Gentlemen Prefer Blondes (1953)
Color is an integral part of the cinematic experience. Filmmakers worldwide use color to shape narratives, evoke mood, or establish time and location. For audiences, colors elicit emotional responses, transcending logic to resonate with the subconscious mind. Introduced in the 1930s, Technicolor IV became the prevailing color technology choice for Hollywood productions through the mid-1950s. The influential process came to define the look of studio pictures thanks to its crisp images and vibrancy. Technicolor and its color consultants advised on all aspects of production, from costume design to art direction and cinematography. Even later pictures shot on color film stocks such as Eastman, including Vertigo (1958) and Cabaret (1972), would often be printed in glorious Technicolor. This screening series, programmed to accompany the museum’s exhibition Color in Motion: Chromatic Explorations of Cinema , celebrates the vibrant and indelible impact of Technicolor on Hollywood productions and audiences. COLOR IN MOTION: CHROMATIC EXPLORATIONS OF CINEMA is curated by Senior Exhibitions Curator Jessica Niebel with Assistant Curator Sophia Serrano, Research Assistant Alexandra James Salichs, and former Curatorial Assistant Manouchka Kelly Labouba, Academy Museum of Motion Pictures. Special thanks to the project advisory group: Barbara Flueckiger, Ranjani Mazumdar, Kirsten Moana Thompson, and Joshua Yumibe. COLOR IN MOTION: CHROMATIC EXPLORATIONS OF CINEMA is among more than 70 exhibitions and programs presented as part of PST ART. Returning in September 2024 with its latest edition, PST ART: ART & SCIENCE COLLIDE, this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about PST ART: ART & SCIENCE COLLIDE, please visit pst.art. Programmed by K.J. Relth-Miller. Notes by Hyesung ii and K.J. Relth-Miller adapted from COLOR IN MOTION exhibition texts. LIMITED SERIES THE WONDERS OF TECHNICOLOR OCT 6–NOV 23, 2024
impact of this vividly realized psychological thriller. In the picture’s most memorable scenes, Kim Novak’s mysterious Madeleine is associated with green through costuming and her surroundings, such as her car and apartment. Shooting on Eastman stock and printing in Technicolor, director Alfred Hitchcock used the color to symbolize the growing obsession of private investigator Scottie (James Stewart) with Madeleine. The original costume on display in Color in Motion , worn by Novak and created by renowned costume designer Edith Head, reflects a modern, relaxed character juxtaposed to the austere woman Scottie thought he knew. DIRECTED BY: Alfred Hitchcock. WRITTEN BY: Alec Coppel, Samuel Taylor. WITH: James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore. 1958. 126 min. USA. Technicolor. English. Rated PG. 35mm. New print courtesy of the Academy Film Archive.
VERTIGO
Vertigo in 35mm Sun, Oct 6 | 7:30pm | DGT
In Vertigo , the vibrant rendering of the Oscar- nominated art direction aids in the overwhelming
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