French Film Colorists

Perhaps the earliest production work available to women in the film industry was coloring work—hand-coloring dyes onto film prints frame by frame. Female colorists were also common in the nineteenth century in the lantern-slide and postcard industries, for at least initially, they could be exploited at a lower wage than men to perform the repetitive and detailed tasks. By the mid-1890s, the film industry had adopted similar labor strategies for coloring prints. Aesthetic assumptions also grounded this practice: an enduring trope of western color theory pertains to the gendering of color—females have long been assumed to be more attuned to color. Women were not only cheaper in general to employ but also were thought to be, with their supposed sensitivity and nimble fingers, innately suited to the detailed work of coloring films

The Davide Turconi Collection of Nitrate Film Frames, 1897-1944

Diffusé avec l’accord de la Fédération internationale des archives du film et Journal of Film Preservation, détentrices des droits d’auteur sur ce texte

L’espace de la couleur comme espace de jeu dans la littérature enfantine, le cinéma des premiers temps et les fééries

Mêlant réflexions sur la culture de l’imprimé du xixe siècle et sur le cinéma des premiers temps, cet article examine les manières dont la couleur interagit avec l’espace cinématographique afin de créer une expérience spatiale et immersive pour le spectateur. L’article explore comment l’espace coloré imprimé était également conçu pour produire une expérience imaginaire et parallèle pour le lecteur et le spectateur des textes illustrés. S’appuyant sur la notion de Spiel-Raum (espace ludique) de Walter Benjamin qui permet de penser le potentiel spatial de la couleur, l’article délimite la variabilité de l’expérience immersive à travers la culture de l’imprimé et le cinéma des premiers temps en soulignant les façons dont la couleur fut alors utilisée pour attirer le spectateur incarné dans l’environnement intermédial du début du xxe siècle.Moving between nineteenth-century print culture and early film, this article examines the ways in which colour interacts with cinematic space to create a spatially charged, immersive experience for the viewer. Relatedly, it explores how coloured print space of the time was also crafted to produce a parallel, imaginative experience for the reader and viewer of illustrated texts. Drawing on Walter Benjamin’s notion of Spielraum (“play space”) to demarcate the spatial potentials of colour, the article delineates the variability of immersive experience across print culture and early film, while also stressing the ways in which colour was used spatially to appeal to the embodied spectator within the intermedial environment of the early twentieth century

French Film Colorists

Perhaps the earliest production work available to women in the film industry was coloring work—hand-coloring dyes onto film prints frame by frame. Female colorists were also common in the nineteenth century in the lantern-slide and postcard industries, for at least initially, they could be exploited at a lower wage than men to perform the repetitive and detailed tasks. By the mid-1890s, the film industry had adopted similar labor strategies for coloring prints. Aesthetic assumptions also grounded this practice: an enduring trope of western color theory pertains to the gendering of color—females have long been assumed to be more attuned to color. Women were not only cheaper in general to employ but also were thought to be, with their supposed sensitivity and nimble fingers, innately suited to the detailed work of coloring films

Técnicas de lo fantástico

Through an in-depth study of primary and secondary sources, the article thoroughly describes the four most commonly used coloring techniques of the silent period: hand coloring, stencilling, tinting, and toning. The article gives an account of the rich technical and cultural history that relates these techniques to industrial modernity (new technologies, trade of dyes, chemical innovations), cultural modernity (traditions of artistic and popular design, painting, culture of printing), and spectacular modernity (magic lantern and fin-de-siècletheatrical scene).Keywords: hand coloring, stencilling, tinting, toning, special effects___________Técnicas de lo fantásticoResumen: Mediante un estudio profundo de fuentes primarias y secundarias, el artículo describe minuciosamente las cuatro técnicas de coloreado más comunes utilizadas durante el periodo silente: coloreado a mano, esténcil, entintado y virado. El artículo da cuenta de la rica historia técnica y cultural que relaciona los primeros colores del cine con la modernidad industrial (nuevas tecnologías industriales, comercio de colorantes, innovaciones químicas), cultural (tradiciones de diseño artístico y popular, pintura, cultura de la impresión) y espectacular (linterna mágica y escena teatral del fin-de-siècle).Palabras clave: coloreado a mano, esténcil, entintado, virado, efectos especiales.___________Técnicas do FantásticoResumo: Através de um estudo aprofundado de fontes primárias e secundárias, o artigo descreve minuciosamente as quatro técnicas de coloração mais comuns utilizadas durante o período silencioso: colorido à mão, estêncil, tingimento, viragem. O artigo dá conta da rica história técnica e cultural que relaciona as primeiras cores do cinema com a modernidade industrial (novas tecnologias industriais, comércio de corantes, inovações químicas), culturais (tradições de design artístico e popular, pintura, cultura de impressão ) e espetacular (lanterna mágica e cena teatral do fin-de-siècle).  Palavras-chave: colorido à mão, estêncil, tingimento, viragem, efeitos especiais___________Date of reception: 3rd November, 2018Date of acceptance: 5th December, 2018Mediante un estudio profundo de fuentes primarias y secundarias, el artículo describe minuciosamente las cuatro técnicas de coloreado más comunes utilizadas durante el periodo silente: coloreado a mano, esténcil, entintado y virado. El artículo da cuenta de la rica historia técnica y cultural que relaciona los primeros colores del cine con la modernidad industrial (nuevas tecnologías industriales, comercio de colorantes, innovaciones químicas), cultural (tradiciones de diseño artístico y popular, pintura, cultura de la impresión) y espectacular (linterna mágica y escena teatral del fin-de-siècle).Palabras clave: coloreado a mano, esténcil, entintado, virado, efectos especiales.___________Techniques of the FantasticAbstract: Through an in-depth study of primary and secondary sources, the article thoroughly describes the four most commonly used coloring techniques of the silent period: hand coloring, stencilling, tinting, and toning. The article gives an account of the rich technical and cultural history that relates these techniques to industrial modernity (new technologies, trade of dyes, chemical innovations), cultural modernity (traditions of artistic and popular design, painting, culture of printing), and spectacular modernity (magic lantern and fin-de-siècle theatrical scene).Keywords: hand coloring, stencilling, tinting, toning, special effects___________ Técnicas do FantásticoResumo: Através de um estudo aprofundado de fontes primárias e secundárias, o artigo descreve minuciosamente as quatro técnicas de coloração mais comuns utilizadas durante o período silencioso: colorido à mão, estêncil, tingimento, viragem. O artigo dá conta da rica história técnica e cultural que relaciona as primeiras cores do cinema com a modernidade industrial (novas tecnologias industriais, comércio de corantes, inovações químicas), culturais (tradições de design artístico e popular, pintura, cultura de impressão ) e espetacular (lanterna mágica e cena teatral do fin-de-siècle).  Palavras-chave: colorido à mão, estêncil, tingimento, viragem, efeitos especiais___________Fecha de recepción: 3 de noviembre de 2018Fecha de aceptación: 5 de diciembre de 201

Difference in the Pharmacokinetics and Hepatic Metabolism of Antidiabetic Drugs in Zucker Diabetic Fatty and Sprague-Dawley Rats

ABSTRACT The Zucker diabetic fatty (ZDF) rat, an inbred strain of obese Zucker fatty rat, develops early onset of insulin resistance and displays hyperglycemia and hyperlipidemia. The phenotypic changes resemble human type 2 diabetes associated with obesity and therefore the strain is used as a pharmacological model for type 2 diabetes. The aim of the current study was to compare the pharmacokinetics and hepatic metabolism in male ZDF and Sprague-Dawley (SD) rats of five antidiabetic drugs that are known to be cleared via various mechanisms. Among the drugs examined, metformin, cleared through renal excretion, and rosiglitazone, metabolized by hepatic cytochrome P450 2C, did not exhibit differences in the plasma clearance in ZDF and SD rats. In contrast, glibenclamide, metabolized by hepatic CYP3A, canagliflozin, metabolized mainly by UDP-glucuronosyltransferases (UGT), and troglitazone, metabolized by sulfotransferase and UGT, exhibited significantly lower plasma clearance in ZDF than in SD rats after a single intravenous administration. To elucidate the mechanisms for the difference in the drug clearance, studies were performed to characterize the activity of hepatic drug-metabolizing enzymes using liver S9 fractions from the two strains. The results revealed that the activity for CYP3A and UGT was decreased in ZDF rats using the probe substrates, and decreased unbound intrinsic clearance in vitro for glibenclamide, canagliflozin, and troglitazone was consistent with lower plasma clearance in vivo. The difference in pharmacokinetics of these two strains may complicate pharmacokinetic/ pharmacodynamic correlations, given that ZDF is used as a pharmacological model, and SD rat as the pharmacokinetics and toxicology strain

Chariots of Fire rerun : locating film’s cultural capital on a contemporary stage

The title sequence of Chariots of Fire – filmed on the West Sands beach of St Andrews, Scotland – has become one of the most reworked and reinterpreted moments of British cinema, transposed across a variety of places, politics and times. In exploring these moves – from the period of its setting in 1924, through its production in 1980, and to its most recent reworkings in the London 2012 Olympics – the article examines the constantly evolving legacies of the sequence and the cultural capital which it has accrued via these various contexts. By considering the original production and its subsequent multiple receptions, the article positions the sequence at the vanguard of shifts in film production and cultural heritage. Viewed from the vantage point of the 2012 Olympics, the film provides an integral source of cultural capital not just for national but also for local and regional economies as they increasingly target new sources of revenue in a post-industrial age.PostprintPeer reviewe