Kinemacolor
Description
Kinemacolor was an additive process operated with alternating red and green filters that were applied to the shutter in front of the camera and in front of the projector. With at least 32 fps the frame rate was double the minimal frame rate of 16 fps. Time parallax with small differences between the red and green record resulted in color fringes that became visible when objects or scenes were moving (see video, fig. 5).
Kinemacolor was the most successful of the so called natural color processes in early cinema. It flourished between 1908 and 1913. However, the principle of recording color separations with revolving shutter filters was first proposed by the German Hermann Isensee as early as 1897. It was further developed by Frederick Marshall Lee and Edward Raymond Turner who patented a system in 1899. George Albert Smith applied for his first patent in 1906.
Three color records used by Kinemacolor’s predecessors Frederick Marshall Lee and Edward Raymond Turner and financed by Charles Urban proved to be impractical. It was impossible to keep the three records in register. Both the cameras and the projectors were not devised for these high frame rates.
However, the reduction to only two colors failed to reproduce the whole color spectrum. The two-color system was not able to render blue to violet hues and whites were tending to have a yellowish tinge. To compensate for this problem, George Albert Smith proposed to add blue-violet filters to the projection light. Depending on the color temperature of the projection lamp the green filter had to be adjusted to produce a satisfying result.
Many contemporary witnesses were enthusiastic about the rendition of colors. “They are not pictures, but realities” was a PR slogan provided by the The Natural Colour Kinematograph Company Ltd. and it was a recurring statement in these reviews. Charles Urban, the owner of the company, incessantly postulated the educational benefit of movies in natural colors.
As George Albert Smith pointed out in his paper from 1908, one of the main challenges in developing the process was to sensitize the orthochromatic black and white stock to the red end of the color spectrum. Basic research on the properties of the filters, the sensitized stock and the projection lamp with regard to the human color perception was crucial to establish the proper balance between the red and the green record.
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Kinemacolor projector used for David Cleveland’s and Brian Pritchard’s reconstruction. Credit: Brian Pritchard.
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Original Technical Papers and Primary Sources
Bennett, Colin N. (1910): On operating Kinemacolor (Urban-Smith patents). London: Kinematograph & Lantern Weekly, [1910].
Cher, John (1913): Kinemacolor in Paris. Interview with Mr. Charles Urban. In: The Bioscope, 327,XVIII, Jan., p. 175. 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 p. 204. View Quote
Kelley, William Van Doren (1925): Color Photography Patents (cont.). In: Transactions of the Society of Motion Picture Engineers, 24, Oct., pp. 149–161. Download PDF
Kinemacolor Co. (1910): Kinemacolor. The Glories of Nature Permanently Recorded by the Action of Light Only. Handbook of Cameras, Projectors and Appliances for Reproducing and Perpetuating the World’s Events in Natural Colors. London: Natural Color Kinematograph Company.
Smith, G. Albert (1908): Animated Photographs in Natural Colors. In: Journal of the Royal Society of Arts, 57, 11.12.1908, pp. 70-76. View Quote
Secondary Sources
Abel, Richard (1996): Pathé’s “Heavenly Billboards”. In: Monica Dall’Asta, Guglielmo Pescatore and Leonardo Quaresima (eds.): Il colore nel cinema muto. Bologna: Clueb, pp. 56–76, on p. 65. View Quote
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on pp. 37–39 View Quote and on p. 41. (in German) View Quote
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on p. 14. View Quote
Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on pp. 334. 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. 275-276. View Quote
Brown, Simon (2013): The Brighton School and the Quest for Natural Color. Redux. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 13–22. 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. 202–205. View Quote
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 pp. 19–20. View Quote
Fossati, Giovanna (1998): When Cinema Was Coloured. In: Luciano Berriatúa et al.: Tutti i colori del mondo. Il colore nei mass media tra 1900 e 1930. = All the colours of the world. Reggio Emilia: Edizioni Diabasis, pp. 121-132, on pp. 121-122. View Quote
Gervasio, Livio (2006): Il cinema a colori naturali. Il Kinemacolor in Italia. In: Michele Canosa, Giulia Carluccio and Federica Villa (eds.): Cinema muto italiano. Tecnica e tecnologia. Volume secondo. Roma: Carocci, pp. 103–114. (in Italian) View Quote
Hanssen, Eirik Frisvold (2006): Early Discourses on Colour and Cinema. Origins, Functions, Meanings. (= Diss. University of Stockholm (Stockholm Cinema Studies, No. 2)) Download PDF in the download section of this page.
Holden, Lansing C. (1937): Designing for Color. In: Nancy Naumburg (ed.): We Make the Movies. New York: Norton, pp. 239–252, on pp. 244–247. View Quote
Huntley, John (1949): British Technicolor Films. Cornhill, London: Skelton Robinson, on p. 17. View Quote
Jackson, Victoria (2010): Reviving the Lost Experience of Kinemacolor: David Cleveland and Brian Pritchard. In: Journal of British Cinema and Television, vol. 7, pp. 147-159. View Quote
Jackson, Victoria (2011): The Distribution and Exhibition of Kinemacolor in the UK and the USA 1909-1916. (= Diss, university of Bristol) Link to the introduction on Academia.edu
Kindem, Gorham (1981): The Demise of Kinemacolor. Technological, Legal, Economic, and Aesthetic Problems in Early Color Cinema History. In: Cinema Journal, 20,2, 1981, pp. 3-14. View Quote
Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on p. 61. View Quote
McKernan, Luke (2003): ‘Something More than a Mere Picture Show’ Charles Urban and the Early Non-Fiction Film in Great Britain and America, 1897-1925. Diss., Birkbeck College, University of London. View Quote
Mees, C.E. Kenneth (1929): The Processes of Color Photography. III. Color Cinematography. In: The Journal of Chemical Education, 6, pp. 44–51, on pp. 54–46 View Quote, on p. 49 View Quote, on p. 50 View Quote and on p. 50. 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. 12. View Quote
Misek, Richard (2010): Chromatic Cinema. A History of Screen Color. John Wiley & Sons, on p. 121. 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. 23–25. (in Italian) View Quote
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on p. 87 View Quote, on p. 116 View Quote, on pp. 121–122 View Quote, on p. 123 View Quote and on p. 124. (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. 20. (in French) View Quote
Ramsaye, Terry (1926): A Million and One Nights. New York: Simon & Schuster 1926. See Adventures of Kinemacolor, pp. 562-572. View Quote
Ruivo, Céline (2013): Le Livre de fabrication de la compagnie générale des phonographes cinématographes et appareils de précision. À propos d’une source pour l’histoire des recherches sur la couleur chez Pathé Frères entre 1906 et 1908. In: 1895. Revue d’Histoire du Cinéma, 71, 2013, pp. 47–60, on pp. 58–60. (in French) View Quote
Stokes, Melvyn (2009): Colour in American Cinema. From The Great Train Robbery to Bonnie and Clyde. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 184–192, on p. 186. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 9–10 View Quote, pp. 11–14 View Quote, on pp. 15–19 View Quote and on pp. 20–21. View Quote
Theisen, Earl (1936): Notes on the history of color in motion pictures. In: International Photographer, Vol. 8, No. 5, June 1936, pp. 8-9 and p. 24, on p. 8. View Quote
Arvidson, Linda (1925): When the Movies Were Young. New York: Dutton, on pp. 245–249 View Quote and on pp. 249–250. View Quote
Films
According to Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on pp. 37–39. (in German):
An Elizabethen Romance (GBR 1912, Theo Frenkel [Bouwmeester])
Jack And The Beanstalk (USA 1912)
The Making of the Panama Canal (1912, Kinemacolor Company of America)
Dr. Jekyll and Mr. Hyde (GBR 1913)7
Little Lord Fauntleroy (GBR 1914, F. Martin Thornton)7
According to Gervasio, Livio (2006): Il cinema a colori naturali. Il Kinemacolor in Italia. In: Michele Canosa, Giulia Carluccio and Federica Villa (eds.): Cinema muto italiano. Tecnica e tecnologia. Volume secondo. Roma: Carocci, pp. 103–114. (in Italian)
Based on italian contemporary receptions:
Arcobaleno delle fontane di Tuilieries
Frutta e fiori
Gara di lance automobili al Club Britannico
Guerra in Tripolitania
L’incoronazione dei Reali Inglesi in India
Miriam e il bersagliere (Cines)
Rivista Cinematografica Italiana (Cristoffanini, Genova)
British productions for the italian market:
The Harvest [La raccolta] (1908)
Biskra and the Sahara, Algiers [Biskra e il deserto del Sahara. Algeri] (1910)
Fording the River [Il guado del fiume] (1910)
Lake Garda, Italy [Scene sul lago di Garda, Italia settentrionale] (1910)
British Motor-Boat racing. Lowestoft and Burnham on Crouch, Suffolk [Corse del club britannico delle lance a vapore Lowestoft e Burnham on Crouch] (1911)
Cairo, Egypt [Vedute Cairo] (1911)
A Day at Henley [Una giornata a Henley] (1911)
Feeding Poultry at Prowse Jones Farm [Il pasto dei polli nel podere Prowse-Jones. Pinner] (1911)
Khartoum and his Natives [Khartoum e i suoi indigeni] (1911)
Man’s Best Friends [I fedeli amici dell’uomo] (1911)
Lake Como. The Pearl of Italian Lake [Lago di Como. La perla dei laghi italiani] (1911)
The Smallest Barque in the World [La nave più piccola del mondo, completamente attrezzata] (1911)
Trip From Suez to Naples By a Nord-Deutsche LLoyd Liner [Canale di Suez] (1911)
Visit to Menphis, the Pyramids and Sphinx [Menfi piramidi e sfingi] (1911)
Niagara Falls [La cataratte del Niagara mostrante dal piroscafo zitella della nebbia] (1912)
Nubia, Wadi Halfa and the Second Cataract [Nubis Wadi] (1912)
The Vandal Outlaw [I banditi vandali] (T. Frenkel, 1912)
Italian productions for the italian market:
Esercito Italiano: plotone nuotatori di cavalleria [I plotoni nuotatori della 3a divisione cavalleria comandata da SAR il Conte di Torino] (1912)
Inaugurazione del campanile di S. Marco [Inaugurazione del campanile di S. Marco] (1912)
Vita degli Ascari eritrei [La vita dei nostri Ascari eritrei in Libia] (1912)
(Original title unknown) Le pittoresche cascate d’Italia (1914)
Unidentified films or uncertain productions for the italian market:
(Original title unknown) Entro la riserva degli elefanti
(Original title unknown) L’industria del ghiaccio sul fiume San Lorenzo. Montreal, Canada
(Original title unknown) Spiaggia Florida
According to Hanssen, Eirik Frisvold (2006): Early Discourses on Colour and Cinema. Origins, Functions, Meanings. (= Diss. University of Stockholm (Stockholm Cinema Studies, No. 2):
Farmyard Friends (Natural Color Kinematograph Co., 1908)8
A Visit to the Seaside (Natural Color Kinematograph Co., 1908)4
Choosing the Wallpaper (Natural Color Kinematograph Co., 1909)8
Floral Friends (Natural Color Kinematograph Co., 1909)4, 8
Kinemacolor Puzzle (Natural Color Kinematograph Co., 1909)4
Natural Colour Portaiture (Natural Color Kinematograph Co., 1909)
Waves and Spray (Natural Color Kinematograph Co., 1909)
Barnyard Pets (Natural Color Kinematograph Co., 1910)
By Order of Napoleon (Theo Frenkel [Bouwmeester], Natural Color Kinematograph Co., 1910)2, 5
The Chefs Preparation (Natural Color Kinematograph Co., 1910)
Choice Bouquets (Natural Color Kinematograph Co., 1910)
From Bud to Blossom (Natural Color Kinematograph Co., 1910)
Liqueurs and Cigars (Natural Color Kinematograph Co., 1910)
Our Gem of a Cook (Natural Color Kinematograph Co., 1910)
Refreshments (Natural Color Kinematograph Co., 1910)4
A Run with the Exmoor Staghounds (Natural Color Kinematograph Co., 1910)8
Scenes in Cornwall (Natural Color Kinematograph Co., 1910)
The Story of Napoleon (GBR 1910)7
Beads of the World (Natural Color Kinematograph Co., 1911)
Caesar’s Prisoners (Theo Bouwmeester, Natural Color Kinematograph Co., 1911)
A Devoted Friend (Theo Bouwmeester, Natural Color Kinematograph Co., 1911)
Esther: A Biblical Episode (Theo Bouwmeester, Natural Color Kinematograph Co., 1911)
The Fall of Babylon (Theo Bouwmeester, Natural Color Kinematograph Co., 1911)5
The Freshwater Aquarium (Natural Color Kinematograph Co., 1911)
Galileo (Theo Bouwmeester, Natural Color Kinematograph Co., 1911)
Gems and Jewels (Natural Color Kinematograph Co., 1911)
Gerald’s Butterfly (Theo Bouwmeester, Natural Color Kinematograph Co., 1911)4
The King of Indigo (Theo Bouwrneester, Natural Color Kinematograph Co., 1911)5
Oedipus Rex (Theo Bouwrneester, Natural Color Kinematograph Co., 1911)
The Passions of an Egyptian Princess (Theo Bouwrneester, Natural Color Kinematograph Co., 1911)
Samson and Delilah (Theo Bouwrneester, Natural Color Kinematograph Co., 1911)
Telemachus (Theo Bouwrneester, Natural Color Kinematograph Co., 1911)4, 5
Varieties of Sweet Peas (Natural Color Kinematograph Co., 1911)
Mephisto (Alfred de Manby, F. Martin Thornton, Natural Color Kinematograph Co., 1912)
New York Autumn Fashions, 1912 (Natural Color Kinematograph Co., 1912)
With Our King and Queen Through India [The Delhi Durbar] (Natural Color Kinematograph Co., 1912)2, 3, 4, 6, 7, 8
Butterflies (Natural Color Kinematograph Co., 1913)
Call of the Blood (Natural Color Kinematograph Co., 1913)
In the Days of Robin Hood (F. Martin Thornton, Natural Color Kinematograph Co., 1913)
Kinemacolor Fashion Gazette [cinemagazine] (Natural Color Kinematograph Co., 1913)
Paris Fashions (Natural Color Kinematograph Co., 1913)
Robin Hood (GBR 1913)7
With the Fighting Forces of Europe [compilation] (Charles Urban Trading Co., 1914)4
The Birth of a Nation (D.W. Griffith, 1915)
Britain Prepared [compilation] (Urban/Joy/Kineto/Gaumont; Charles Urban Trading Co., 1915)4
See also (1913): The catalogue of Kinemacolor film subjects. Animated scenes in their actual colors. (1912-1913). London: Natural Colour Kinematograph Co. 1913, 318 pp.
According to Simon Brown, Technical Appendix. In: Street, Sarah (2012): Colour films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan:
Italian Flower and Bead Vendors4
Kingston, Jamaica4
A Visit to the Seaside (1908)4
Children Forming the US Flag (1909)4
A Kinemacolor Puzzle (1909)4
By Order of Napoleon (1910)5
From Bud to Blossom (1910)8
From Factory Girl to Prima Donna (1910)
King Edward’s Funeral (1910)
SS Olympic (1910)
Refreshments (1910)4
The Coronation of King George Vand Queen Mary (1911)2
Fall of Babylon (1911)5
The Flower Girl of Florence (1911)5
The King of Indigo (1911)5
Kitty, the Dressmaker (1911) 4
A Love Story of Charles (1911)5
A Lucky Escape: The Story Of The French Revolution (1911)
Scenes in the Indian Camp at Hampton Court, 18 June 1911 (1911)5
Telemachus: A Mythological Play (1911)4, 5
Unveiling of the Queen Victoria Memorial (1911)
Gerald’s Butterfly (1912)4
Sunsets of Egypt/Sunset in Egypt (1912)4
With our King and Queen Through India (1912)4
Advance Styles in Ostrich Plumage (1913)4
Studies in Natural Colour (1913)4
With the Fighting Forces of Europe (1914)4
The World, the Flesh and the Devil (1914)
Britain Prepared (1915) (monochrome film with Kinemacolor sequences)4
See also list of surviving Kinemacolor prints on the Charles Urban website by Luke McKernan.
The Birth of a Flower (GBR 1910, F. Percy Smith)2
The Scarlet Letter (USA 1913, David Miles)1
1 Arvidson, Linda (1925): When the Movies Were Young. New York: Dutton, on pp. 245–249. View Quote
2 Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on p. 14. View Quote
3 Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 11–14. View Quote
4 Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 15–19. View Quote
5 Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 20–21. View Quote
6 Pranchère, Victor (2013): La sortie du laboratoire ou les stratégies d’exploitation du procédé trichrome de cinématographie en couleurs de la Société des Établissements Gaumont (1913-1921). In: 1895. Revue d’Histoire du Cinéma, 71, pp. 61–80, on pp. 72–75. (in French)
7 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. 23–25. (in Italian) View Quote
8 According to Gervasio, Livio (2006): Il cinema a colori naturali. Il Kinemacolor in Italia. In: Michele Canosa, Giulia Carluccio and Federica Villa (eds.): Cinema muto italiano. Tecnica e tecnologia. Volume secondo. Roma: Carocci, pp. 103–114. (in Italian) follwing titels were brought to the italian market: Floral Friends [I fiori] (1908), Farmyard Friends [I nostri amici dell’aia], Choosing Wallpaper [La scelta della carta da muro] (1910), From Bud to Blossom [Dalla gemma alla fioritura] (1910), A Run with the Exmoore Staghounds [Una corsa coi cervi Exmoore Staghounds] (1911) and Durbar of Dehli [India, coronazione imperiale] (1912)
Downloads
Hanssen, Eirik Frisvold (2006): Early Discourses on Colour and Cinema. Origins, Functions, Meanings. (= Diss. University of Stockholm (Stockholm Cinema Studies, No. 2)
Download PDFHulfish, David Sherill (1909): The Motion Picture. Its Making and its Theater. In: Electricity Magazine Corporation 1909, pp. 41-44, 45-48.
Download PDFBrown, Theodore (1910): My impressions of “Kinemacolor”. In: Moving Picture World 6, 28.5.1910, p. 886.
Download PDFAnonymous (1910): Kinemacolor in Germany. In: Moving Picture World 6, 2.4.1910, p. 513.
Download PDFJoy, Henry (1912): My impressions of Kinemacolor. In: Penrose’s Pictorial Annual: The Process Year Book for 1911-1912 17, 1912, pp. 161-164.
Download PDFJoy, Henry (1913): The Advance of Kinemacolor. In: Penrose’s Pictorial Annual. The Process Year Book for 1911-1912, 18, 1913, pp. 217-219.
Download PDFRamsaye, Terry (1926): A Million and One Nights. New York: Simon & Schuster 1926. See “Adventures of Kinemacolor”, pp. 562-572.
Download PDFAnonymous (1909): Kinemacolor. Demonstration of moving pictures in natural colors in New York. In: Moving Picture World, 5, 11.12.1909, p. 831.
Download PDFGriffith, D.W. “i.e. Arvidson, Linda” (1912): The Wonderful Moving Pictures in Color. In: Leslie’s Weekly, 115, 26.12.1912, pp. 672–676.
Download PDFKelley, William Van Doren (1925): Color Photography Patents (cont.). In: Transactions of the Society of Motion Picture Engineers, 24, Oct., pp. 149–161.
Download PDF
Patents
E.P. 3,034 (Urban, Charles/The Natural Color Kinematograph Company Limited; filed Apr. 27, 1912; granted Jan. 30, 1913)
Download PDFE.P. 6,202 (Lee, Frederick Marshall/Turner, Edward Raymond; filed Mar. 22, 1899; granted Mar. 3, 1900)
Download PDFE.P. 26,671 (Smith, George Albert; filed Nov. 24, 1906; granted July 25, 1907)
Download PDFU.S.P. 645,477 (Lee, Frederick Marshall/Turner, Edward Raymond; filed Oct. 14, 1899; granted Mar. 13, 1900)
Download PDFU.S.P. 1,166,120 (Fox, William Francis; filed Dec. 17, 1913; granted Dec. 28, 1915)
Download PDFU.S.P. 1,166,123 (Fox, William Francis; filed Feb. 3, 1915; granted Dec. 28, 1915)
Download PDF
Restoration
Cleveland, David; Pritchard, Brian (na): Re-creating Kinemacolor on the Screen. = http://www.brianpritchard.com/Recreating%20Kinemacolor%20on%20the%20Screen.htm View Quote
Farinelli, Nicola; Mazzanti, Gian Luca (2001): Il restauro. Metodo e tecnica. In: Gian Piero Brunetta (ed.): Storia del cinema mondiale. Vol. 5. Teorie, strumenti, memorie. Bologna: Einaudi, pp. 1119–1174, on p. 1133. (in Italian) View Quote
Mazzanti, Nicola (2002): Raising the Colours (Restoring Kinemacolor). In: Roger Smither (ed.): This Film is Dangerous. A Celebration of Nitrate Film. Brussels: FIAF, pp. 123-125. View Quote
Contemporary Reception
Allbee, Burton H. (1909): Impressions of Kinemacolor films. In: Moving Picture World, Vol. 5, No. 26, 1909, pp. 915-916. View Quote
Anonymous (1908): Cinematography in Natural Colors. In: Moving Picture World, Vol. 3, No. 1, 1908, p. 197. View Quote
Anonymous (1909): Animated Pictures in Natural Colours. In: The Bioscope, 144, July 1909, p. 4. View Quote
Anonymous (1909): The Kinemacolor Pictures. In: The Bioscope, 125, Mar., p. 23. View Quote
Anonymous (1910): First Kinemacolor Dramatic Picture. In: The Moving Picture World 7, 17.12.1910, p. 1413. Repr. from: Kinematograph and Lantern Weekly.
Anonymous (1910): Kinemacolor in Germany. In: Moving Picture World 6, 2.4.1910, p. 513.
Anonymous (1911): The Triumph of Colour. In: The Bioscope, 263,XIII, Oct., p. 283. View Quote
Anonymous (1913): Pellicole colorate. In: La Vita Cinematografica, 4,12, Jun., p. 35. (in Italian) View Quote
Anonymous (1913): The Catalogue of Kinemacolor Film Subjects. Animated Scenes in Their Actual Colors. (1912-1913). London: Natural Color Kinematograph Co. 1913, 318 pp.
Anonymous (1914): The World in Colour. In: The Bioscope, 422,XXV, Nov., p. 664. View Quote
Bedding, Thomas (1909): Moving Pictures in Natural Colors. In: Moving Picture World, Vol. 4, No. 2, 1909, pp. 30-31. View Quote
Brown, Theodore (1910): My Impressions of Kinemacolor. In: Moving Picture World 6, 28.5.1910, p. 886.
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. 203–204. View Quote
Coustet, Ernest (1914): La cinematografia a colori. In: La Tecnica Cinematografica, I,3, ottobre 1914, pp. 71–78 published in Grifo, Marco (2006): Dal film colorato al cinema a colori. In: Michele Canosa, Giulia Carluccio and Federica Villa (eds.): Cinema muto italiano. Tecnica e tecnologia. Volume primo. Roma: Carocci, pp. 173–182, on pp. 178–179. (in Italian) View Quote
Coustet, Ernest (1921): Le cinéma. Paris: Librairie Hachette, on pp. 169-171. (in French) View Quote
Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: John Eggert and Arpad von Biehler: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, Leipzig: J. A. Barth, pp. 214-222, on pp. 218-220. (in German) View Quote
Harrison, Louis Reeves (1913): Sauntering with Kinemacolor. In: Moving Picture World 15, 15.2.1913, pp. 661-662.
Hulfish, David Sherill (1909): The Motion Picture. Its Making and its Theater. In: Electricity Magazine Corporation 1909, pp. 45-48.
Joy, Henry (1912): My Impressions of Kinemacolor. In: Penrose’s Pictorial Annual. The Process Year Book for 1911-1912, 17, 1912, pp. 161-164.
Joy, Henry (1913): The Advance of Kinemacolor. In: Penrose’s Pictorial Annual. The Process Year Book for 1911-1912, 18, 1913, pp. 217-219.
Maulbecker, Maximilian (1919): Der farbige Film. In: Film-Kurier, 25.7.1919. (in German) View Quote
Münsterberg, Hugo (1916): The Photoplay. A Psychological Study. New York; London: D. Appleton and Company, on pp. 206–211. View Quote
Ramsaye, Terry (1923): The Romantic History of the Motion Picture. Chapter XX: The Great Story of Color on the Screen. In: Photoplay, Vol. 24, No. 6, pp. 64-66 and pp. 125-130. View Quote
Rondelli, T. (1914): Lo stato attuale della cinematografia a colori. In: La Vita Cinematografica, 32–33, 30 Aug.–7 Sept. 1914, pp. 36, 41–43 published in Grifo, Marco (2006): Dal film colorato al cinema a colori. In: Michele Canosa, Giulia Carluccio and Federica Villa (eds.): Cinema muto italiano. Tecnica e tecnologia. Volume primo. Roma: Carocci, pp. 168–173, on pp. 169–170. (in Italian) View Quote
The Scarlet Letter (USA 1913, David Miles):
Anonymous (1913): A Classic in Colour. The Scarlet Letter by the Kinemacolor Company. In: The Bioscope, 357,XX, Aug., p. 489. View Quote
With Our King and Queen Through India [The Delhi Durbar] (GBR 1912, Natural Color Kinematograph Co.):
Anonymous (1912): The Durbar in Kinemacolor. In: The Bioscope, 278,XIV, Feb., pp. 363, 365. 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 p. 205. View Quote
Selected Analyses
The King of Indigo (GBR 1911, Theo Frenkel):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 20–21. View Quote
With Our King and Queen Through India [The Delhi Durbar] (GBR 1912, Natural Color Kinematograph Co.):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 13–15. View Quote
