Colour Films in Britain

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. – Duncan Petrie, University of York, UKColour Films in Britain is a landmark study of the transition to colour that occurred in the 1960s and 1970s. No other book has yet tackled this transition with such depth, breadth and precision. The collaborative efforts of Sarah Street, Keith M. Johnston, Paul Frith and Carolyn Rickards are a model for research that I hope will soon be taken up in other national and transnational contexts. – Joshua Yumibe, Michigan State University, USA

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).