Proud to be part of this fantastic special issue of Visual Studies: Colourised Histories, edited by @liziwat.bsky.social and Dominic Williams, bridging film and still photography to address questions of historical method, racialization, ethics, AI, and more. Thread 🧵 to introduce each article 🗃️📜📷📸🎥 - ThreadSky

christinajriggs.bsky.social • 5 days ago

Proud to be part of this fantastic special issue of Visual Studies: Colourised Histories, edited by @liziwat.bsky.social and Dominic Williams, bridging film and still photography to address questions of historical method, racialization, ethics, AI, and more. Thread 🧵 to introduce each article 🗃️📜📷📸🎥

Comments

liziwat.bsky.social•4 days ago

Thank you so much @christinajriggs.bsky.social It’s so exciting to see the journal issue published

emilymfg.bsky.social•5 days ago

Thanks for this fab thread Christina - can’t wait to read the other articles! 😃

christinajriggs.bsky.social•4 days ago

They all look amazing and so many connecting threads between them!

christinajriggs.bsky.social•5 days ago

First up, in their introduction to the issue, editors @liziwat.bsky.social and Dominic Williams ask, "What is at stake in the digital colourisation of photographic and film archives?" One example: colourising colonialism via #Tutankhamun. Free to read https://www.tandfonline.com/doi/full/10.1080/1472586X.2025.2443351. 🏺🗃️📜📷📸

christinajriggs.bsky.social•5 days ago

Next @emilymfg.bsky.social on 'Colour troubles: colourisation andphotography in Ireland', contrasting speculative colourisation of photojournalism of The Troubles with Kodachrome images made by Japanese photographer Akihiko Okamura at the time. Altering colour carries an "ethical charge". 🗃️📜📷📸🇮🇪

christinajriggs.bsky.social•5 days ago

In her article, Libby Saxton analzyes 'Auschwitz Untold: In Colour' (2020) to consider how digitally altering photos and film "intersects with issues of de/humanization", addressing "the construction of race in art and the alliance between the Nazi regime and the dye industry". #OA 🗃️📷📸🎥

christinajriggs.bsky.social•5 days ago

Colourized film footage in war documentaries is the focus of Kamilla Simor's article, comparing Martin Dwan's 2016 'Revolution in Colour' (on Irish civil war) and Jan Komasa's 2014 'Warsaw Uprising'. What is the effect of different techniques and approaches to colourising archival footage? 🗃️🎥🇮🇪🇵🇱 #OA

christinajriggs.bsky.social•5 days ago

Martyn Jolly explores "the desire for colour from the origins of photography onwards", using examples from Australia and New Zealand to argue that "archives should respect" viewers' ability to appreciate a range of tones, "rather than being seduced by a mythic notion of a ‘lifelike’ image." 🗃️📜📷📸

christinajriggs.bsky.social•5 days ago

My own article, 'Past caring', examines how colourised photos circulate (esp in US and UK) "to reveal the structures of racial and gender bias underneath – and challenge assertions that colourisation is a form of caring for the past." In these contexts, colourisation "sustains whiteness". 🗃️📜📷📸 #OA

smileystylist.bsky.social•5 days ago

📌

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