The history of colour cinematography is entangled with representation of racial difference. As Kirsty Sinclair Dootson notes, ‘Even the briefest survey of landmark films made by American market-leader Technicolor evidences that […] people of colour were routinely exploited as part of the system’s chromatic appeals: from the Orientalist fantasy used to debut its two-colour system Toll of the Sea (1922), and the “Mexican” musical-short that launched its three-strip process La Cucaracha (1934), to the notoriously racist feature that secured the firm’s market dominance in classical Hollywood (that has come under renewed scrutiny of late) – Gone with the Wind (1939)’.1¹ What Dootson calls the ‘intimate connections between the politics of colour-as-hue and the politics of colour-as-race’ have not been lost on film and media scholars, but the connections when schematized can often be automatic and straightforward. The deeply rooted conflation of race and skin tone promotes the assumption that the development of colour cinematography leads to better representations of racial differences qua different hues of the skin. In her discussion of the 1962 Technicolor film My Geisha (Jack Cardiff), for example, Gina Marchetti turns to the ‘tragic interracial romance’, The Toll of the Sea (Chester M. Franklin, 1922), as an early example in which ‘color cinematography accentuates the difference in skin tones between the Anna May Wong character and her Caucasian husband, his wife and her Caucasian-looking son’.2² Likewise, John Belton notes that

中文翻译：

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颜色作为色调和颜色作为种族：早期的彩色技术、观赏主义和海洋收费（1922 年）

彩色电影摄影的历史与种族差异的表现纠缠不清。正如 Kirsty Sinclair Dootson 指出的那样，“即使是对美国市场领导者 Technicolor 制作的里程碑式电影的最简短调查也表明，[……] 有色人种经常被利用作为该系统色彩吸引力的一部分：从用于首次亮相的东方主义幻想的两个-色彩系统Toll of the Sea（1922 年），以及推出三段式处理La Cucaracha（1934 年）的“墨西哥”音乐短片，以臭名昭著的种族主义特征确保了公司在经典好莱坞的市场主导地位（已陷入困境）最近重新审查） –飘(1939)'.1 ¹Dootson 所说的“颜色作为颜色的政治与颜色作为种族的政治之间的密切联系”并没有在电影和媒体学者身上丢失，但是当这些联系被图式化时，通常可以是自动和直接的。种族和肤色的根深蒂固的混合促进了这样一种假设，即彩色电影的发展可以更好地表现不同肤色的种族差异。例如，在她对 1962 年彩色电影《我的艺妓》（杰克·卡迪夫饰）的讨论中，吉娜·马尔凯蒂将目光转向了“悲剧性的跨种族浪漫”，《大海的收费》(Chester M. Franklin, 1922)，作为早期的例子，“彩色摄影突出了 Anna May Wong 角色与她的白人丈夫、他的妻子和她的白人儿子之间的肤色差异”。2 ²同样，约翰贝尔顿指出