Professor Sarah Street, Primary Investigator, University of Bristol
Street is Professor of Film at the University of Bristol, UK. She has published widely including British National Cinema (1997; 2nd ed. 2009), Transatlantic Crossings: British Feature Films in the USA (2002), Costume and Cinema (2001), Black Narcissus (2005) and (co-authored with Tim Bergfelder and Sue Harris) Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (2007). Her latest publications are on colour film including Colour Films in Britain: The Negotiation of Innovation, 1900-55 (2012), winner of the British Association of Film, Television and Screen Studies’ 2014 Award for Best Monograph. She has also co-edited (with Simon Brown and Liz Watkins), Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) and British Colour Cinema: Practices and Theories (2013). She is currently working on a book on Deborah Kerr in the BFI/Palgrave Macmillan ‘Stars’ series, and is a co-editor of SCREEN and the Journal of British Cinema and Television. Email.
Dr Joshua Yumibe, Co-Investigator, Michigan State University & University of St Andrews
Yumibe is Associate Professor and Director of Film Studies at Michigan State University, and holds a joint appointment as Lecturer of Film Studies at the University of St Andrews. He is the author of Moving Color: Early Film, Mass Culture, Modernism (Rutgers University Press, 2012) and the co-director of the Davide Turconi Project. He is co-author with Giovanna Fossati, Tom Gunning, and Jonathon Rosen of Fantasia of Color in Early Cinema (Amsterdam University Press, forthcoming 2015). Since 2003, he has been the Project Co-Director of the Davide Turconi Project at George Eastman House. Email.
Dr Vicky Jackson, Post-Doctoral Researcher, University of Bristol
Following the completion of my MA in Film Studies with Archiving I worked at several commercial and public film archives before beginning my PhD at the University of Bristol in 2007. My PhD, The Distribution and Exhibition of Kinemacolor in the UK and USA 1909-1916 examined Kinemacolor, a two colour additive film process and the extent of its infiltration into the UK and USA exhibition markets. It also explored Kinemacolor’s impact on the contemporary exhibition market and on the demand for other colour processes. In my role as Post Doctoral Research on the Colour in the 1920s: Cinema and Its Intermedial Contexts project I have studied colour across a number of fields including cinema, theatre, architecture and fashion. Notably I have conducted a study on the case of Phantom Red a fashion shade inspired by the technicolor sequences of The Phantom of the Opera (1925). I have also presented a paper on the work of Maude Adams, the theatrical actress who conducted research on lighting and colour cinema. This in turn has lead to a new project on female inventors in and around the silent film industry. My research interests include silent cinema, colour film history, film preservation and restoration issues, film technology and the contemporary reception, distribution and exhibition of silent cinema. Email.
Dr Bregt Lameris, Post-Doctoral Researcher, Utrecht University
Lameris is Research Associate at Utrecht University and member of the Leverhulme Trust funded project ‘Colour in the 1920s: Cinema and Its Intermedial Contexts.’ Her PhD is on the interrelationship between film archiving and film historiography (Utrecht University, Netherlands). Currently she is co-coordinating a workgroup on neurological films from around 1900. Other research interests are the history of film archiving, film historiography, colour in silent cinema, medical images and the representation of madness. Her monograph Re-Exposed: The Pas-de-Deux between Film Archival Practices and Film History Writing is forthcoming from Amsterdam University Press in 2015. Email.