Since the early history of cinematography, cinematic filter techniques have been among the basic elements of moving image production. They control the lighting and calibrate the color spectrum, they organize the recording process and optimize the image composition. On the one hand, optical filters can be understood as reg-ulatory instruments that lead to expected and desired results. On the other hand, filtering is also a process that generates losses, especially when it comes to the filmic reproduction of skin tones. This article investigates the history of cinematic filter residue losses and discusses the agency of filtering as an effect of various in-tertwined operations.
Gotto, Lisa: Filmische Filtertechniken und die Erfindung der weißen Norm. In: Adelmann, Ralf;Matzner, Tobias: Filter. Paderborn: Universität Paderborn 2024, S. 1-9.http://dx.doi.org/10.25969/mediarep/22945
