6th International Conference Colour in Film: Full Schedule

2:00pm CEST

Registration (Kinemathek / Lichtspiel Bern Foyer)

Sunday September 25, 2022 2:00pm - 3:15pm CEST
Lichtspiel / Kinemathek Bern

3:15pm CEST

Opening of the 6th International Colour in Film Conference

Speakers

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNSF Film Colors, University of Zurich

Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects”.Since... Read More →

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin

Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →

Elza Tantcheva-Burdge

Committee Member, Colour Group (Great Britain)

Elza Tantcheva-Burdge is a committee member of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art, developing... Read More →

Sunday September 25, 2022 3:15pm - 3:30pm CEST
Lichtspiel / Kinemathek Bern

Welcome Note

3:30pm CEST

Workshop: Colour in Analog and Digital Cinema

A colour and image scientist, a film colorist, and a vision and colour scientist collaborate once again to present their joint view of how the biology of human vision and the technology of film and cinema combine to produce the magic of cinema. We present the fundamentals of human colour vision and visual processing and the basics of the colour image science of cinema using illustrations and demonstrations to make the concepts approachable and useful to Colour in Film attendees. We run from the limitations of human colour vision through the colour implications of basic photochemistry (including Technicolor) to modern digital cinema (including DCPs & archiving). We employ a collection of teaching utensils and demonstrations – including mechanical Maxwell’s disks and visual illusions – to impart an intuitive sense of how colour works, giving attendees an interactive experience.

Speakers

Charles Poynton

Scientist / Mathematician

Charles Poynton is an independent image and colour scientist working in video / HD / UHD / 4K / HDR / HDR / D‑cinema. Thirty years ago, he decided upon the count of 1080 image rows for HD (and thereby, “square pixels”). He was responsible for the introduction of the Adobe RGB... Read More →

Andrew Stockman

Professor, University College London

Andrew Stockman is the Steers Professor at the UCL Institute of Ophthalmology. He is an authority on normal and abnormal visual function with expertise in physiological optics, colour vision, rod vision, visual adaptation, temporal sensitivity, retinal processing, and clinical vision... Read More →

Laurens Orij

Colorist

Laurens Orij is a senior colorist and co-founder at Crabsalad Amsterdam.His commercials work is based in Amsterdam, while his feature film work is based in Paris.He lectures on color science, and loves to drive scientific research with artistic problems to create new possibilities... Read More →

Sunday September 25, 2022 3:30pm - 5:30pm CEST
Lichtspiel / Kinemathek Bern

Workshop

5:30pm CEST

Segundo de Chomón, the Wizard of Tricks and Color

A screening by Film Conservation Centre of Filmoteca de Catalunya.

Musical accompaniment by Günter Buchwald.

Sunday September 25, 2022 5:30pm - 6:30pm CEST
Lichtspiel / Kinemathek Bern

Screening

7:00pm CEST

Lichtspiel Bar Open for Consumption

Sunday September 25, 2022 7:00pm - 8:00pm CEST
Lichtspiel / Kinemathek Bern

8:00pm CEST

Special Screening: Lichtspiel-Sonntag Nr. 1153

A surprise program of short films on the topic of colour from the Lichtspiel archive.

Sunday September 25, 2022 8:00pm - 10:00pm CEST
Lichtspiel / Kinemathek Bern

Screening

9:30am CEST

Opening Day 2

Monday September 26, 2022 9:30am - 9:40am CEST
Lichtspiel / Kinemathek Bern

Welcome Note

9:40am CEST

Experimental Films from the Eye Filmmuseum Collection

Experimentation in the use of colour in film dates back to the very beginning of cinema and earlier, but it is within the context of the international avant-garde movement and its network of artists, that such practices gained artistic recognition and exposure, fuelled by the theories developed by its own practitioners. Dutch avant-garde cinema was no exception. The Filmliga, a Cineclub founded with a manifesto in 1927, saw it as its aim to promote film as art. This new generation of filmmakers inspired by the films of Ruttmann, Richter, Fischinger and several others started to experiment with the medium of film and developed theories about the role of colour, rhythm and music on the perception of film. The pivotal role of the Filmliga, also in its international context, can be seen as the birthing ground for the vibrant generations to come. This presentation and accompanying film program will take the Filmliga as a starting point to further explore the fascination and interest in the use of colour techniques in the Dutch experimental cinema up to the present, with a special focus on animation. The presentation will highlight some aspects and complications encountered during the restoration of these works and the decisions that have been taken to address them.

Speakers

Simona Monizza

Curator of Experimental Film, Eye Filmmuseum

Simona Monizza is Curator of Experimental Film at EYE Filmmuseum in Amsterdam since 2012, where she is responsible for the archiving, preservation, research and presentation of the experimental film collection. At the heart of her job lies the passion for taking care of this fragile... Read More →

Monday September 26, 2022 9:40am - 10:20am CEST
Lichtspiel / Kinemathek Bern

Talk

10:20am CEST

Screening: Experimental Films from the Eye Filmmuseum Collection

Film copies and DCPs courtesy of EYE Film Museum

Speakers

Simona Monizza

Curator of Experimental Film, Eye Filmmuseum

Monday September 26, 2022 10:20am - 11:00am CEST
Lichtspiel / Kinemathek Bern

Screening

11:00am CEST

Coffee Break

Monday September 26, 2022 11:00am - 11:30am CEST
Lichtspiel / Kinemathek Bern

Break, Lecture

11:30am CEST

The Colour Lines of Color Cry

Reflecting on the relationship between graphic abstraction, movement, and sound in his film Color Cry (1953), the artist Len Lye seized on “consanguinity,” or blood kinship, as a term that crystallized his philosophy of animation and the distinct form of this film. In this talk, I work outward from Lye’s unpublished essay on consanguinity to ask what blood relations meant for his contributions to abstract animation. My inquiry follows two distinct yet interrelated colour lines in 1950s-60s USA – the context, in which Lye made and wrote about Color Cry. The first colour line connects consanguinity to popularized scientific images, including strategically enhanced images of blood circulation, that shaped Lye’s belief in abstract animation as microcellular revelation. The second considers consanguinity in relation to the racial colour line, which is invoked in Lye’s writing about the relationship between his moving-images and the music of Sonny Terry, whose song Fox Chase Lye licensed for his film. By connecting these colour lines, the talk speculates whether consanguinity helps us understand the complex structures of appropriation and adjacency in Lye’s work and the work of other experimental animators similarly drawing upon Black, Indigenous, and non-Western music to give voice to their graphic abstractions.

Speakers

Alla Gadassik

Associate Professor, Emily Carr University

Dr. Alla Gadassik is a media scholar, curator, and lifelong cinephile. She is Associate Professor of Media History and Theory at Emily Carr University of Art + Design, where she founded the Animate Materials Workshop. Dr. Gadassik’s research explores the histories of different filmmaking... Read More →

Monday September 26, 2022 11:30am - 12:10pm CEST
Lichtspiel / Kinemathek Bern

Talk

12:10pm CEST

Useful Abstraction: Animated Color and the Emergence of the Moving Image

A commonplace of aesthetic theory denigrates color as unruly, overly sensual, and deceptive. Too easily overused, color might overwhelm form and line, which were believed to be the true, aesthetic grounds of beauty. Yet simultaneously, an alternative approach valorized color’s usefulness in the latter half of the nineteenth century for educating the aesthetic sense of children and students, particularly through animated toys such as the anorthoscope, phenakistoscope, and chromatrope. These devices meant for education and entertainment abstracted and animated color as a powerful design element in and of itself. They also formed a crucial, intermedial basis of cinema and delineate how that emerging technology was both a chromatic and an animated medium from its origins. As such, these animated devices of the nineteenth century presage the handcolored films of serpentine dances, the prismatic wonders of the trick and fairy genres, and a variety of avant-garde experiments from the 1910s and 1920s through mid-century experimentation with animated color. This talk will trace these various connections, from aesthetic theory and educational practice to lantern slides, early cinema coloring, and experimental cinema in order to examine the foundational connections between animation and color within the cinema.

Speakers

Joshua Yumibe

Professor, Michigan State University

Joshua Yumibe is professor of Film Studies at Michigan State University. He is the author of Moving Color: Early Film, Mass Culture, Modernism (Rutgers University Press, 2012), which received honorable mention for the Society for Cinema and Media Studies first book award. He is co-author... Read More →

Monday September 26, 2022 12:10pm - 1:10pm CEST
Lichtspiel / Kinemathek Bern

Keynote, Lecture

1:10pm CEST

Lunch Break

Monday September 26, 2022 1:10pm - 2:15pm CEST
Restaurant Dampfzentrale Marzilistrasse 47, 3005 Bern

Break

2:15pm CEST

Agfacolor Negative-Positive Process in late 1930s and the Digital Restoration of “Panorama Nr. 4”

The introduction of the Agfacolor negative-positive process in 1939 was a significant milestone in the history of colour film due to its innovations in the establishment of subtractive three-colour chromogenic processes. This presentation will elaborate on the chemical path pursued by Agfa in the 1930s to overcome the existing challenges hindering the implementation of the chromogenic process proposed by Fischer in 1912 and finally overcome through the Agfacolor Neu reversal (1936) and negative-positive (1939) processes. Additionally, a case study to digitally restore a faded projection print of the “Panorama Nr. 4” (1945), a National-socialist culture film, shall be presented. This case study highlights the implications of a material-based bibliographic investigation of the photochemical history of Agfacolor and its spectral characteristics in aiding the novel spectral ‘dye unfading’ approach by Giorgio Trumpy to digitally reconstruct the intended colour aesthetics of “Panorama Nr. 4” using image processing techniques.

Speakers

Sreya Chatterjee

HTW - University of Applied Sciences Berlin

Sreya Chatterjee pursued filmmaking professionally after completing a Post-graduate Diploma (2006-2006) from the Film and Television Institute of India (FTII), Pune, where she was trained on analogue film production apparatus with a multitude of film materials. One and a half decades... Read More →

Monday September 26, 2022 2:15pm - 2:55pm CEST
Lichtspiel / Kinemathek Bern

Talk

2:55pm CEST

Panorama Nr. 4

DCP courtesy of Bundesarchiv-Filmarchiv Berlin.

Speakers

Sreya Chatterjee

HTW - University of Applied Sciences Berlin

Monday September 26, 2022 2:55pm - 3:10pm CEST
Lichtspiel / Kinemathek Bern

Screening

3:10pm CEST

Kaskeline Studie 6

DCP courtesy of DFF – Deutsches Filminstitut & Filmmuseum.

Speakers

Anke Mebold

Monday September 26, 2022 3:10pm - 3:35pm CEST
Lichtspiel / Kinemathek Bern

Screening

3:35pm CEST

Coffee Break

Monday September 26, 2022 3:35pm - 4:05pm CEST
Lichtspiel / Kinemathek Bern

Break

4:15pm CEST

Špalíček (The Czech Year, Jiří Trnka, 1946-7)

DCP courtesy of Národní filmový archiv – National Film Archive, Prague.

Speakers

Tereza Frodlová

Film restorer and curator, National Film Archive in Prague

Tereza Frodlova is a film restorer and curator in National Film Archive in Prague (Czech Republic). She graduated at Department of Film Studies and Audiovisual Culture at Masaryk University, Brno and Center for Audiovisual Studies at The Film and TV School of the Academy of Performing... Read More →

Monday September 26, 2022 4:15pm - 5:40pm CEST
Lichtspiel / Kinemathek Bern

Screening

9:30am CEST

Opening Day 3

Tuesday September 27, 2022 9:30am - 9:40am CEST
Lichtspiel / Kinemathek Bern

Welcome Note

9:40am CEST

Lichtspiel Screening

Films courtesy of Lichtspiel / Kinemathek Bern

Speakers

Brigitte Paulowitz

Head of Film Collections, Kinemathek / Lichtspiel Bern

Brigitte Paulowitz is a film restorer and head of film collections at the Kinemathek Lichtspiel. She has worked in various archives and film laboratories around the world such as the German Film Institute in Frankfurt am Main, the National Film Archive of Thailand, George Eastman... Read More →

Tuesday September 27, 2022 9:40am - 10:40am CEST
Lichtspiel / Kinemathek Bern

Screening

10:40am CEST

Coffee Break

Tuesday September 27, 2022 10:40am - 11:10am CEST
Lichtspiel / Kinemathek Bern

Break, Lecture

11:10am CEST

Concepts of Animated Colour in the Interwar Period

This talk examines the diverse and rich ideas circulating around colour in animation that emerged during a transformative period for the medium, from the 1920s to the late 1930s. From new technologies of advertising displays that foregrounded mobile colour to the early adoption of three-strip technicolor in Silly Symphonies produced at the Walt Disney studios, the commercial, aesthetic and sensorial impacts of animated colour were considerable. At the same time, lively discussions and multifaceted ideas began to circulate around colour in animation, exploring its potential effects, uses and implications. Crossing between different contexts of animated media – including advertising, instruction and narrative film – this presentation traces different ways in which moving colour was considered as something more than an add-on to animation, but rather a potentially transformative refashioning of the medium’s potentials.

Speakers

Kristian O. Moen

Associate Professor, University of Bristol

Tuesday September 27, 2022 11:10am - 11:50am CEST
Lichtspiel / Kinemathek Bern

Talk

11:50am CEST

Keynote: The Doors of Perception: Shimmering, Scintillating and Stuttering Starburst Animation

To celebrate the fiftieth anniversary of Disneyworld in fall of 2021, the Walt Disney studio announced a new studio-patented design surface called (in a painful pun) “EARidescence” and that would appear throughout the park on statues, cast member costumes and the Magic Castle. Disney’s celebratory attention to shimmering, twinkling light is part of a longstanding aesthetic in many of its films and key to its brand identity, evoked as it is in the studio’s own logographic, in which Tinkerbell sprinkles fairy dust over the Magic Castle. Twinkling stars and other scintillating, radiating or flowing gradients of luminosity in animated fireworks, explosions, or glittering jewels are recurrent visual exemplars of what I call starburst animation, that simulate glittering or prismatic colored light through their intervallic alternations of light and dark stimuli and precise manipulation of intensities of light over time. With reference to the writings of Heinrich Klüver (Mescal; Mechanisms of Hallucination) and Aldous Huxley (The Doors of Perception; Heaven and Hell), and case study sequences from Disney’s Saludos Amigos (1943) and The Three Caballeros (1945), I want to further explore these visual figures and think through the key role that animated color plays in producing visionary perception.

Speakers

Kirsten Moana Thompson

Professor, Seattle University

Kirsten Moana Thompson is Professor of Film and Media and Director of the Film and Media Program at Seattle University.She teaches and writes on animation and color studies, as well as Pacific, and American studies. Recent work has focused on the animated ‘useful’ film; intersectional... Read More →

Tuesday September 27, 2022 11:50am - 12:50pm CEST
Lichtspiel / Kinemathek Bern

Keynote

12:50pm CEST

Lunch Break

Tuesday September 27, 2022 12:50pm - 2:00pm CEST
Restaurant Dampfzentrale Marzilistrasse 47, 3005 Bern

Break

2:00pm CEST

From Inky Black to Light Blue: Shadow Colour and its Aesthetics in the Colour Animation Films from the 1930s

In the physical world, cast shadows automatically appear as a projection of an illuminated object. In cel animation, in contrast, shadows must be created deliberately, like all other picture elements. The presence of shadows is therefore always intentional, and its representation is arbitrary.
The introduction of mimetic colour processes, often referred to as “natural colour” in the animated world has essentially changed the representation of shadows. Importantly, the depiction of shadows influences the reality effect and the style of the animated world. The choice of how to draw shadows was supplemented by the choice of what colour to add to them. Indeed, in animation movies from the 1930s, shadows are not always depicted in solid black or greyish shades to mimic the reproduction of shadows in photography, but in certain contexts they appear in different colours.
In this presentation, Megumi Hayakawa will explore the meaning and effects of the colour of shadows from an aesthetic perspective, focusing on the cel animations in the early years after the introduction of mimetic colour processes such as Cinecolor and Technicolor No. IV.

Speakers

Megumi Hayakawa

PhD Student, University of Zurich

Megumi Hayakawa is a PhD student at the Department of Film Studies, University of Zurich. She works for the SNSF Project «Autonomous Film Colors in Animation and Digital Productions. An Intercultural Comparison». Her dissertation project focuses on the aesthetics and functions of... Read More →

Tuesday September 27, 2022 2:00pm - 2:40pm CEST
Lichtspiel / Kinemathek Bern

Talk

2:40pm CEST

Colour Shapes: The Intervention of Colour Technologies in British Animation History

From its earliest years the development of colour film had a pervasive effect on the path of British animation history – the films, the filmmakers, and their audiences. The controlled conditions of stop-motion shooting offered advantages to experimental colour processes, and yet the hues and tones of cel and direct animation offered unique challenges. With a particular focus on Britain in the 1930s, this paper illustrates how the development of its national animation industry became embedded with the competing colour film technologies of the period.

Speakers

Jez Stewart

Curator, BFI National Archive

Jez Stewart is the Curator of Animation at the BFI National Archive, and the author of The Story of British Animation (BFI/Bloomsbury, 2021). He joined the BFI in 2001 and has worked extensively with the non-fiction and advertising collections while developing his specialist interest... Read More →

Tuesday September 27, 2022 2:40pm - 3:20pm CEST
Lichtspiel / Kinemathek Bern

Talk

3:20pm CEST

British Animation History – Part 1

DCPs courtesy of BFI - British Film Institute.

Speakers

Jez Stewart

Curator, BFI National Archive

Tuesday September 27, 2022 3:20pm - 3:35pm CEST
Lichtspiel / Kinemathek Bern

Screening

3:35pm CEST

Coffee Break

Tuesday September 27, 2022 3:35pm - 4:10pm CEST
Lichtspiel / Kinemathek Bern

Break

4:10pm CEST

Keynote: Colour and Luminance in Time and Space and the Effects of Light Adaptation

Colour is encoded at the light-sensitive photoreceptors by the relative outputs of the long-, middle- and short-wavelength-sensitive (L, M, S) cones, each of which has a distinct spectral sensitivity. At the very next stage of visual processing, this trichromatic (L, M, S) code is transformed into a colour-opponent one (L-M, S-[L+M]), as the cone outputs are neurally differenced in the retina within chromatic pathways. However, an arguably more important transformation is of the L and M signals into an additive, achromatic or colourless code (L+M) that is carried within luminance pathways and contains more detailed information about image sequences in time and space. As will be demonstrated, colour information is transmitted more slowly and at much lower temporal and spatial resolution than luminance information. Consequently, as is well known in video compression, realistic video can be reconstructed by combining achromatic image sequences of high temporal and spatial resolution with chromatic image sequences of low resolution.
Crucially, resolution in time and space is not fixed but improves as the eye adapts to higher light levels. The natural processes of “light adaptation” both speed up visual processing so that viewers can see higher rates of flicker and also improve spatial resolution so that they can see finer details. Consequently, as cinema light projection levels increase, and the cones and their pathways light adapt, audiences may become aware of cinematographic details and even artefacts that were previously invisible, giving the impression that the film is somehow unrealistic. Frame rates, for example, that were comfortable at low cinema light levels, may appear unrealistic and discontinuous at higher levels.

Speakers

Andrew Stockman

Professor, University College London

Tuesday September 27, 2022 4:10pm - 5:10pm CEST
Lichtspiel / Kinemathek Bern

Keynote

5:10pm CEST

Getting the Colors Right. (Are Mickey’s Shorts Really that Red?)

Perhaps no other cinematic art form is as exacting and precise as classic cel animation. With its own paint laboratory, the color scientists at the Walt Disney Studios fiercely guarded their formulas and worked tirelessly to ensure the best representation of the artists’ color palettes. This session will offer a look at the efforts involved today in ensuring the accuracy and restoration of photochemical origination aesthetic on modern digital displays.

Speakers

Theo Gluck

Director, Library Restoration and Preservation, Visual Data Media Services

Theodore (Theo) Gluck is currently the Director of Library Restoration and Preservation at Visual Data Media Services in Burbank, CA. Prior to that, he spent 30 years with the Walt Disney Studios. During his tenure at Disney, Gluck worked with film operations, distribution, foreign... Read More →

Tuesday September 27, 2022 5:10pm - 5:50pm CEST
Lichtspiel / Kinemathek Bern

Talk

9:30am CEST

Opening Day 4

Wednesday September 28, 2022 9:30am - 9:40am CEST
Lichtspiel / Kinemathek Bern

Welcome Note

9:40am CEST

Beyond the Animated Moving Image: DFF’s Fischinger Collection of Non-Film Materials

Oskar Fischinger is one of the most interesting figures of the international film avant-garde of the 1920s to the 1940s and one of the great pioneers in abstract animation, visual music, and color film. A filmmaker, painter, draftsman, toolmaker, and engineer from Gelnhausen near Frankfurt/Main, Fischinger lived and worked in Germany until he emigrated to the United States in 1936. The DFF – Deutsches Filminstitut & Filmmuseum in Frankfurt/Main holds a fascinating collection of some of his non-film materials, including letters, documents, sketches, animation drawings, and paintings, that provide an insight into Fischinger’s world of ideas and working methods. This presentation will be a stroll through DFF’s Fischinger collection, exploring the importance of these film-related objects for his animation and color films – and the history of animation and film heritage in general – , while also touching upon questions of preservation.

Speakers

Eva Hielscher

Curator and Head of Collections/Non-Film Archive, DFF – Deutsches Filminstitut & Filmmuseum

Eva Hielscher is head of collections (non-film archive) at DFF – Deutsches Filminstitut & Filmmuseum in Frankfurt/Main and co-artistic director of the Bonn International Silent Film Festival. She has worked as a curator, film scholar and moving image archivists in the Netherlands... Read More →

Wednesday September 28, 2022 9:40am - 10:20am CEST
Lichtspiel / Kinemathek Bern

Talk

10:20am CEST

Coffee Break

Wednesday September 28, 2022 10:20am - 10:50am CEST
Lichtspiel / Kinemathek Bern

Break, Lecture

10:50am CEST

Scan2Screen: From an Experimental Multispectral Scanner to an Applicable Workflow for the Rigorous Digitization of Film Colors

Scan2Screen stands for a novel process for the digitization of motion picture film colors. It is neither synonymous for a hardware unit nor a software package. It defines a process which combines historical research with technical software and hardware solutions to receive a future proof digital film element which properly represents a filmic work in projection.
The research team will highlight different aspects of what the Scan2Screen process encompasses and how it was conceived.
Martin Weiss will describe how the production workflow of color film digitization will change for archives when the Scan2Screen process is applied, compared to the classic approach.
David Pfluger will lay out the foundation, the ideas and the research on which the project was based.
Lutz Garmsen gives insight into the complex construction process of the novel multispectral scanner unit.
Giorgio Trumpy will talk about the decision workflow part of the Scan2Screen system, necessary to achieve scientifically sound results for the specific challenges of the various color systems.

Speakers

Giorgio Trumpy

Associate Professor, Norwegian University of Science and Technology / University of Zurich

Giorgio Trumpy has been an associate professor at the Norwegian University of Science and Technology since 2021 and continues to be a leading member of the Bridge Discovery Scan2Screen at the University of Zurich. He studied Conservation Science in Florence, and received his PhD in... Read More →

Martin Weiss

Audiovisual Preservation Specialist, Researcher, University of Zurich / National Library of Norway

David Pfluger

Research Scientist, Scan2Screen project, University of Zurich

David Pfluger, born in 1971, made his PhD in physical chemistry at the University of Basel (PhD Thesis: Hochauflösende Absorptionsspektroskopie an Polyacetylen- und Cyanopolyacetylen Kationen, Universität Basel, 2001). After his graduation in 2002 he was working in cinema post production... Read More →

Lutz Garmsen

University of Zurich

Lutz Garmsen is a filmmaker, media artist, apparatus manufacturer, cameraman and animator. He teaches animated film, experimental film and media installation at various universities and institutes, advises and implements artistic media projects, and develops tools for film research... Read More →

Wednesday September 28, 2022 10:50am - 11:50am CEST
Lichtspiel / Kinemathek Bern

Talk

11:50am CEST

British Animation History – Part 2

DCPs courtesy of BFI - British Film Institute.

Speakers

Jez Stewart

Curator, BFI National Archive

Wednesday September 28, 2022 11:50am - 12:20pm CEST
Lichtspiel / Kinemathek Bern

Screening

12:20pm CEST

Closing Remarks, Outlook - Colour in Film

Speakers

Welcome Note