Issue link: https://digital.copcomm.com/i/1541514
3 4 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 5 A. STILL FROM JOHN HUSTON'S MOULIN ROUGE. B. STILL FROM BLACK NARCISSUS. C. SCENE STILL FROM DAVID LEAN'S LAWRENCE OF ARABIA. D. KIM NOVAK IN HITCHCOCK'S MASTERPIECE, VERTIGO. E. LA LA LAND, 2016. Those working in the 1930s and '40s, when color was still something of a novelty, helped define the color aesthetic attributed to Technicolor, while those working in the mid-'50s through the late '70s were essential to elevating Technicolor to the apogee of cinematic color" It is that era of the 1950s to the 1970s that receives particular focus in the book. There is a good deal of material available on the birth of Technicolor and its use in the '30s and '40s. Hoffman follows those developments into the following decades, looking closely at the films of Alfred Hitchcock, and showing the use of the process in the work of filmmakers like Gene Kelly, Jean Renoir, John Huston, Bob Fosse and Francis Ford Coppola, and the impact of the process on later filmmakers like Todd Haynes and Damien Chazelle. B A C D E