Wendy Haslem teaches and researches the intersections of film history and new media. At present, she is a lecturer in screen studies at the University of Melbourne. She is a co-creator of The Godzilla Project, an interactive, multimedia portal designed to introduce students to film history, atomic culture and trauma cinema using 1950s disaster films. Wendy teaches in screen studies and arts and cultural management, coordinating subjects that include film noir, censorship and exhibition.

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• List of IllustrationsAcknowledgementsIntroduction: Beginnings and Ends: Historical Collusion Chapter 1: Cigarette Burns and Bullet Holes: Celluloid Cues in Digital CinemaSection I: Early Cinema: Colour and SpectralityChapter 2: Applied Colour: Chromatic Frankenstein's Monsters?Chapter 3: The Serpentine Dance Films: 'Dream Visions That Change Ten Thousand Times a Minute'Section II: Luminescence, Montage and Frame RatiosChapter 4: Memory and Noir: Neon Contrasts Chapter 5: Cutting: Shock and EnduranceChapter 6: Screens, Scale Ratio: Vertical Celluloid in the Digital AgeSection III: Cinema Beyond the FrameChapter 7: Hallucinatory Framing and Kaleidoscopic VisionChapter 8: Ephemeral Screens: The MuybridgizerBibliography Index

Wendy Haslem teaches and researches the intersections of film history and new media. At present, she is a lecturer in screen studies at the University of Melbourne. She is a co-creator of The Godzilla Project, an interactive, multimedia portal designed to introduce students to film history, atomic culture and trauma cinema using 1950s disaster films. Wendy teaches in screen studies and arts and cultural management, coordinating subjects that include film noir, censorship and exhibition.

Select Guide Rating

• List of IllustrationsAcknowledgementsIntroduction: Beginnings and Ends: Historical Collusion Chapter 1: Cigarette Burns and Bullet Holes: Celluloid Cues in Digital CinemaSection I: Early Cinema: Colour and SpectralityChapter 2: Applied Colour: Chromatic Frankenstein's Monsters?Chapter 3: The Serpentine Dance Films: 'Dream Visions That Change Ten Thousand Times a Minute'Section II: Luminescence, Montage and Frame RatiosChapter 4: Memory and Noir: Neon Contrasts Chapter 5: Cutting: Shock and EnduranceChapter 6: Screens, Scale Ratio: Vertical Celluloid in the Digital AgeSection III: Cinema Beyond the FrameChapter 7: Hallucinatory Framing and Kaleidoscopic VisionChapter 8: Ephemeral Screens: The MuybridgizerBibliography Index

Wendy Haslem teaches and researches the intersections of film history and new media. At present, she is a lecturer in screen studies at the University of Melbourne. She is a co-creator of The Godzilla Project, an interactive, multimedia portal designed to introduce students to film history, atomic culture and trauma cinema using 1950s disaster films. Wendy teaches in screen studies and arts and cultural management, coordinating subjects that include film noir, censorship and exhibition.

Select Guide Rating

• List of IllustrationsAcknowledgementsIntroduction: Beginnings and Ends: Historical Collusion Chapter 1: Cigarette Burns and Bullet Holes: Celluloid Cues in Digital CinemaSection I: Early Cinema: Colour and SpectralityChapter 2: Applied Colour: Chromatic Frankenstein's Monsters?Chapter 3: The Serpentine Dance Films: 'Dream Visions That Change Ten Thousand Times a Minute'Section II: Luminescence, Montage and Frame RatiosChapter 4: Memory and Noir: Neon Contrasts Chapter 5: Cutting: Shock and EnduranceChapter 6: Screens, Scale Ratio: Vertical Celluloid in the Digital AgeSection III: Cinema Beyond the FrameChapter 7: Hallucinatory Framing and Kaleidoscopic VisionChapter 8: Ephemeral Screens: The MuybridgizerBibliography Index