Technicolor No. II
Description
The first subtractive 2 color process introduced by Technicolor captured the incoming light through a beam splitter with red and green filters also. However, in contrast to the first Technicolor process, the two b/w images were recorded on one negative strip. This was achieved by the pull-down of two frames simultaneously, a process that required the double speed in the camera. These two frames were arranged in pairs, whereby the green record was inverted up-side down (see image).
These two images were then step-printed onto two positives. A tanning process hardened the silver image. In the following step the soft portions were washed away. The relief matrices were then glued together and the opposite sides of the film dyed red-orange and blue-green respectively.
Although the first film shot in this process, The Toll of the Sea (1922) was a huge commercial success, the system encountered many practical difficulties. The cemented film tended to be scratched more easily and more noticeably and even more so it curled as a result of irregular shrinking caused by the heat in the projector. In addition, the costs were very high and Technicolor faced difficulties to deliver on time due to their limited capacities. Only very few feature films were shot entirely in color. More often, the films contained short scenes in Technicolor while the rest of the films were dyed by the usual applied processes (see list of films on this page).
In the course of time Technicolor II prints fade to orange.
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The Phantom of the Opera (USA 1925, Rupert Julian). Credit: UCLA Film & Television Archive. Photographs of the nitrate print by Barbara Flueckiger.
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Credit: Images courtesy of the Margaret Herrick Library. Photograph by Barbara Flueckiger.
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
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Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55). Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
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Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55); color reconstruction of the images shown above. Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
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Apparently test pieces, these clippings may well be the oldest surviving samples of the process in existence. Ruedel (2009: 55). Credit: George Eastman House Motion Picture Department Collection. Source: Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, Volume 21, Number 1, 2009, pp. 47-60.
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Arrangement of the two records on the camera negative. Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress.
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Film: Stage Struck (USA 1925, Allan Dwan). Credit: Nitrate Frame Collection. George Eastman House Moving Image Collection. Photograph by Barbara Flueckiger.
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Film: Irene (USA 1926, Alfred E. Green). Credit: Nitrate Frame Collection. George Eastman House Moving Image Collection. Photograph by Barbara Flueckiger.
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Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
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Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
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Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
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Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
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Film: Irene (USA 1926, Alfred E. Green). Credit: Library of Congress. Photograph by Barbara Flueckiger.
Galleries Open all Galleries ▼
Original Technical Papers and Primary Sources
Kelley, William Van Doren (1925): Color Photography Patents (cont.). In: Transactions of the Society of Motion Picture Engineers, 24, Oct., pp. 149–161, on pp. 159-160. View Quote
Troland, Leonard T. (1927): Some Psychological Aspects of Natural Color Motion Pictures. In: Transactions of the Society of Motion Picture Engineers, 11, 26.9.1927, pp. 680–698, on pp. 695–696. View Quote
Secondary Sources
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on pp. 42–43. (in German) View Quote
Anonymous (1960): Dr. Herbert T. Kalmus Father of Color Film, Retires From Technicolor. In: International Projectionist, 35,1, Jan., p. 19. View Quote
Full text on the Media History Digital Library website. View Link
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 29–36. View Quote
Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on pp. 337–342. View Quote
Bordwell, David; Staiger, Janet; Thompson, Kristin (1985): The Classical Hollywood Cinema. Film Style and Mode of Production to 1960. London: Routledge, on p. 353 View Quote and on p. 355. View Quote
Brown, Simon (2012): Technical Appendix. In: Sarah Street: Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, pp. 259-287, on pp. 284-286 (all Technicolor processes). View Quote
Cherchi Usai, Paolo (1995): Le nitrate mécanique. L’imagination de la couleur comme science exacte (1830-1928). In: Jacques Aumont (ed.): La couleur en cinéma. Milan-Paris: Mazzotta/La Cinémathèque française, pp. 95–109, on pp. 103–104 and on p. 109. (in French) View Quote
Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI, p. 38. View Quote
Cleveland, David; Pritchard, Brian (2015): How Films were Made and Shown. Some Aspects of the Technical Side of Motion Picture Film 1895–2015. Manningtree, Essex: David Cleveland, on pp. 218–219 View Quote and on pp. 219–220. View Quote
Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions, p. 132. View Quote
Cornwell-Clyne, Adrian [= Adrian Klein] (1951): Colour Cinematography. London: Chapman & Hall, 3rd edition, pp. 451-479 (all Technicolor processes).
Everett, Wendy (2007): Mapping Colour. An Introduction to the Theories and Practices of Colour. In: Wendy Everett (ed.): Questions of Colour in Cinema. From Paintbrush to Pixel. Oxford: Peter Lang, pp. 7–38, on p. 20. View Quote
Flueckiger, Barbara (2015): Zwischen Chromophobie und Farbrausch. Entwicklungslinien des frühen Technicolor. In: Connie Betz, Annika Schaefer und Rainer Rother (eds.): Glorious Technicolor. Berlin: Bertz und Fischer, pp. 20–47. (in German) Download PDF
Flueckiger, Barbara (2018): Torn between Chromophobia and Colour Mania. Developments of Early Technicolor. In: Colour Turn, 1,1, Aug., pp. VI–1–VI–36. Online
Haines, Richard W. (1993): Technicolor Movies. The History of Dye Transfer Printing. Jefferson, North Carolina: McFarland, pp. 4-7. View Quote
Happé, Bernard (1984): 80 Years of Colour Cinematography. London: British Kinematograph Sound & Television Society, p. 8. View Quote
Herring, Robert (1935): Technicolossal. In: Life and Letters Today, 13, Sep., pp. 194–196, on p. 194. View Quote
Higgins, Scott (2000): Demonstrating Three-Colour Technicolor. Early Three-Colour Aesthetics and Design. In: Film History, 12,4, pp. 358–383, on pp. 358–359. View Quote
Kalmus, Herbert T. (1938): Technicolor Adventures in Cinemaland. In: Journal of the Society of Motion Picture Engineers, 31,6, 1938, pp. 564-585, on pp. 566-571. View Quote
Kalmus, Herbert T. (1958): The Adventure of Technicolor. In: Journal of the Society of Motion Picture Engineers, 67,12, pp. 829–830. View Quote
Kitsopanidou, Kira (2009): “Glorious Technicolor”. La stratégie d’innovation de la couleur de Technicolor dans l’industrie cinématographique Américaine. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 193–206, on p. 194. (in French) View Quote
Koshofer (1993): Seit 75 Jahren Technicolor-Filme. In: Film & TV Kameramann, 42,1, 1993, pp. 24-34, on p. 24. (in German) View Quote
Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on p. 85 View Quote, on pp. 99–102 View Quote, on pp. 109–110 View Quote, on p. 112 View Quote, on p. 114 View Quote, on p. 123 View Quote, on p. 124 View Quote, on pp. 125–126 View Quote, on p. 135 View Quote, on pp. 142–145 View Quote, on pp. 155–156 View Quote, on p. 160 View Quote, on. pp. 169–170 View Quote, on p. 177 View Quote, on p. 179 View Quote, on p. 181 View Quote, on p. 192 View Quote, on p. 231 View Quote and on p. 264. View Quote
Mees, C. E. Kenneth (1937): The Development of the Art and Science of Photography in the Twentieth Century. In: Journal of the Society of Motion Picture Engineers, 28,1, pp. 3–20, on p. 13. View Quote
Montesanti, Fausto (1954): Lineamenti di una storia del film a colori. In: Giuseppe Sala (ed.): Bianco e Nero. Il colore nel cinema. Rassegna mensile di studi cinematografici, XV,2-4, pp. 11–51, on pp. 28–29. (in Italian) View Quote
Neale, Steve (1985): The Beginnings of Technicolor. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, 2006, pp. 13-23, on pp. 14-15 View Quote and on p. 18. View Quote
Nowotny, Robert A. (1983): The Way of All Flesh Tones. A History of Color Motion Picture Processes, 1895-1929. New York: Garland Pub., pp. 210-217 View Quote and pp. 220-224. View Quote
Penning, Lars (1988): Farbe im klassischen Piratenfilm. In: Karl-Dietmar Möller-Nass, Hasko Schneider and Hans J. Wulff (eds.): 1. Film- und Fernsehwissenschaftliches Kolloquium. Münster: MAkS, pp. 36–40, on pp. 36–37. (in German) View Quote
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 126–127. (in Italian) View Quote
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 31–32. (in Italian) View Quote
Pinel, Vincent (1992): La forêt des techniques. In: Michel Ciment (ed.): Ciné mémoire. Colloque international d’information (7-9 octobre 1991). Paris: Femis, pp. 17–24, on p. 21–22. (in French) View Quote
Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, 21,1, 2009, pp. 47-60, on p. 49. View Quote
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, pp. 78-79. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 37 View Quote and on pp. 37–38. View Quote
Films
Toll of the Sea (Metro, USA 1922, Chester M. Franklin)1, 4, 9, 12, 13, 14, 16, 17, 19, 20, 22, 26, 27, 29
The Prisoner of Zenda (sequences) (USA 1922, Rex Ingram)12, 14, 17
The Ten Commandments (sequences) (Par, USA 1923, Cecil B. DeMille)1, 5, 12, 14, 17, 23, 24, 25
Cytherea (First National, USA 1924, George Fitzmaurice) (sequences)6, 14, 17, 28
So This Is Marriage? (sequences) (MGM, 1924)
The Uninvited Guest (sequences) (MGM, USA 1924, Ralph Ince)14
Wanderer of the Wasteland (Par, USA 1924, Irvin Willat)14, 17, 28
The Big Parade (sequences) (MGM, USA 1925, King Vidor)8, 12
His Supreme Moment (sequences) (Ind, 1925)
Lights of Old Broadway (USA 1925, Monta Bell) (sequences)7
The King on Main Street (sequences) (Par, 1925)
Marionettes (short subject) (Ind, 1925)
The Merry Widow (sequences) (MGM, USA 1925, Erich von Stroheim)3, 12, 14
The Phantom of the Opera (sequences) (U, USA 1925, Rupert Julian)1, 12, 14, 15, 18, 26
Pretty Ladies (sequences) (MGM, USA 1925, Monta Bell)14
Seven Chances (MGM, USA 1925, Buster Keaton) (sequences)7
Stage Struck (sequences) (Par, USA 1925, Allan Dwan)14
An American Venus (sequences) (Par, USA 1926, Frank Tuttle)11, 14
Beau Geste (sequences) (Par, 1926)
Ben Hur (sequences) (MGM, 1926, Fred Niblo)1, 2, 8, 12, 14, 16, 17
Mona Lisa (USA 1926, Arthur Maude)14
The Black Pirate (UA, USA 1926, Albert Parker)1, 2, 4, 8, 10, 12, 14, 16, 17, 21, 23, 26, 27, 28, 29
Fig Leaves (sequences) (Fox, 1926)
Irene (sequences) (Fox, 1926)
Michael Strogoff (sequences) (UA, 1926)
The Fire Brigade (sequences) (MGM, USA 1927, William Nigh)14
The Flag (short) (Technicolor/MGM, USA 1927, Arthur Maude)13
A Gentleman of Paris (insert) (Par, 1927)
The King of Kings (sequences) (Pathe, USA 1927, Cecil B. DeMille)2, 5, 14
The Joy Girl (Fox, 1927)
Two-reel shorts
Blue Boy (USA 1926, Arthur Maude)14
The Vision (USA 1926, Arthur Maude)14
1 Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 126–127. (in Italian) View Quote
2 Troland, Leonard T. (1927): Some Psychological Aspects of Natural Color Motion Pictures. In: Transactions of the Society of Motion Picture Engineers, 11, 26.9.1927, pp. 680–698, on pp. 695–696. View Quote
3 Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 127–128. (in Italian)
4 Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 37–38. View Quote
5 Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on pp. 99–102. View Quote
6 Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on p. 114. View Quote
7 Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on pp. 125–126. View Quote
8 Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on pp. 155–156. View Quote
9 Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on p. 264. View Quote
10 Herring, Robert (1935): Technicolossal. In: Life and Letters Today, 13, Sep., pp. 194–196, on p. 194. View Quote
11 Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on pp. 343–348.
12 Kitsopanidou, Kira (2009): “Glorious Technicolor”. La stratégie d’innovation de la couleur de Technicolor dans l’industrie cinématographique Américaine. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 193–206, on p. 194. (in French) View Quote
13 Kitsopanidou, Kira (2009): “Glorious Technicolor”. La stratégie d’innovation de la couleur de Technicolor dans l’industrie cinématographique Américaine. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 193–206, on pp. 195–200. (in French)
14 Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on pp. 337–342. View Quote
15 Traber, Bodo (1995): Dramaturgische Funktionen monochromer Farbgebung im Stummfilm. In: Karl-Dietmar Möller-Nass Möller-Nass, Hasko Schneider and Hans J. Wulff (eds.): 1. Film- und Fernsehwissenschaftliches Kolloquium. Münster: MAkS, pp. 30–36, on pp. 30–35. (in German)
16 Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 31–32. (in Italian) View Quote
17 Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 29–36. View Quote
18 Traber, Bodo (1995): Dramaturgische Funktionen monochromer Farbgebung im Stummfilm. In: Karl-Dietmar Möller-Nass Möller-Nass, Hasko Schneider and Hans J. Wulff (eds.): 1. Film- und Fernsehwissenschaftliches Kolloquium. Münster: MAkS, pp. 30–36, on pp. 31–33. (in German) View Quote
19 Elway, Thomas (1923): The First Successful Color Movie. In: Popular Science Monthly, Feb., pp. 59–61, 114. View Quote
20 Slide, Anthony (1985): The Return of Becky Sharp. In: Films in Review, 36, Mar., pp. 148–153.
21 Elliott, Eric (1934): Wither colour? In: Cinema Quarterly, 2,3, Spring, pp. 161–165.
22 Gitt, Robert; Dayton, Richard (1984): Restoring Becky Sharp. In: American Cinematographer, 65,10, pp. 99–106.
23 Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on p. 339 View Quote and on pp. 340–341. View Quote
24 Birchard, Robert S. (1992): The Ten Commandments (1923). DeMille Completes Personal Exodus. In: American Cinematographer, 73,10, pp. 76–80, on pp. 76–77. View Quote
25 Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on pp. 99–102. View Quote
26 Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 3–4.
27 Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 213–223.
28 Montesanti, Fausto (1954): Lineamenti di una storia del film a colori. In: Giuseppe Sala (ed.): Bianco e Nero. Il colore nel cinema. Rassegna mensile di studi cinematografici, XV,2-4, pp. 11–51, on pp. 28–29. (in Italian) View Quote
29 Cleveland, David; Pritchard, Brian (2015): How Films were Made and Shown. Some Aspects of the Technical Side of Motion Picture Film 1895–2015. Manningtree, Essex: David Cleveland, on pp. 218–219. View Quote
Downloads
Herbert T. Kalmus (1938): Technicolor Adventures in Cinemaland. In: Journal of the Society of Motion Picture Engineers, 31,6, 1938, pp. 564-585.
Download PDFFlueckiger, Barbara (2015): Zwischen Chromophobie und Farbrausch. Entwicklungslinien des frühen Technicolor. In: Connie Betz, Annika Schaefer und Rainer Rother (eds.): Glorious Technicolor. Berlin: Bertz und Fischer, pp. 20–47. (in German)
Download PDF
Patents
E.P. 188,329 (Technicolor Motion Picture Corporation; filed Oct. 31, 1922; granted Jan. 31, 1924)
Download PDFE.P. 194,971 (Comstock, Daniel Frost/Technicolor Motion Picture Corporation; filed May 2, 1922; granted March 22, 1923)
Download PDFE.P. 204,034 (Kalmus, Comstock and Wescott, Incorporated; filed Aug. 30, 1923; granted May 29, 1924)
Download PDFE.P. 211,918 (Andrews, Jarvis Melvin/Ball, Joseph Arthur/Technicolor Motion Picture Corporation/Troland, Leonard Thompson; filed Oct. 31, 1922; granted Feb. 29, 1924)
Download PDFE.P. 209,404 (Technicolor Motion Picture Corporation; filed Dec. 17, 1923; granted March 17, 1925)
Download PDFE.P. 212,134 (Kalmus, Comstock and Wescott, Incorporated; filed March 26, 1923; granted March 6, 1924)
Download PDFE.P. 241,052 (Andrews, Jarvis Melvin/Technicolor Motion Picture Corporation; filed Dec. 22, 1924; granted Oct. 15, 1925)
Download PDFE.P. 264,369 (Ball, Joseph Arthur/Technicolor Motion Picture Corporation; filed April 12, 1926; granted Jan. 20, 1927)
Download PDFE.P. 300,818 (Ball, Joseph Arthur/Gallison, Ernest Augustus/Technicolor Motion Picture Corporation/Weaver, Eastman Atkins; filed Dec. 21, 1927; granted Nov. 22, 1928)
Download PDFU.S.P. 1,451,325 (Ball, Joseph Arthur/Comstock, Daniel Frost; filed Oct. 6, 1920; granted Apr. 10, 1923)
Download PDFU.S.P. 1,493,246 (Comstock, Daniel Frost; filed Sept. 1, 1921; granted May 6, 1924)
Download PDFU.S.P. 1,535,700 (Troland, Leonard Thompson; filed Sept. 13, 1922; granted Apr. 28, 1925)
Download PDFU.S.P. 1,541,315 (Ball, Joseph Arthur/Weaver, Eastman Atkins; filed Aug. 20, 1921; granted June 9, 1925)
Download PDFU.S.P. 1,435,764 (Andrews, Jarvis M. /Ball, Joseph A./ Troland, Leonard T.; filed Sept.1, 1921; granted Nov. 14, 1922)
Download PDF
Links
Anonymous (1960): Dr. Herbert T. Kalmus Father of Color Film, Retires From Technicolor. In: International Projectionist, 35,1, Jan., p. 19. View Link
Flueckiger, Barbara (2018): Torn between Chromophobia and Colour Mania. Developments of Early Technicolor. In: Colour Turn, 1,1, Aug., pp. VI–1–VI–36. View Link
Ruedel, Ulrich (2009): The Technicolor Notebooks at the George Eastman House. In: Film History, 21,1, 2009, pp. 47-60. View Link
Contemporary Reception
E.o. (1926): Der farbige Film. In: Mein Film, 40, p. 18. (in German) View Quote
Elway, Thomas (1923): The First Successful Color Movie. In: Popular Science Monthly, Feb., pp. 59–61, 114. View Quote
Eveleigh, Leslie (1926): Technicolour. Exclusive Details of America’s Foremost Colour Process. In: The Bioscope, 1006,LXVI, Jan., pp. iii–iv. View Quote
The Black Pirate (USA 1926, Albert Parker):
Anonymous (1925): The Black Pirate. In: Variety, 31 December 1925. View Quote
Anonymous (1926): Douglas Fairbanks in The Black Pirate. In: The Film Daily, XXXV,66, Mar., p. 6. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1926): Doug’s Colorful Opus. In: Motion Picture News, XXXIII,12, Mar., p. 1271. View Quote
Anonymous (1926): The Shadow Stage. A Review of the New Pictures. The Black Pirate. In: Photoplay, 29,6, p. 48. View Quote
Anonymous (1927): Farbenfilm-Kritik. Der Seeräuber. In: Die Kinotechnik, 9,3, pp. 75–76. (in German) View Quote
Barry, Iris (1926): Fairbanks Triumphant. In: The Spectator, Mar., p. 13. View Quote
Belton, John (2018): ‘Taking the Color Out of Color’. Two-Colour Technicolor, The Black Pirate, and Blackened Dyes. In: Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakçi and Sarah Street (eds.): The Colour Fantastic. Chromatic Worlds of Silent Cinema. Amsterdam: Amsterdam University Press, pp. 97–108, on p. 99. View Quote
Clarke, Daniel B. (1926): A Mid-Year Cinematographic Review. Color. In: American Cinematographer, VII,3, Jun., p. 12. View Quote
Full text on the Media History Digital Library website. View Link
Hall, Mordaunt (1926): The Screen. Mr. Fairbank’s New Picture. In: The New York Times, Mar., p. 21. View Quote
Full text on The New York Times website. View Link
Hall, Mordaunt (1926): Fairbanks’s Pirate Film Whimsical and Beautiful. In: The New York Times, Mar., p. 5. View Quote
Pardy, George T. (1926): The Black Pirate. In: Motion Picture News, XXXIII,12, Mar., p. 1303. View Quote
The Phantom of the Opera (USA 1925, Rupert Julian):
Barr, Al (1925): A Duplex Report on The Phantom. In: Exhibitors Herald, XXII,12, Sep., p. 52. View Quote
Benson, Sally (1925): The Screen in Review. Expensive and Everything. In: Picture-Play Magazine, XXIII,4, Dec., p. 59. View Quote
Hall, Mordaunt (1925): The Screen. A Fantastic Melodrama. In: The New York Times, Sep., p. 15. View Quote
Full text on The New York Times website. View Link
The Ten Commandments (USA 1923, Cecil B. DeMille):
Anonymous (1923): The Screen. In: New York Times, 22 December 1923, p. 8. View Quote
Anonymous (1924): The Ten Commendations of The Ten Commandments. In: Variety, LXXIII,7, Jan., p. 69. View Quote
Anonymous (1924): The Shadow Stage. A Review of the New Pictures. The Ten Commandments. In: Photoplay, XXV,3, Feb., p. 62. View Quote
The Toll of the Sea (USA 1922, Chester M. Franklin):
Anonymous (1922): Pictures. The Toll of the Sea. In: Variety, LXIX,2, Dec., p. 35. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1922): The Screen. Up From the Ghetto. In: New York Times, Nov., n. p. View Quote
Anonymous (1923): Report of the Committee on Films and Emulsions. Color Photography. In: Transactions of the Society of Motion Picture Engineers, Vol. 16, May, pp. 275–276. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1923): Toll of the Sea. In: Visual Education, 4.5, May, p. 157. View Quote
Pardy, George T. (1922): Illustrated Screen Report. The Toll of the Sea. In: Exhibitors Trade Review, 13,2, Dec., p. 99. View Quote
Full text on the Media History Digital Library website. View Link
Reid, Laurence (1922): Pre-release Reviews of Features. The Toll of the Sea. In: Motion Picture News, XXVI,24, Dec., p. 2939. View Quote
Full text on the Media History Digital Library website. View Link
Irene (USA 1926, Alfred E. Green):
Elliott, Frank (1926): Pre-release Reviews of Features. Irene. In: Motion Picture News, XXXIII,9, Feb., p. 1014. View Quote
Full text on the Media History Digital Library website. View Link
Hall, Mordaunt (1926): The Screen. A Coal Hearer in Society. In: The New York Times, Mar., p. 17. View Quote
Full text on The New York Times website. View Link
Wanderer of the Wasteland (USA 1924, Irvin Willat):
Anonymous (1924): The Shadow Stage. A Review of the New Pictures. Wanderer of the Wasteland. In: Photoplay, 26,3, p. 49. View Quote
Selected Analyses
Ben-Hur. A Tale of Christ (USA 1926, Fred Niblo):
Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on p. 119 View Quote and on p. 121. View Quote
The Black Pirate (USA 1926, Albert Parker):
Behlmer, Rudy (1992): High Style on the High Seas. In: American Cinematographer, 73,4, pp. 34–40, on pp. 36–40. View Quote
Belton, John (2018): ‘Taking the Color Out of Color’. Two-Colour Technicolor, The Black Pirate, and Blackened Dyes. In: Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakçi and Sarah Street (eds.): The Colour Fantastic. Chromatic Worlds of Silent Cinema. Amsterdam: Amsterdam University Press, pp. 97–108, on pp. 98–108. View Quote
Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on pp. 129–133. View Quote
Street, Sarah; Yumibe, Joshua (2019): Chromatic Modernity. Color, Cinema, and Media of the 1920s. New York: Columbia University Press, on p. 222. View Quote
The Phantom of the Opera (USA 1925, Rupert Julian):
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. 149–151. View Quote
Street, Sarah; Yumibe, Joshua (2019): Chromatic Modernity. Color, Cinema, and Media of the 1920s. New York: Columbia University Press, on pp. 101–102 View Quote and on pp. 210–212. View Quote
Traber, Bodo (1995): Dramaturgische Funktionen monochromer Farbgebung im Stummfilm. In: Karl-Dietmar Möller-Nass Möller-Nass, Hasko Schneider and Hans J. Wulff (eds.): 1. Film- und Fernsehwissenschaftliches Kolloquium. Münster: MAkS, pp. 30–36, on pp. 31–33. (in German) View Quote
The Ten Commandments (USA 1923, Cecil B. DeMille):
Birchard, Robert S. (1992): The Ten Commandments (1923). DeMille Completes Personal Exodus. In: American Cinematographer, 73,10, pp. 76–80, on pp. 76–77. View Quote
Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on pp. 99–102. View Quote
Street, Sarah; Yumibe, Joshua (2019): Chromatic Modernity. Color, Cinema, and Media of the 1920s. New York: Columbia University Press, on p. 205. View Quote
The Toll of the Sea (USA 1922, Chester M. Franklin):
Street, Sarah; Yumibe, Joshua (2019): Chromatic Modernity. Color, Cinema, and Media of the 1920s. New York: Columbia University Press, on pp. 94–97. View Quote
Production Reports
Ben-Hur. A Tale of Christ (USA 1926, Fred Niblo):
Marton, Andrew (1960): Filming the Chariot Race for Ben-Hur. In: American Cinematographer, 41,2, pp. 94–95, p. 112 and p. 114, on p. 95, on p. 112 and on p. 114. View Quote
