the constructedness of the film's representation of reality.
6. "Performative Mode: emphasizes the subjective or expressive aspect of the filmmaker's own engagement with the subject and an audience's responsiveness to this engagement. Rejects notions of objectivity in favor of evocation and affect. The films in this mode all share qualities with experimental, personal, and avant-garde, but with a strong emphasis on their emotional and social impact on an audience."

Nichols B. (2001: 33-34) Introduction to Documentary. (First Edition) Indiana University Press.

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What other contextual factors contribute towards the production of the documentary?

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What other contextual factors contribute towards the production of the documentary?

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World War II in HD Colour | Episode 3 - Britain at Bay

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World War II in HD Colour | Episode 3 - Britain at Bay

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World War II in HD Colour is a 13-episode television documentary series that narrates the significant events of World War II, in High Definition colorised archive footage.
The third episode covers the tactics Winston Churchill employed during the 1940s and the USA's affiliation with Britain; providing weaponry and machinery.

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Color footage of World War II changes our conception of this catastrophe. Prepare to be shocked -- and moved. Watch trailers & learn more.

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When did the first uses of coloured film occur?

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When did the first uses of coloured film occur?

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The Law of Emphasis | Chromatic Cinema: A History of Screen Color

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The Law of Emphasis | Chromatic Cinema: A History of Screen Color

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Technicolor Is Natural Color: Color and Realism, 1935-58

"This model was the "law of emphasis," and it stated that, though the presence of color as whole should be motivated realistically, individual colors should be motivated narratively. Overt color was allowable if, by drawing attention to itself, it drew attention to aspects of the film's narrative. Phrased negatively, as this was after all a law aimed at constraining directors' behaviour: "Nothing of relative unimportance in a picture shall be emphasized" (Kalmus 1935: 146). An area of the frame could not be red unless its redness was narratively relevant, because it might distract from other areas of the frame of greater narrative relevance. As has been often noted, Technicolor thus tried to elbow its way into Hollywood by incorporating color into the pre-existing classical Hollywood ideology of narrative motivation. It prevented directors from using color in ways it disapproved of by making it easy for them to use color in ways it approved of. Accordingly, "Color Consciousness" provides examples of how individual colors can be motivated both realistically and narratively."

Misek R. (2010: 3) Chromatic Cinema: A History of Screen Color. (First Edition) Wiley-Blackwell.

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"Color consitutes another step in the steady advancement of the motion picture toward realism, the same principles of color, tone, and composition applying to the motion picture as to the art of painting. In order fully to appreciate the color picture, a "color consciousness" must be adopted, the lack of which is tantamount in a degree to color blindness."

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Opinion Leaders | Two-Step Flow Theory    Paul lazard and Katz

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Opinion Leaders | Two-Step Flow Theory    Paul lazard and Katz

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The Two-Step Flow [of Communication Model] Theory suggests that mass populations form their beliefs and judgements under the influence of opinion leaders, whom are influenced by the mass media.

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The Two-Step Flow of Communication: An UpTo-Date Report on an Hypothesis 1957 | Elihu Katz

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The Two-Step Flow of Communication: An UpTo-Date Report on an Hypothesis 1957 | Elihu Katz

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Katz, E. (1957). The Two-Step Flow of Communication: An Up-To-Date Report on an Hypothesis. Political Opinion Quarterly, 21 (1),
61-78. https://doi.org/10.1086/266687

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In this situation, the Two-Step Flow theory can be applied to 'Color Consciousness'. While Natalie Kalmus is not seen to be influenced from the mass media, Kalmus N. did influence many cinematographers, directors and filmmakers etc. through her article in the trade journal - 'The Journal of the Society of Motion Picture Engineers.

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Chromatic Cinema: A History of Screen Color

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Chromatic Cinema: A History of Screen Color

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Technicolor Is Natural Color: Color and Realism, 1935-58

"Between the early 1930s and early 1950s, Kalmus's role as color consultant involved pretending to provide filmmakers with creative expertise while actually suppressing "unnatural" uses of colo r. In conjunction with this imposed color consultation, Technicolor established its infamous "law of emphasis", first founded in a 1935 article by Natalie Kalmus. Published less than two months after the release of Becky Sharp, in a trade journal that every film practitioner in Hollywood read, "Color Consciousness" was central to Technicolor's growth strategy. It was an ingenious piece of writing. The article's main argument is that color is the culmination of cinema's move toward perceptual realism, and "natural" color - i.e. Technicolor - is its future."

Misek R. (2010: 36) Chromatic Cinema: A History of Screen Color. (First Edition) Wiley-Blackwell.

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Reprinted from Journal of the Society of Motion Picture Engineers, August, 1935, pages 139-147

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Chromatic Cinema: A History of Screen Color

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Chromatic Cinema: A History of Screen Color

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Chapter:
Technicolor Is Natural Color: Color and Realism, 1935-58

"Steve Neale regards a Technicolor advertisement declaring that "Technicolor is Natural Colour" as symptomatic of the conventional Hollywood wisdom of the 1940s that color should be used in a restrained manner (1985:147). To me, the advertisement suggests not an aesthetic consensus but a supplier desperately trying to elbow its product into the market. If the Technicolor process had indeed provided natural colors, then Technicolor would not have needed to emphasize the fact.

The alternative to realistic motivation was generic motivation. This was precisely what Technicolor did not want. If color became coded generically, then it would only be seen as an appropriate format for some films rather than all films. By the early 1930s, color was already being used for certain types of films over others: mainly musicals, but also some histories, fantasies, westerns, and films which variously included or combined these generic elements Given its expense, producers were understandably selective about which films they made in Technicolor. To pre-empt generic codification, Technicolor began to assert control over how its clients used color. Because its process was technologically far in advance of the competition, Technicolor was effectively a monopoly supplier to the "A-movie" market. Its only competition in the 1930s and 1940s came from Cinecolor and Magnacolor, both inferior two-color processes whose core market comprised "B-films" that could not afford three-color Technicolor. Herbert Lamus exploited his company's dominant position to insist that producers wanting to use Technicolor had to buy into an entire package of products and services. They had to rent a Technicolor camera, hire a Technicolor cameraman to work alongside the film's cinematographer, use special Eastman Kodak black-and-white film, use Technicolor make-up designed by Max factor, and do all processing and printing at Technicolor's laboratories. They also had to employ the services of Natalie Kalmus (Herbert's ex-wife) as a "color consultant" (Haines 1993:24)."

Misek R. (2010: 35-36) Chromatic Cinema: A History of Screen Color. (First Edition) Wiley-Blackwell.

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Chapter:
THE FACT OF REALISM AND THE FICTION OF OBJECTIVITY

"As a general style, documentary realism negotiates the compact we strike between text and historical referent, minimizing resistance of hesitation to the claims of transparency and authenticity. Along with the more specific matters of perspective and commentary, personal style and rhetoric, realism is the set of conventions and norms for visual representation which virtually every documentary text addresses, be it through adoption, modification, or contestation." (Nichols B. 1992: 165)

Nichols B. (1992: 165) Representing Reality. Indiana University Press.

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Many practitioners and spectators disagreed with colour practices.

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Many practitioners and spectators disagreed with colour practices.

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Colour eventually became an industry-norm through business motivations. It was not accepted as a universal portrayal of reality when first introduced as audience's perceptions of reality were visually illustrated and already culturally solidified as black-and-white.
Colour required time, lots of marketing and business strategies, influence through opinion leaders, utilisation within ALL genres of film, before it was seen as the ubiquitous tool of reality and gained cultural acceptance.

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After 110 years hidden in a tin at the National Media Museum in Bradford, UK, researchers have discovered what are believed to be the world's oldest color films. Created by cinematic pioneer Edward Raymond Turner, the films date to 1902 and depict the inventor's children, a girl on a swing, and soldiers marching. Before this find, the oldest color film was believed to be a 1909 film created in Kinemacolor.

The three-color process used in these early films was patented by Edward Turner and Frederick Marshall Lee on March 22, 1899. While H. Isensee of Germany patented an early version of color cinematography in 1897, the Turner/Lee method was the first system to lead to a working model. While Turner was a chemist and photographer, his partner, Lee, was a race horse owner and funded Turner's experiments.

According to the Who's Who of Victorian Cinema:

In practice, however, the Lee and Turner system was a failure. It required a projection speed of forty-eight frames per second, combined with precise registration of three separate images from lenses positioned in parallel. The result was an unwatchable blur.

Why is Turner's name little known to the history of cinema? He died of a heart attack in 1903, which only goes to show that history isn't only written by the victors but also by those with better health.

It should be noted that Turner's process did eventually lead to Kinemacolor in 1906, which became the world's first successful motion picture system in natural colors.

The films are currently on display at the National Media Museum.

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After 110 years hidden in a tin at the National Media Museum in Bradford, UK, researchers have discovered what are believed to be the world's oldest color films. Created by cinematic pioneer Edward Raymond Turner, the films date to 1902 and depict the inventor's children, a girl on a swing, and soldiers marching.

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What are the contextual reasons for this reappropriation of film footage in 'World War II in HD Colour'? 

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What are the contextual reasons for this reappropriation of film footage in 'World War II in HD Colour'? 

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Discovered in 2012, after being situated in a tin for 110 years at the National Media Museum, Bradford (UK), are believed to be the world's oldest colour films. Both films were created by Edward Raymond Turner, whose process to create such films, "did eventually lead to Kinemacolor in 1906, which became the world's first successful motion picture system in natural colours." (Vartanian H. 2012. https://hyperallergic.com/56840/edward-turner-first-color-film-discovered/).

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Chromatic Cinema: A History of Screen Color

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Chromatic Cinema: A History of Screen Color

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Chapter:
Technicolor Is Natural Color: Color and Realism, 1935-58

"By late 1935, Technicolor had a collaboration with Walt Disney behind it and a busy production schedule ahead. Having spent almost 20 year refining its color process, the company was at last establishing itself within Hollywood as a reliable supplier. What the company most wanted now was for color to become an industry norm. In order for this to happen, color needed to dis-lodge black-and-white as the perceived index of reality, so that instead of requiring a reason to film in color, producers would require a reason not to film in color. Unfortunately for Technicolor, Hollywood producers and directors did not always share its aspirations that film color should be used "realistically". Vorticist painter Paul Nash aptly summarised the approach of many first-time color directors as follows: "They are like the children in the nursery again. They have been given a box of paints and they are having a fine time laying it on thick anywhere they can" (1937:121). Nowhere was this childish excitement more apparent than in Becky Sharp, the first full-colour Technicolor feature, which culminates in a ball scene whose swirling colors recall the serpentine dance films of the 1890s. Unsurprisingly, the film set alarm bells ringing at Technicolor, early "natural" color had an innate tendency toward excessive saturation. The company was struggling no only against Hollywood practitioners but also again the technological limitations of its own product."

Misek R. (2010: 35) Chromatic Cinema: A History of Screen Color. (First Edition) Wiley-Blackwell.

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Why has the coloration of black-and-white film footage become increasingly utilised in film making and in particular the documentary genre?

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Why has the coloration of black-and-white film footage become increasingly utilised in film making and in particular the documentary genre?