📚 Save Big on Books! Enjoy 10% off when you spend £100 and 20% off when you spend £200 (or the equivalent in supported currencies)—discount automatically applied when you add books to your cart before checkout! 🛒

Copyright

Bregt Lameris

Published On

2025-03-06

Page Range

pp. 25–40

Language

  • English

Print Length

16 pages

1. Feeling Film Colours

Theoretical Framework

Chapter of: Feeling Colour: Chromatic Embodiment in Film Culture, 1950s–1960s(pp. 25–40)
In Chapter One of the book, you find an elaboration on the theoretical framework around emotions, feelings and film, and how we can study this from a historical perspective. To do this, I position the book within the traditions of affect theories, new film history, the history of emotions, and Braudel’s ideas on temporalities in cultural history and put them in a historical perspective. The aim is to clarify the underlying theoretical constructs and the origins and uses of the main theoretical concepts this book is built on.
Following this theoretical framework, the book has three parts that each cover one of the various ways in which colour is connected to embodied experiences and feelings in colour theory, perception theory, and popular discourse.

Contributors

Bregt Lameris

(author)
Senior Lecturer in Media Studies at Open University in the Netherlands
https://orcid.org/0000-0003-3077-7331
https://www.ou.nl/web/open-universiteit/zoek-medewerker#!user/bl1

Bregt Lameris works as a senior lecturer in Media Studies at the Open Universiteit (Heerlen), where she develops courses on for example the digital transition and the experience of cultural heritage, stigma in media, clothes and identity, disability studies and culture. Her colour research was embedded at the University of Zurich, where she was a postdoctoral researcher within the ERC Advanced Grant project ‘FilmColors’. Other research interests are stigma, media and mental health, media archaeology, film archiving, film historiography, affect, emotions and subjectivity in audiovisual representation, and disability studies. In 2017 she published her monograph Film Museum Practice and Film Historiography which is available in Open Access through Amsterdam University Press. She was a co-editor of the book The Colour Fantastic. Chromatic Worlds of Silent Cinema (2018), as well as of several special issues of various journals (Journal for Media History, Montage AV, Necsus, Locus.