<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>The article analyses the problem of colouring black and white archival footage in <italic>Spain in Two Trenches: The Civil War in Colour</italic> (<italic>Espa</italic><italic>ñ</italic><italic>a en dos trincheras . La guerra civil en color</italic>, Francesc Ecribano and Luis Carrizo, 2016), which was made by digitizing and colouring more than 450 surviving films of the Spanish Civil War. The analysis focuses on the kind of affects and perceptual mechanisms which might ensue from the colourization of archival black and white footage, and on the justification of the use of colour to authenticate an event that has already happened. At the beginning of the paper, the author briefly reviews the approaches of the increasingly close relationship between mediatization and memory, then focuses on the justification of colourization in the light of the Spanish documentary and compares it with issues of perceptual realism. In the final part of the analysis, the author examines the historical consequences of the reconfiguration of the past in colour.<sup>1</sup></p>
</abstract>

The article analyses the problem of colouring black and white archival footage in Spain in Two Trenches: The Civil War in Colour (España en dos trincheras . La guerra civil en color, Francesc Ecribano and Luis Carrizo, 2016), which was made by digitizing and colouring more than 450 surviving films of the Spanish Civil War. The analysis focuses on the kind of affects and perceptual mechanisms which might ensue from the colourization of archival black and white footage, and on the justification of the use of colour to authenticate an event that has already happened. At the beginning of the paper, the author briefly reviews the approaches of the increasingly close relationship between mediatization and memory, then focuses on the justification of colourization in the light of the Spanish documentary and compares it with issues of perceptual realism. In the final part of the analysis, the author examines the historical consequences of the reconfiguration of the past in colour.1

Uncanny Colours of the Past. Phenomenological Notes on Remediation and Colourization of Black-and-White Footage

Sapientia Hungarian University of Transylvania

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

The article analyses the problem of colouring black and white archival footage in Spain in Two Trenches: The Civil War in Colour (España en dos trincheras . La...

Uncanny Colours of the Past. Phenomenological Notes on Remediation and Colourization of Black-and-White Footage

Data publikacji: 06 gru 2023

Zakres stron: 15 - 38

DOI: https://doi.org/10.2478/ausfm-2023-0012

Słowa kluczowe
colourization, remedialization, perceptual realism, found footage films, media ecology

© 2023 Kamilla Simor, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Uncanny Colours of the Past. Phenomenological Notes on Remediation and Colourization of Black-and-White Footage

Data publikacji: 06 gru 2023

Zakres stron: 15 - 38

DOI: https://doi.org/10.2478/ausfm-2023-0012

Słowa kluczowecolourization, remedialization, perceptual realism, found footage films, media ecology

© 2023 Kamilla Simor, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Słowa kluczowe
colourization, remedialization, perceptual realism, found footage films, media ecology