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    44 Results



    Image

    Metal tones on Eastman tinted nitrate base film


    Image

    Metal Tones on Eastman Nitrate Base Film


    Image

    Metal Tones on Eastman Nitrate Base Film


    Image

    Dye tones on Eastman tinted nitrate base film


    Image

    Tinting and Toning of Eastman Positive Motion Picture Film (1927)


    Image

    Malombra (1917)


    Image

    Tinting and Toning of Eastman Positive Motion Picture Film (1927)


    Image

    Tinting and Toning of Eastman Positive Motion Picture Film (1927)


    Image

    Dye tones on Eastman tinted nitrate base film


    Image

    Tinting and Toning of Eastman Positive Motion Picture Film (1927)

    Quote

    Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 43–47. (in Italian)

    Quote

    Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 43–47. (in Italian)

    Quote

    Vincent-Arnaud, Nathalie (2009): Contrepoints chromatiques. Couleur et énonciation musicale dans Gattaca d’Andrew Niccol (1997). In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 358–369, on pp. 360–369. (in French)

    Quote

    Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on p. 135.

    Quote

    Street, Sarah; Yumibe, Joshua (2013): The Temporalities of Intermediality. Colour in Cinema and the Arts of the 1920s. In: Early Popular Visual Culture, 11,2, May, pp. 140–157, on pp. 152-154.

    Quote

    Street, Sarah; Yumibe, Joshua (2013): The Temporalities of Intermediality. Colour in Cinema and the Arts of the 1920s. In: Early Popular Visual Culture, 11,2, May, pp. 140–157, on pp. 152-154.

    Quote

    Watkins, Liz (2013): Herbert G. Ponting’s Materials and Texts. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 230–242, on pp. 230–240.

    Quote

    Watkins, Liz (2013): Herbert G. Ponting’s Materials and Texts. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 230–242, on pp. 230–240.

    Quote

    Watkins, Liz (2013): Herbert G. Ponting’s Materials and Texts. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 230–242, on pp. 233–235.

    Quote

    Watkins, Liz (2013): Herbert G. Ponting’s Materials and Texts. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 230–242, on pp. 233–235.

    Quote

    Vincent-Arnaud, Nathalie (2009): Contrepoints chromatiques. Couleur et énonciation musicale dans Gattaca d’Andrew Niccol (1997). In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 358–369, on pp. 360–369. (in French)

    Quote

    Yumibe, Joshua (2013): The Illuminated Fairytale. The Colors of Paul Fejo’s Lonesome (1928). In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 127–137.

    Quote

    Yumibe, Joshua (2013): The Illuminated Fairytale. The Colors of Paul Fejo’s Lonesome (1928). In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 127–137.

    Quote

    Yumibe, Joshua (2013): The Illuminated Fairytale. The Colors of Paul Fejo’s Lonesome (1928). In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 127–137.