“In its final form Prizma made use of duplitized positive film. As in previous Prizma systems, the original negatives were alternate frame sequential exposures. The Prizma negative was printed on both sides of the positive film in a special printer. After developing in a normal black and white developer it was bleached in a bath that converted the two images to silver iodide. Two methods appear to have been used for dyeing the duplitized prints:
1. The film was wound tightly on a drum and the exposed side was dyed. When this step was completed, the film was dried and reversed onto a second drum and dyed the other color.10
2. The print was coated with a removable resist on the side printed from the blue-green negative. The red-orange negative side was then dyed blue-green. When the dyeing was completed the resist was removed and the film was dried. Next the red-orange side was coated with resist and the other side of the print was dyed red-orange.”
(Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, pp. 91-94.)
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Original Technical Papers and Primary Sources
Kelley, William Van Doren (1919): Adding Color to Motion. In: Transactions of the Society of Motion Picture Engineers, 8, April 1919, pp. 76–79. Download.
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on pp. 41–42. (in German)
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. 279-280.
Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI, p. 36 .
Fenton, Alfred (1926): Retrospect in Color. Color Motion Photography from the Inception to Date. In: Motion Picture Director, (Hollywood Cal.) 3, Nov. 1926, pp. 19-21, 72, on pp. 19 ff.
Klein, Adrian Bernhard = Cornwell-Clyne (1940): Colour Cinematography. Boston: American Photographic Pub. Co., 2nd revised edition, p. 19.
Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on pp. 53–54, on p. 59 , on p. 62 , on pp. 85–87.
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. 25–26. (in Italian)
Nowotny, Robert A. (1983): The Way of All Flesh Tones. A History of Color Motion Picture Processes, 1895-1929. New York: Garland Pub., pp. 167-185.
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, pp. 91-94.
Talbot, Frederick A. (1923): Moving Pictures. Philadelphia: Lippincott 1923, pp. 354 ff.
Read, Paul; Meyer, Mark-Paul (2000): Notes on Restoring Subtractive Two-Colour Process Prints. In: Paul Read and Mark-Paul Meyer: Restoration of Motion Picture Film, Oxford: Butterworth-Heinemann, pp. 310-313.
Read, Paul (2009): Synthetic Dyes and Their Origins. In: Film History, 21.1, pp. 9-46, on pp. 16-19.
Anonymous (1922): The First Photoplay in Colors. In: Photoplay, 22,1, 1922, p. 72.
Ramsaye, Terry (1922): Color and the Photoplay. In: Photoplay, 22,4, p. 78 and pp. 110-111.
Ramsaye, Terry (1923): The Romantic History of the Motion Picture. Chapter XX: The Great Story of Color on the Screen. In: Photoplay, 24,6, pp. 130-131.
The Glorious Adventure (GBR 1922, J. Stuart Blackton):
Anonymous (1922): Across the Silversheet. New Screen Plays in Review. In: Motion Picture Magazine, XXIII,6, Jul., pp. 75–76.
Anonymous (1922): The Glorious Adventure. In: The Bioscope, 797,L, Jan., p. 43.
The Glorious Adventure (GB 1922, J. Stuart Blackton):
Brown, Simon; Street, Sarah; Watkins, Liz (2013): Colour Adventures with Prizma and Claude Friese-Greene in the 1920s. In: British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 22-36, on pp. 22-32.
Street, Sarah; Yumibe, Joshua (2019): Chromatic Modernity. Color, Cinema, and Media of the 1920s. New York: Columbia University Press, on pp. 141–142and on p. 208.