Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, browse by image, search by color, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on the header slides.
This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptual predecessors.
Timeline of Historical Film Colors was started with Barbara Flueckiger’s research at Harvard University in the framework of her project Film History Re-mastered, funded by Swiss National Science Foundation, 2011-2013.
In 2013 the University of Zurich and the Swiss National Science Foundation awarded additional funding for the elaboration of this web resource. 80 financial contributors sponsored the crowdfunding campaign Database of Historical Film Colors with more than USD 11.100 in 2012. In addition, the Institute for the Performing Arts and Film, Zurich University of the Arts provided a major contribution to the development of the database. Many further persons and institutions have supported the project, see acknowledgements.
Since February 2016 the database has been redeveloped in the framework of the research project Film Colors. Technologies, Cultures, Institutions funded by a grant from Swiss National Science Foundation. Since 2016, the team of the research project ERC Advanced Grant FilmColors has been collecting and adding written sources and photographs. All the members of the two research projects on film colors, both led by Barbara Flueckiger, have been capturing photographs of historical film prints since 2017.
Follow the links “Access detailed information ›” to access the currently available detail pages for individual processes. These pages contain an image gallery, a short description, a bibliography of original papers and secondary sources connected to extended quotes from these sources, downloads of seminal papers and links. We are updating these detail pages on a regular basis.
More than a decade of research on film colors, countless visits to archives to explore and document historical film colors for the Timeline has led the team to develop the scientifically proven multispectral scanning workflow Scan2Screen.
Based on an in-depth study of 8 leading commercial film scanners the team identified core requirements to capture historical film colors in a more comprehensive and future-proof way.
Since the earliest days of cinema, film has been a colorful medium and art form. More than 230 film color processes have been devised in the course of film history, often in close connection with photography. In this regard, both media institutionalized numerous techniques such as hand and stencil coloring as well as printing and halftone processes. Apart from these fundamental connections in terms of the technology of color processes, film and photography also share and exchange color attributions and aesthetics.
This publication highlights material aspects of color in photography and film, while also investigating the relationship of historical film colors and present-day photography. Works of contemporary photographers and artists who reflect on technological and culture-theoretical aspects of the material of color underline these relations. Thematic clusters focus on aesthetic and technological parallels, including fashion and identity, abstraction and experiment, politics, exoticism, and travel.
Color Mania contains a general introduction to color in film and photography (technique, materiality, aesthetics) as well as a series of short essays that take a closer look at specific aspects. An extensive image section illustrates the texts and color systems and continues the aesthetic experience of the various processes and objects in book form.
Edited by Barbara Flückiger, Eva Hielscher, Nadine Wietlisbach, in collaboration with Fotomuseum Winterthur
With contributions by Michelle Beutler, Noemi Daugaard, Josephine Diecke, Evelyn Echle, Barbara Flueckiger, Eirik Frisvold Hanssen, Eva Hielscher, Thilo Koenig, Joëlle Kost, Franziska Kunze, Bregt Lameris, David Pfluger, Ulrich Ruedel, Mona Schubert, Simon Spiegel, Olivia Kristina Stutz, Giorgio Trumpy, Martin Weiss, Nadine Wietlisbach
Design: Meierkolb
16 × 24 cm, 6 ¼ × 9 ½ in
240 pages, 122 illustrations
paperback
In June 2015, the European Research Council awarded the prestigious Advanced Grant to Barbara Flueckiger for her new research project FilmColors. Bridging the Gap Between Technology and Aesthetics, see press release of the University of Zurich and information on the University of Zurich’s website.
Subscribe to the blog to receive all the news: https://blog.filmcolors.org/ (check out sidebar on individual entries for the “follow” button).
Contributions to the Timeline of Historical Film Colors
“It would not have been possible to collect all the data and the corresponding images without the support from many individuals and institutions.Thank you so much for your contribution, I am very grateful.”
Barbara Flueckiger
Experts, scholars, institutions | Sponsors, supporters, patrons of the crowdfunding campaign, April 23 to July 21, 2012
Experts, scholars, institutions
Prof. Dr. David Rodowick, Chair, Harvard University, Department of Visual and Environmental Studies
Prof. Dr. Margrit Tröhler, Department of Film Studies, University of Zurich
Prof. Dr. Jörg Schweinitz, Department of Film Studies, University of Zurich
Prof. Dr. Christine N. Brinckmann, Department of Film Studies, University of Zurich
PD Dr. Franziska Heller, Department of Film Studies, University of Zurich
Dr. Claudy Op den Kamp, Department of Film Studies, University of Zurich
Prof. Anton Rey, Institute for the Performing Arts and Film, Zurich University of the Arts
Dr. Haden Guest, Director, Harvard Film Archive
Liz Coffey, Film Conservator, Harvard Film Archive
Mark Johnson, Loan Officer, Harvard Film Archive
Brittany Gravely, Publicist, Harvard Film Archive
Clayton Scoble, Manager of the Digital Imaging Lab & Photography Studio, Harvard University
Stephen Jennings, Photographer, Harvard University, Fine Arts Library
Dr. Paolo Cherchi Usai, Senior Curator, George Eastman Museum, Motion Picture Department
Jared Case, Head of Cataloging and Access, George Eastman Museum, Motion Picture Department
Nancy Kauffman, Archivist – Stills, Posters and Paper Collections, George Eastman Museum, Motion Picture Department
Deborah Stoiber, Collection Manager, George Eastman Museum, Motion Picture Department
Barbara Puorro Galasso, Photographer, George Eastman House, International Museum of Photography and Film
Daniela Currò, Preservation Officer, George Eastman House, Motion Picture Department
James Layton, Manager, Celeste Bartos Film Preservation Center, Department of Film, The Museum of Modern Art
Mike Pogorzelski, Archive Director, Academy Film Archive
Josef Lindner, Preservation Officer, Academy Film Archive
Cassie Blake, Public Access Coordinator, Academy Film Archive
Melissa Levesque, Nitrate Curator, Academy Film Archive
Prof. Dr. Giovanna Fossati, Head Curator, EYE Film Institute, Amsterdam, and Professor at the University of Amsterdam
Annike Kross, Film Restorer, EYE Film Institute, Amsterdam
Elif Rongen-Kaynakçi, Curator Silent Film, EYE Film Institute, Amsterdam
Catherine Cormon, EYE Film Institute, Amsterdam
Anke Wilkening, Friedrich Wilhelm Murnau Foundation, Wiesbaden, Germany
Marianna De Sanctis, L’Immagine Ritrovata, Bologna
Paola Ferrari, L’Immagine Ritrovata, Bologna
Gert and Ingrid Koshofer, Gert Koshofer Collection, Bergisch Gladbach, Germany
Memoriav, Verein zur Erhaltung des audiovisuellen Kulturgutes der Schweiz
BSc Gaudenz Halter, Software Development Color Film Analyses, video annotation und crowdsourcing platform VIAN, in collaboration with Visualization and MultiMedia Lab of Prof. Dr. Renato Pajarola, University of Zurich, (Enrique G. Paredes, PhD; Rafael Ballester-Ripoll, PhD) since 07.2017
BSc Noyan Evirgen, Software Development, in collaboration with Visualization and MultiMedia Lab von Prof. Dr. Renato Pajarola, Universität Zürich (Enrique G. Paredes, PhD; Rafael Ballester-Ripoll, PhD), 03.2017–01.2018
Assistants Film Analyses:
BA Manuel Joller, BA Ursina Früh, BA/MA Valentina Romero
The development of the project started in fall 2011 with stage 1. Each stage necessitated a different financing scheme. We are now in stage 3 and are looking for additional funding by private sponsors.
Read more about the financial background of the project on filmcolors.org.
The author has exercised the greatest care in seeking all necessary permissions to publish the material on this website. Please contact the author immediately and directly should anything infringe a copyright nonetheless.
Der Märchenwald – Ein Schattenspiel (GER 1919). Credit: By courtesy of Deutsche Kinemathek. Photographs of the tinted nitrate print by Barbara Flueckiger.
Edge mark: Agfa (trough to 1923). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 15.
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Der Alpenweg. Sallanches, Gombloux, Megeve (CH [1920]). Credit: Lichtspiel Kinemathek Bern. Photographs of the tinted and toned nitrate print by Noemi Daugaard, SNSF project Film Colors. Technologies, Cultures, Institutions.
Edge mark: Agfa (trough to 1923). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 15.
View Quote on Page: Edge Codes and Identification
[Emelka Woche 1928 /28 & 30] ( [1928]).
Credit: Lichtspiel Kinemathek Bern.
Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger.
Edge mark: Agfa (1924 onward). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 15.
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Med Roald Amundsens nordpolsekspedition til første vinterkvarter [Roald Amundsen’s North Pole Expedition] (Norway 1923). Credit: Stiftung Deutsche Kinemathek, Berlin. Photographs by Barbara Flueckiger.
Grass. A Nation’s Battle for Life (USA 1925, Merian C. Cooper, Ernest B. Schoedsack, Marguerite Harrison), 35mm Nitrate, Duplicating Positive. Credit: Courtesy of BFI National Archive. Photographs by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Edge code: Upper left: Kodak USA 1922 (second half of the year), copied from negative. Lower left: Kodak Canada 1926 (first half of the year). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 13–17.
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Grass. A Nation’s Battle for Life (USA 1925, Merian C. Cooper, Ernest B. Schoedsack, Marguerite Harrison), 35mm Nitrate, Duplicating Positive. Credit: Courtesy of BFI National Archive. Photographs by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Edge code: Kodak Canada 1925 (second half of the year). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 13-17.
View Quote on Page: Edge Codes and Identification
Grass. A Nation’s Battle for Life (USA 1925, Merian C. Cooper, Ernest B. Schoedsack, Marguerite Harrison), 35mm Nitrate, Duplicating Positive. Credit: Courtesy of BFI National Archive. Photographs by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Edge code: Kodak Canada 1926 (first half of the year). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 13–17.
View Quote on Page: Edge Codes and Identification
Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Source: Earl Sponable Collection Film: [Sonochrome Sound Tests]. Photograph: Barbara Flueckiger. Edge marks: Eastman. Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 13–17. View Quote on Page: Edge Codes and Identification
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Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Source: Earl Sponable Collection Film: [Sonochrome Sound Tests]. Photograph: Barbara Flueckiger. Edge code: Kodak 1930 (second half of the year). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 13–17. View Quote on Page: Edge Codes and Identification
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Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Source: Earl Sponable Collection Film: [Sonochrome Sound Tests]. Photograph: Barbara Flueckiger. Edge code: Kodak 1929 (first half of the year). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 13–17. View Quote on Page: Edge Codes and Identification
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Toned samples from the Kodak Film Samples Collection at the National Science and Media Museum in Bradford.
Credit: National Science and Media Museum Bradford.
Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard.
Edge code: Kodak U.K. 1917. Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 13-17.
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Malombra (ITA 1917, Carmine Gallone). Credit: Cineteca di Bologna. Photographs of the tinted and toned nitrate print by Barbara Flueckiger.
Edge code: Kodak USA 1916 (second half of the year), copied from negative. Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 13–17.
View Quote on Page: Edge Codes and Identification
Voyage autour d’une étoile (FRA 1906, Gaston Velle).
Credit: Cineteca di Bologna. Photographs of the toned nitrate print by Barbara Flueckiger.
Edge mark: Gevaert Belgium. Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 15–16.
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Comment le soleil se couche (FRA 1913).
Credit: Cineteca di Bologna.
Photographs of the tinted and toned nitrate print by Barbara Flueckiger.
Edge mark: Eclair 1912 (F.E. = Films Eclair). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 11–12
.
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I corazzieri italiani (ITA 1910, Società Italiana Cines). Credit: Cineteca di Bologna. Photographs of the tinted nitrate print by Barbara Flueckiger.
Edge mark: Cines (1909-1012): SOCIETÀ ITALIANA “CINES” ROMA (partially visible). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 10.
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Frame characteristics / features of margins: Cines. Cf.: Brown 1990: on p. 23.
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I corazzieri italiani (ITA 1910, Società Italiana Cines). Credit: Cineteca di Bologna. Photographs of the tinted nitrate print by Barbara Flueckiger.
Edge mark: Cines (1909-1012): SOCIETÀ ITALIANA “CINES” ROMA (partially visible). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 10.
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Frame characteristics / features of margins: Cines. Cf.: Brown 1990: on p. 23.
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I corazzieri italiani (ITA 1910, Società Italiana Cines). Credit: Cineteca di Bologna. Photographs of the tinted nitrate print by Barbara Flueckiger.
Edge mark: Cines (1909-1012): SOCIETÀ ITALIANA “CINES” ROMA (partially visible). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 10.
View Quote on Page: Edge Codes and Identification
Frame characteristics / features of margins: Cines. Cf.: Brown 1990: on p. 23.
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Massafra (ITA 1911).
Credit: Cineteca di Bologna.
Photographs of the tinted, toned and stencil colored nitrate print by Noemi Daugaard, SNSF project Film Colors. Technologies, Cultures, Institutions.
Edge mark: Cines (1909-1012): SOCIETA ITALIANA “CINES” ROMA (partially visible). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 10.
View Quote on Page: Edge Codes and Identification
Frame characteristics / features of margins: Cines. Cf.: Brown 1990: on p. 23.
View Quote on Page: Edge Codes and Identification
Massafra (ITA 1911).
Credit: Cineteca di Bologna.
Photographs of the tinted, toned and stencil colored nitrate print by Noemi Daugaard, SNSF project Film Colors. Technologies, Cultures, Institutions.
Edge mark: Cines (1909-1012): SOCIETA ITALIANA “CINES” ROMA (partially visible). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 10.
View Quote on Page: Edge Codes and Identification
Frame characteristics / features of margins: Cines. Cf.: Brown 1990: on p. 23.
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L’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger.
Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
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Les petits vagabonds (FRA 1905, Lucien Nonguet). Credit: EYE Film Museum. Photographs of the tinted and toned nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.
Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
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Credit: EYE Film Institute Amsterdam. Film: [Kleurenpracht].
Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
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An Atlantic Voyage (GER / GBR / FRA). Credit: Deutsches Filminstitut DIF. Photographs of the tinted and toned nitrate print by Barbara Flueckiger.
Edge mark: PATHÉ FRÈRES PARIS (with gap, early 1906, partially visible). Cf.: Ill.PM.32: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
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An Atlantic Voyage (GER / GBR / FRA). Credit: Deutsches Filminstitut DIF. Photographs of the tinted and toned nitrate print by Barbara Flueckiger.
Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
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[Franz-Josef-Land]
Credit: Lichtspiel Kinemathek Bern.
Photographs of the tinted and toned nitrate print by Noemi Daugaard, SNSF project Film Colors. Technologies, Cultures, Institutions.
Edge mark: Pathé (1909 onward), on one edge, PATHÉ FRÈRES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE ET EN BELGIQUE (partially visible). Cf.: Ill.PM.5: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
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Tinted samples from the Kodak Film Samples Collection at the National Science and Media Museum in Bradford.
Credit: National Science and Media Museum Bradford.
Photographs by Barbara Flueckiger in collaboration with Noemi Daugaard.
Edge mark: Pathé (1911 onward), thin italic letters, on one edge, PATHE FRERES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE EN BELGIQUE ET EN ITALIE (partially visible). Cf. Ill.PM.6: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
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[Gaumont Fragments] Credit: Lichtspiel Kinemathek Bern. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger.
Edge mark: Pathé (1911 onward), thin italic letters, on one edge, PATHE FRERES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE EN BELGIQUE ET EN ITALIE (partially visible). Cf. Ill.PM.6: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
View Quote on Page: Edge Codes and Identification
Oiseaux sauvages des monts d’Ecosse (FRA 1914). Credit: Cineteca di Bologna. Photographs of the stencil colored nitrate print by Barbara Flueckiger.
Edge mark: Pathé (1911 onward), thin upright letters, on one edge, PATHE FRERES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE EN BELGIQUE ET EN ITALIE (partially visible). Cf.: Ill.PM.7: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9.
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[Tänze] (? 1920s). Credit: Deutsches Filminstitut DIF. Photographs of the tinted and toned nitrate print by Barbara Flueckiger.
Edge mark: Pathé (1920s). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 16.
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Credit: EYE Film Institute Amsterdam. Photograph by Barbara Flueckiger. Film: Richard Wagner (DE 1913, Carl Froelich).
Edge mark: “MESSTERFILM” – BERLIN (partially visible). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 11.
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Credit: EYE Film Institute Amsterdam. Photograph by Barbara Flueckiger. Film: Richard Wagner (DE 1913, Carl Froelich).
Edge mark: “MESSTERFILM” – BERLIN (partially visible). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 11.
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Credit: EYE Film Institute Amsterdam. Photograph by Barbara Flueckiger. Film: Richard Wagner (DE 1913, Carl Froelich).
Edge mark: “MESSTERFILM” – BERLIN (partially visible). Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 11.
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[Gaumont Woche] [1926].
Credit: Lichtspiel Kinemathek Bern.
Photographs of the tinted nitrate print by Barbara Flueckiger.
Edge mark: Goerz Tenax. Cf.: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 16.
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[Gaumont Woche] [1926].
Credit: Lichtspiel Kinemathek Bern.
Photographs of the tinted nitrate print by Barbara Flueckiger.
Edge mark: Gevaert. Cf.: Ill.SM.10: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 15–16.
View Quote on Page: Edge Codes and Identification
Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Film: Little Nemo (USA 1911, Winsor McCay).
Edge mark: THE VITAGRAPH CO OF AMERICA (1909 onward, partially visible). Cf.: Ill.PM.12: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on pp. 10–11.
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Frame characteristics / features of margins: Vitagraph (1906-1916). Cf.: Brown 1990: on p. 22.
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Medium Wanted as Son-in-law. Credit: Library of Congress. Photograph of the nitrate prints by Barbara Flueckiger.
Edge mark: On one edge, LEASED FOR USE ONLY ON MACHINES LICENSED BY MOTION PICTURE PATENTS CO. N.Y. (1909-19014, partially visible). Cf. Ill.PM.30: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 11.
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Medium Wanted as Son-in-law. Credit: Library of Congress. Photograph of the nitrate prints by Barbara Flueckiger.
Edge mark: On one edge, LEASED FOR USE ONLY ON MACHINES LICENSED BY MOTION PICTURE PATENTS CO. N.Y. (1909-19014, partially visible). Cf. Ill.PM.30: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 11.
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Medium Wanted as Son-in-law. Credit: Library of Congress. Photograph of the nitrate prints by Barbara Flueckiger.
Edge mark: On one edge, LEASED FOR USE ONLY ON MACHINES LICENSED BY MOTION PICTURE PATENTS CO. N.Y. (1909-19014, partially visible). Cf. Ill.PM.30: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 11.
View Quote on Page: Edge Codes and Identification