Sarah Street is Professor of Film at the University of Bristol, UK. Her publications on colour film include Colour Films in Britain: The Negotiation of Innovation, 1900-55 (2012), three co-edited collections: Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) and British Colour Cinema: Practices and Theories (2013) (both with Simon Brown and Liz Watkins), and The Colour Fantastic: Chromatic Worlds of Silent Cinema (with Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakci and Joshua Yumibe). Keith M. Johnston is Reader in Film & Television Studies at the University of East Anglia, UK. He is also the author of Coming Soon: Film Trailers and the Selling of Hollywood Technology (McFarland & Co, 2009), Science Fiction Film: A Critical Introduction (Bloomsbury, 2011), and co-editor of Ealing Revisited (BFI 2012).Paul Frith is a Research Associate at the University of East Anglia, UK. He has published articles in The Journal of British Cinema and Television and Horror Studies.Carolyn Rickards is a Research Associate at the University of Bristol, UK. She has published articles in the Journal of British Cinema and Television and a chapter in Fantasy / Animation: Connections Between Media, Mediums and Genres (2018).

Rooted in detailed primary research into aesthetics, production practices, technologies and institutions, Colour Films in Britain, provides a comprehensive and illuminating consideration of the adoption, diffusion and popularization of colour in British cinema from the mid-1950s.

• IntroductionSection 1: What is Eastmancolor?1. Branding and Marketing the Eastmancolor Revolution2. Eastmancolor, the British Film Industry, and InstitutionsSection 2: Eastmancolor and British Genre Films3. Comedy and Satire4. Social realism / contemporary drama5. The Colour of Crime6. Fantasy, Horror and Science Fiction7. Historical and costume films8. Musicals, pop films, and the concert filmSection 3: Eastmancolor Outside the Mainstream9. Key colourists, 1955-8510. Art, experimental, and avant-garde practices11. Eastmancolor and the Amateur Film12. Short and Documentary Films13. The Colour of Sex? Eastmancolor and the Sex FilmSection 4: Preservation and Restoration14. Cultures and Practices of Preservation and RestorationConclusionFirst Appendix: Eastmancolor Film List, 1954-85Second Appendix: Technical Appendix

Sarah Street is Professor of Film at the University of Bristol, UK. Her publications on colour film include Colour Films in Britain: The Negotiation of Innovation, 1900-55 (2012), three co-edited collections: Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) and British Colour Cinema: Practices and Theories (2013) (both with Simon Brown and Liz Watkins), and The Colour Fantastic: Chromatic Worlds of Silent Cinema (with Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakci and Joshua Yumibe). Keith M. Johnston is Reader in Film & Television Studies at the University of East Anglia, UK. He is also the author of Coming Soon: Film Trailers and the Selling of Hollywood Technology (McFarland & Co, 2009), Science Fiction Film: A Critical Introduction (Bloomsbury, 2011), and co-editor of Ealing Revisited (BFI 2012).Paul Frith is a Research Associate at the University of East Anglia, UK. He has published articles in The Journal of British Cinema and Television and Horror Studies.Carolyn Rickards is a Research Associate at the University of Bristol, UK. She has published articles in the Journal of British Cinema and Television and a chapter in Fantasy / Animation: Connections Between Media, Mediums and Genres (2018).

Rooted in detailed primary research into aesthetics, production practices, technologies and institutions, Colour Films in Britain, provides a comprehensive and illuminating consideration of the adoption, diffusion and popularization of colour in British cinema from the mid-1950s.

• IntroductionSection 1: What is Eastmancolor?1. Branding and Marketing the Eastmancolor Revolution2. Eastmancolor, the British Film Industry, and InstitutionsSection 2: Eastmancolor and British Genre Films3. Comedy and Satire4. Social realism / contemporary drama5. The Colour of Crime6. Fantasy, Horror and Science Fiction7. Historical and costume films8. Musicals, pop films, and the concert filmSection 3: Eastmancolor Outside the Mainstream9. Key colourists, 1955-8510. Art, experimental, and avant-garde practices11. Eastmancolor and the Amateur Film12. Short and Documentary Films13. The Colour of Sex? Eastmancolor and the Sex FilmSection 4: Preservation and Restoration14. Cultures and Practices of Preservation and RestorationConclusionFirst Appendix: Eastmancolor Film List, 1954-85Second Appendix: Technical Appendix

Sarah Street is Professor of Film at the University of Bristol, UK. Her publications on colour film include Colour Films in Britain: The Negotiation of Innovation, 1900-55 (2012), three co-edited collections: Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) and British Colour Cinema: Practices and Theories (2013) (both with Simon Brown and Liz Watkins), and The Colour Fantastic: Chromatic Worlds of Silent Cinema (with Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakci and Joshua Yumibe). Keith M. Johnston is Reader in Film & Television Studies at the University of East Anglia, UK. He is also the author of Coming Soon: Film Trailers and the Selling of Hollywood Technology (McFarland & Co, 2009), Science Fiction Film: A Critical Introduction (Bloomsbury, 2011), and co-editor of Ealing Revisited (BFI 2012).Paul Frith is a Research Associate at the University of East Anglia, UK. He has published articles in The Journal of British Cinema and Television and Horror Studies.Carolyn Rickards is a Research Associate at the University of Bristol, UK. She has published articles in the Journal of British Cinema and Television and a chapter in Fantasy / Animation: Connections Between Media, Mediums and Genres (2018).

Rooted in detailed primary research into aesthetics, production practices, technologies and institutions, Colour Films in Britain, provides a comprehensive and illuminating consideration of the adoption, diffusion and popularization of colour in British cinema from the mid-1950s.

• IntroductionSection 1: What is Eastmancolor?1. Branding and Marketing the Eastmancolor Revolution2. Eastmancolor, the British Film Industry, and InstitutionsSection 2: Eastmancolor and British Genre Films3. Comedy and Satire4. Social realism / contemporary drama5. The Colour of Crime6. Fantasy, Horror and Science Fiction7. Historical and costume films8. Musicals, pop films, and the concert filmSection 3: Eastmancolor Outside the Mainstream9. Key colourists, 1955-8510. Art, experimental, and avant-garde practices11. Eastmancolor and the Amateur Film12. Short and Documentary Films13. The Colour of Sex? Eastmancolor and the Sex FilmSection 4: Preservation and Restoration14. Cultures and Practices of Preservation and RestorationConclusionFirst Appendix: Eastmancolor Film List, 1954-85Second Appendix: Technical Appendix