This often-startlingly original book introduces a new way of thinking
about color in film as distinct from existing approaches which tend to
emphasize either technical processes and/or histories of film
coloration, or the meaning(s) of color as metaphor or symbol, or else
part of a broader signifying system. Murray Pomerance's latest
meditation on cinema has the author embed himself in various ways of
thinking about color; not ways of framing it as a production trick or a
symbolic language but ways of wondering how the color effect onscreen
can work in the act of viewing.
Pomerance examines many issues, including acuity, dreaming,
interrelationships, saturations, color contrasts, color and performance
(color as a performance aid or even performance substitute), and more.
The lavender of the photographer's seamless in Antonioni's Blow-Up
taken in itself as an explosion of color worked into form, and then
considered both as part of the story and part of our experience.
The 14 chapters of this book each discuss a single primary color as
regards to our experience of cinema. After opening the idea of such an
exploration in terms of the history of our apperception and the
variation in our experience that color germinates, Color it True takes
form.
