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  • Colouring The Past: Pleasantville and The Textuality of Media Memory - Paul Grainge - 2003

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    Ted Turner's plan in 1986 to digitally colorize black and white films from MGM's catalog drew strong criticism from Hollywood directors, actors, and film guilds. They argued that colorization did more than just enhance visual quality - it fundamentally altered the chromatic character of the original films. By believing that colorized versions would replace the memory of the black and white originals, critics denounced digital alteration as destroying the visual pastness that helped embed the original films within cultural and aesthetic memory.

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    Ted Turner's plan in 1986 to digitally colorize black and white films from MGM's catalog drew strong criticism from Hollywood directors, actors, and film guilds. They argued that colorization did more than just enhance visual quality - it fundamentally altered the chromatic character of the original films. By believing that colorized versions would replace the memory of the black and white originals, critics denounced digital alteration as destroying the visual pastness that helped embed the original films within cultural and aesthetic memory.

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    Colouring The Past: Pleasantville and The Textuality of Media Memory - Paul Grainge - 2003

    Uploaded by

    Christian De Moor
    Ted Turner's plan in 1986 to digitally colorize black and white films from MGM's catalog drew strong criticism from Hollywood directors, actors, and film guilds. They argued that colorization did more than just enhance visual quality - it fundamentally altered the chromatic character of the original films. By believing that colorized versions would replace the memory of the black and white originals, critics denounced digital alteration as destroying the visual pastness that helped embed the original films within cultural and aesthetic memory.

    Copyright:

    © All Rights Reserved
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    Colouring the past: Pleasantville and the textuality of media memory - Paul

    Grainge - 2003

    « When Ted Turner purchased MGM Entertainment in 1986, and then financed a plan to digitally
    colourise a series of black and white movies from the studio’s back catalogue, a beachhead of
    Hollywood directors, actors, film critics and cinematic guilds vociferously attacked the idea in
    practice and principle. The crux of complaint focused on the fact that, as a technical process,
    colourisation did not simply enhance the visual quality and resolution of old monochrome movies,
    but artfully doctored their entire chromatic character. Believing that colourised films would
    eventually replace the memory of their black and white progenitors, digital alteration was
    denounced by the anti-colourisation lobby as a venal process. » (Grainge, 2003, p. 202)
    « In transforming a monochrome movie into a digitally re-made spectacle, colourisation was said to
    mutilate and destroy the visual pastness that could embed original black and white films within the
    tissues of cultural and aesthetic memory. » (Grainge, 2003, p. 202)

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