Sparked by a groundbreaking Amsterdam workshop titled ŸDisorderly Order: Colours in Silent Film,Œ scholarly and archival interest incolour as a crucial aspect of film form, technology and aesthetics has enjoyed a resurgence in the past twenty years. In the spirit of the workshop, this anthology brings together international experts to explore a diverse range of themes that they hope will inspire the next twenty years of research on colour in silent film. Taking an interdisciplinary approach, the book explores archival restoration, colour film technology, colour theory, and experimental film alongside beautifully saturated images of silent cinema.

Giovanna Fossati is the chief curator of Eye Filmmuseum and professor of Film Heritage and Digital Film Culture at the University of Amsterdam.Elif Rongen-Kaynakçi is the Silent Film Curator at the EYE Filmuseum, Amsterdam.Sarah Street is Professor of Film at the University of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcissus (2004).Joshua Yumibe holds a joint appointment as assistant professor and director of Film Studies at Michigan State University and as a lecturer in Film Studies at the University of St Andrews.Victoria Jackson is a Postdoctoral Research Associate at the University of Bristol, UK. Bregt Lameris is a post-doc at the University of Zürich, Switzerland.

IntroductionGiovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakci, Sarah Street and Joshua YumibePrologueQuestions of Colours: Taking SidesPeter DelpeutNon-Fiction and Amateur CinemaFireworks and Carnivals: Natural Colour Processes in Italian Amateur CinemaElena GipponiLiminal Perceptions: Intermediality and the Exhibition of Non-fiction Film Liz WatkinsRough Seas and Waterfalls: Lyrical Colors in Silent-Era Nonfiction FilmJennifer PetersonNatural Colour Processes: Theory and Practice‘Taking the color out of color’: Two-Colour Technicolor, The Black Pirate, and Blackened DyesJohn BeltonWhy Additive? Problems of Colour and Epistemological Networks in Early (Film) TechnologyBenôit TurquetyThe Comedy of Colours: The slapstick potential of natural colour in Mack Sennett shortsHilde D'haeyereAdditive and Subtractive: Two Paths Towards ColourFrank GrayIntermediality and AdvertisingRainbow Ravine: Color and Animated Advertising in Times Square, 1891- 1915Kirsten ThompsonNegotiating A World Of Color: Films Experiments And Intermedial PracticesNatalie SnoymanForegrounding objects: Advertising, moving images, and the role of colour in French 1920s visual cultureFederico PierottiArchiving and Restoration: Early Debates and Current PracticesLa Ligue du Noir et Blanc: French Debates on Natural Colour Film and Art Cinema 1926—1927Bregt LamerisA Material-Based Approach to the Digitisation of Early Film ColoursBarbara Flueckiger, Claudy Op den Kamp and David PflugerArchival Panels (edited transcripts)Preservation, Restoration, Presentation and PolicySonia Genaitay (BFI), Ulrich Ruedel (BFI and HTW / University of Applied Sciences, Berlin), Bryony Dixon (BFI), Annike Kross (EYE), Tina Anckarman and Tone Føreland (National Library of Norway), Thierry Delannoy and Benjamin Alimi (Digimage-Classics), Fumiko Tsuneishi (Austrian Film Archive), moderated by Giovanna FossatiDigital Restoration’ with Michelle Carlos (National Academy of Fine Arts in Stuttgart), Barbara Flueckiger, Claudy Op den Kamp and David Pfluger (DIASTOR project, University of Zurich), moderated by Giovanna Fossati.Authors’ BiographiesBibliographyAcknowledgements