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Copyright

Bregt Lameris

Published On

2025-03-06

Page Range

pp. 235–248

Language

  • English

Print Length

14 pages

Coda

Hallucinating Colours

Chapter of: Feeling Colour: Chromatic Embodiment in Film Culture, 1950s–1960s(pp. 235–248)
A Coda called Hallucinating Colours takes the reader one step further into the spectator’s interior—that is, inside the brain—by discussing the phenomenon of purely subjective colours, their contextual background and their representation in films. In this closing chapter, that has its foundations in my article, ‘Hallucinating Colours. Psychedelic Film, Technology, Aesthetics and Affect’ (2019), I openly follow the Braudel-induced categorisation of historical time that is present throughout the entire book in less explicit ways. This shows once more the efficacy of the methodology, based on cultural history and the history of emotions, and rounds up the study of how colours and feeling interrelated in films of the 1950s and 1960s.

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.