Global Film Color

Introduction SARAH STREET AND JOSHUA YUMIBE
Mapping the Laboratory: Technicolor across Asia and Europe: KIRSTY SINCLAIR DOOTSON
“Keeping Your Enemies Closer”: Strategies of Knowledge Transfer at the East German Filmfabrik Wolfen: JOSEPHINE DIECKE
“We’re Not in Sweden Anymore”: Technicolor’s Brief Venture in Swedish Cinema: KAMALIKA SANYAL
“Risk versus Conformity”: Soviet Color Film, 1956–1982: PHILIP CAVENDISH
Eastman Color in 1960s India: RANJANI MA ZUMDAR
Coloring the Coastline: Italian Beachside Comedies and the Color Film Transition: ELENA GIPPONI
Technological and Athletic Splendor: The Formation of Color in the Socialist Sports Film in China: LINDA C. ZHANG
The Chinese Film Collection at the University of South Carolina: HEATHER HECKMAN, LAURA MAJOR, AND LYDIA PAPPAS
The Lights That Raised Up a Storm: Neon and the Nikkatsu Action Color Film, 1957–1963: WILLIAM CARROLL
Color as a Foreign Accent: Brazilian Films and Film Laboratories in the 1950s: RAFAEL DE LUNA FREIRE
British Film Criticism and Global Color: SARAH STREET
All about Landscape: The Shift to Color in Australian Film at Midcentury: KATHRYN MILLARD AND STEFAN SOLOMON
Moving Monochromatics: Paul Sharits and Color Field Aesthetics in a Global Context: GREGORY ZINMAN
On Vivid Colors and Afrotropes in African and Diasporic Cinemas: JOSHUA YUMIBE
Acknowledgments
Notes on Contributors