Steven Peacock is senior lecturer in Film at The University of Hertfordshire

• List of platesList of figuresPrefaceAcknowledgements Introduction1. Three Colours: White2. Equinox Flower3. The Green Ray4. Written on the Wind5. Fear Eats the Soul6. The Umbrellas of CherbourgAfterwordAppendix A: DVD informationAppendix B: Colour in film - a timelineNotesBibliographyIndex

‘This book is a major contribution to the scholarship of film art. Each chapter develops and illuminates the range, significance and usage of colour in our understanding and experience of the particular films chosen and, in doing so, heightens our alertness to colour’s crucial significance for film aesthetics in general. The author’s extraordinary prose is a guide and companion in the appreciation of this complex and underexplored region of film art.’

Steven Peacock is senior lecturer in Film at The University of Hertfordshire

• List of platesList of figuresPrefaceAcknowledgements Introduction1. Three Colours: White2. Equinox Flower3. The Green Ray4. Written on the Wind5. Fear Eats the Soul6. The Umbrellas of CherbourgAfterwordAppendix A: DVD informationAppendix B: Colour in film - a timelineNotesBibliographyIndex

‘This book is a major contribution to the scholarship of film art. Each chapter develops and illuminates the range, significance and usage of colour in our understanding and experience of the particular films chosen and, in doing so, heightens our alertness to colour’s crucial significance for film aesthetics in general. The author’s extraordinary prose is a guide and companion in the appreciation of this complex and underexplored region of film art.’

Steven Peacock is senior lecturer in Film at The University of Hertfordshire

• List of platesList of figuresPrefaceAcknowledgements Introduction1. Three Colours: White2. Equinox Flower3. The Green Ray4. Written on the Wind5. Fear Eats the Soul6. The Umbrellas of CherbourgAfterwordAppendix A: DVD informationAppendix B: Colour in film - a timelineNotesBibliographyIndex

‘This book is a major contribution to the scholarship of film art. Each chapter develops and illuminates the range, significance and usage of colour in our understanding and experience of the particular films chosen and, in doing so, heightens our alertness to colour’s crucial significance for film aesthetics in general. The author’s extraordinary prose is a guide and companion in the appreciation of this complex and underexplored region of film art.’