Deconstructions and falsifications of visual memory. The coloring of images in the post-truth era

In recent years we have witnessed the release of documentaries such as World War II in Color, (Jonathan Martin, 2009), They Shall Not Grow Old (Peter Jackson, 2018) or Espana en dos trincheras. La Guerra Civil en colores (Francesc Escribano, Lluis Carrizo, 2016), characterized by the colorization of filmic materials originally recorded in black and white. The recent publication of the work El color del tiempo. A New Visual History of the World1850-1960 (Amaral and Jones, 2021), which includes the publication of 200 photographs of high historical and documentary value, originally in black and white, raises a reflection on the use of color as an expressive and narrative resource in the fields of photography and film. In this paper, we consider that the use of black and white is a discursive option loaded with meanings, which in no case should be interpreted as a lack of photographic expression (Freeman, 2005; Marzal, 2007; Edwards, 2019). It is argued that the fashion for colorization in film and photography should be placed in relation to the current context of the expansion of the so-called deep fake, a technique that decontextualize the production of images.