ABSTRACT During the earliest years of cinema in Scotland, films of the serpentine dance (and its various iterations) were exceptional for their intricately hand-painted colours, imitating the lights of their theatrical antecedents. The popularity of the original stage routine transcended social classes, and was widely lauded as a poetic expression of modernity. Yet, such connotations were not ubiquitously upheld, especially in Inverness, where the routine was controversially executed in a den of lions. Public outcry deemed it a defamation of the female form, and as the town’s only local filmmaker and exhibitor, John Mackenzie omitted any associated hand-painted films from his screenings. The perceived moral case for this omission was compounded by Mackenzie’s aesthetic principles as a photographer. Late-nineteenth-century photographic journals reveal an aversion to hand-painted photographs; dyes corrupted the purity of light on emulsion, whilst the quest for a photographic colour process remained an elusive yet noble pursuit. As founder and president of the Highland Photographic Society, Mackenzie was sensitive to such discourses and beliefs. In addition to cementing John Mackenzie’s place in the historical record, this paper uncovers overlooked yet significant discourses in press and trade journal materials, which are crucial to our understanding of early colour cinema in Scotland.
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