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Like Dorothy waking up over the rainbow in the Land of Oz, Hollywood discovered a vivid new world of color in the 1930s. The introduction of three-color Technicolor technology in 1932 gave filmmakers a powerful tool with which to guide viewers' attention, punctuate turning points, and express emotional subtext. Although many producers and filmmakers initially resisted the use of color, Technicolor designers, led by the legendary Natalie Kalmus, developed an aesthetic that complemented the classical Hollywood filmmaking style while still offering innovative novelty. By the end of the 1930s, color in film was thoroughly harnessed to narrative, and it became elegantly expressive without threate...
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'A very good read indeed' MATT HAIG 'Terrific, page-turning, slyly funny' INDIA KNIGHT 'As satisfying a novel as I have read in years' SARAH PERRY 'One of the most brilliant and entertaining novelists' ALISON LURIE Quentin and Lottie Bredin, like many modern couples, can't afford to divorce. Having lost their jobs in the recession, they can't afford to go on living in London; instead, they must downsize and move their three children to a house in a remote part of Devon. Arrogant and adulterous, Quentin can't understand why Lottie is so angry; devastated and humiliated, Lottie feels herself to have been intolerably wounded. Mud, mice and quarrels are one thing - but why is their rent so low? ...