check victor i stoichita: ' a short history of the shadow', reaktion books
1997.
best,
john
>I'm sure that E.H. Gombrich's study of chiarascuro in
>old master's painting might make useful additions to
>any bibliography; or David Batchelor's short study
>'Chromophobia'. Likewise textual analyses of german
>expressionist cinema, with its great dependance on
>shadow for cinematic affect, would prove useful.
>
>Concerning characters in shadow, you may want to
>consider how hollywood lighting of the last century
>catered to a predominantly white skin tone; often
>rendering black or asian characters as
>indistinguishable from a darker backdrop. This is
>still evident in films as recent as Joseph Ruben's
>MONEY TRAIN (1995) starring Woody Harrelson and Wesley
>Snipes. Wesley is at points almost absent from the
>frame when adjacent to Woody. In this respect shadow
>has a socio-institutional dimension -- since lighting
>(the means and modes of production) have a
>discriminatory dimension, irrespective of narrative
>theme.
>
>Dave Surman
>Warwick Film and TV dept.
>
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