Meanwhile most of the members of the research teams for the two projects ERC Advanced Grant FilmColors and SNF Filmfarben Technologien, Kulturen, Institutionen – an additional project funded by Swiss National Science Foundation – have started their work.
In September 2016, Dr. Giorgio Trumpy, postdoc in Science for Cultural Heritage, will join the ERC Advanced Grant FilmColors team. He is currently at the Scientific Research department, National Gallery of Art, Washington DC.
Five student assistants will complete the team. After one and a half years, a web programmer will start to develop the crowdsourcing interface for film analysis.
Bregt Lameris PhD, postdoc film studies, ERC Advanced Grant FilmColors
Martin Weiss, senior researcher and restorer, ERC Advanced Grant FilmColors
Joëlle Kost, PhD student, ERC Advanced Grant FilmColors
Michelle Beutler, PhD student, ERC Advanced Grant FilmColors
Olivia Stutz, prospective PhD student, ERC Advanced Grant FilmColors
Bachelor of Arts in Art History, Film Studies, and Theatre and Dance Studies at the Universities of Zurich and Bern (2013). Former Film History Tutor for Experimental Cinema (2015). Pendant Master of Arts in Film Studies within Netzwerk Cinema CH at the Universities of Zurich, Lausanne, and Zurich University of the Arts (2017).
Growing up in the Swiss film and commercial business, I worked as an assistant runner for several Swiss film production companies, including the major Swiss TV-Series Tag und Nacht (2008). I have a specific interest in the interplay between film/art technology and film aesthetics, especially in CGI and the historical avant-garde. In my free time, I have a passion for painting with oil.
Due to an early acceptance into the phD program of the ERC Advanced Grant FilmColors, I am about to write my master thesis within this project, focusing on color harmony and the analysis of historical film colors with a computer-assistant tool. For my research, early cinema and its emergence of film colors, and the contemporary discourse in art theory are significant.
The ERC project combined with the SNF Filmfarben. Technologien, Kulturen, Institutionen not only allows for the experience and analysis of the raw beauty of historical film colors as well as their transitory materials, but also shows the disciplinary approach of combining art history and film studies on a new level of technical and aesthetic achievement, where art history makes film history and vice versa.
Noemi Daugaard, PhD student, SNF Filmfarben
Bachelor of Arts Degree in English Literature and Linguistics, Film Studies and Art History at the University of Zurich (2013). Master of Arts Degree in Film Studies within the Netzwerk Cinema CH at the Universities of Zurich, Lausanne and Lugano (2015).
In my Master thesis „Gruesome Atmospheres. Sound Design and Color Scheme as Affective and Subjectifying Stylistic Devices in The Silence of the Lambs (Jonathan Demme, USA 1991)“ I focused my research on the non-narrative, but no less fundamental, qualities of film colors and sound, coming to the conclusion that both of these instruments can strongly influence the viewer’s perception and understanding of filmic content, even – or especially – when they are not aware of it.
During my studies I began to develop a specific interest in the early decades of film and, especially, in the ways color was then used and applied. After my graduation in the summer of 2015, I spent several months as an intern at the Lichtspiel archive in Bern, where I came into contact with various film materials, amongst which beautiful stencil colored and tinted nitrate copies, which only strengthened my fascination for early film, its material qualities and colors.
The SNF Project „Filmfarben. Technologien, Kulturen, Institutionen“ is of particular interest to me due to its interdisciplinary approach to film colors, which combines historical, cultural, institutional and technological aspects in order to achieve a new understanding of film color and technology. This multi perspective approach will allow me to deepen and broaden my knowledge of film color and the history of cinema, also permitting me to come into contact with various sources, approaches, institutions and original materials.
Josephine Diecke, PhD student, SNF Filmfarben