https://journal.colourturn.net/ojs/index.php/tct <p><em>Colour Turn</em> is a peer-reviewed open journal that seeks to promote and advance interdisciplinary and international research into Colour Studies.</p> University Library Tübingen en-US Colour Turn 3052-8534 <p>Authors retain copyright and grant <em data-start="366" data-end="379">Colour Turn</em> the right of first publication. The work is licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0).</p> https://journal.colourturn.net/ojs/index.php/tct/article/view/25927 <div> <p class="p1"><span style="font-size: 0.875rem;">This paper seeks to highlight the central challenges in the scholarly analysis of film colour </span><span style="font-size: 0.875rem;">in animated film. It shows that the complexity of the subject demands an interdisciplinary </span><span style="font-size: 0.875rem;">approach that considers aspects of film studies as well as other visual arts, such as painting. </span><span style="font-size: 0.875rem;">In addition, the history of animated film, the importance of analogue and digital production </span><span style="font-size: 0.875rem;">techniques and the influence of individual artists must be taken into account. </span><span style="font-size: 0.875rem;">The colour design of animated films is therefore subject to a complex web of artistic </span><span style="font-size: 0.875rem;">handwriting, technical possibilities, and cultural conventions. Furthermore, the reception </span><span style="font-size: 0.875rem;">of film colour by audiences in an increasingly globalised media world needs to be examined, </span><span style="font-size: 0.875rem;">as colour effects and colour preferences are subject to both individual differences and </span><span style="font-size: 0.875rem;">cultural contexts. </span><span style="font-size: 0.875rem;">Using Bambi and other Disney films as a case study, this paper shows how all these factors </span><span style="font-size: 0.875rem;">combine to create a unique work of art. To examine the colour of the film, both the technical </span><span style="font-size: 0.875rem;">prerequisites of Technicolor, the technical process of hand painting–inspired by Chinese </span><span style="font-size: 0.875rem;">ink painting and European impressionism–, and the creative effect of background and </span><span style="font-size: 0.875rem;">characters design must be considered. This paper shows how all these elements allow </span><span style="font-size: 0.875rem;">animated film a radical freedom of creative possibilities, but simultaneously complicate the </span><span style="font-size: 0.875rem;">systematic comprehension and investigation of colour. The Tübingen Centre for Animation </span><span style="font-size: 0.875rem;">Research has taken up this challenge of interdisciplinary investigation of the subject.</span></p> </div> <div> <p class="p2">Keywords: Animation Studies, Colour and Animation, Disney, Pixar, Technicolor</p> </div> Susanne Marschall Copyright (c) 2026 Susanne Marschall http://creativecommons.org/licenses/by/4.0 2026-08-11 2026-08-11 10.25538/tct.v2i2.25927 https://journal.colourturn.net/ojs/index.php/tct/article/view/25926 <p>Abstract not applicable.</p> Anna Wells Piotti Castonguay Copyright (c) 2026 Liana Majeri; Anna Wells Piotti Castonguay http://creativecommons.org/licenses/by/4.0 2026-08-11 2026-08-11 10.25538/tct.v2i2.25926