Book contents
- Frontmatter
- Contents
- Preface
- Dedication
- Cinematic Color as Likeness and as Artifact: [2001]
- Chords of Color: [2006]
- The Tension of Colors in Colorized Silent Films: [2001]
- Structural Film, Structuring Color: Jenny Okun's Still Life: [1995]
- Desert Fury: A Film Noir in Color: [2012]
- The Work of the Camera: BEAU TRAVAIL: [2005]
- Empathy with the Animal: [1997]
- Motor Mimicry in Hitchcock: [1999]
- Abstraction and Empathy in the Early German Avant-garde: [1997]
- The Role of Empathy in Documentary Film: A Case Study: [2005]
- Genre Conflict in Tracey Emin’s Top Spot: [2007]
- Viewer Empathy and Mosaic Structure in Frederick Wiseman’s PRIMATE: [2009]
- CASTA DIVA: An Empathetic Reading: [2008]
- Publication Data
- Index of Films
- Index of Subjects
- Film Culture in Transition
Film Culture in Transition
Published online by Cambridge University Press: 23 June 2021
- Frontmatter
- Contents
- Preface
- Dedication
- Cinematic Color as Likeness and as Artifact: [2001]
- Chords of Color: [2006]
- The Tension of Colors in Colorized Silent Films: [2001]
- Structural Film, Structuring Color: Jenny Okun's Still Life: [1995]
- Desert Fury: A Film Noir in Color: [2012]
- The Work of the Camera: BEAU TRAVAIL: [2005]
- Empathy with the Animal: [1997]
- Motor Mimicry in Hitchcock: [1999]
- Abstraction and Empathy in the Early German Avant-garde: [1997]
- The Role of Empathy in Documentary Film: A Case Study: [2005]
- Genre Conflict in Tracey Emin’s Top Spot: [2007]
- Viewer Empathy and Mosaic Structure in Frederick Wiseman’s PRIMATE: [2009]
- CASTA DIVA: An Empathetic Reading: [2008]
- Publication Data
- Index of Films
- Index of Subjects
- Film Culture in Transition
Summary
- Type
- Chapter
- Information
- Color and EmpathyEssays on Two Aspects of Film, pp. 265 - 269Publisher: Amsterdam University PressPrint publication year: 2014