Dufaycolor
Description
Dufaycolor was a regular line screen process whereby the incident light was filtered through a pattern of tiny color patches created by lines in red, green and blue, the so called réseau. When viewed from an appropriate distance, the pattern fused in the eye of the observer to form a variety of hues – similar to the dots in Pointillism paintings. The Frenchman Louis Dufay invented this pattern for still photography (see Dioptichrome) in 1908. Different companies exploited the process and changed the arrangement several times during its evolution, but the principle remained the same.
The application of the réseau onto the film was a very complicated and demanding process. The acetate film base was first coated with a blue layer (see illustrations). Then a greasy ink resist was printed in diagonal lines at an angle of 23°. The remaining lines were bleached and subsequently dyed green. Afterwards the first resist was removed and a new layer of resist lines was applied at an angle of 90° to the first two lines. The remaining lines were bleached again and subsequently dyed red. As a result of this process a pattern was formed that consisted of blue and green rectangles in combination with thinner red lines so that all patches covered areas identical in size. Finally a varnish was applied to protect the réseau and the base was coated with a panchromatic emulsion. Exposure was done through the réseau on the black-and-white emulsion (see illustration) and the film developed by a b/w process, a majority by a reversal process. In the different systems the order of the colors varied. For instance the Spicer-Dufay stock consisted of red and green rectangles with blue lines.
Although the pattern was very, very fine with 19 to 25 lines per millimeter thus resulting in a million and a half patches per square inch – which equals almost 1K in resolution – it was still visible on the screen due to the high degree of magnification in projection. However, while irregular screen processes failed completely as a result of the random pattern which emerged when the film was projected, the regular screen of the Dufaycolor process was far better adapted to moving pictures. More importantly, shooting, development and screening could be operated with the usual equipment for b/w cinematography. Therefore the process was a viable and cheap alternative to Technicolor. Documentaries, experimental films and home movies were shot in Dufaycolor (see list of films on this page).
Since up to 80% of light was absorbed by the filters, all the additive screen processes required high amount of light, both for exposure and projection. To compensate for the light absorption, the Dufaycolor dyes had flat overlapping spectral transmission curves (see image on this page) which led to the desaturation of the colors. Thus the hues appear muted.
Printing from negatives posed specific problems because interferences occur when two regular patterns are overlaid on top of each other, producing an artifact called moiré. Theoretically there were two solutions to this problem. Either the negative and the print should be aligned perfectly or the pattern of the negative had to be destroyed in the printing process. Since the first solution was impossible due to the very small tolerances necessary, the second solution was applied with an aperture mask in combination with diffuse light. Similar problems arise when Dufaycolor film has to be digitized, since the diagonal pattern of the film and the orthogonal pixel structure interfere equally. Therefore scanning requires very high resolution and a light source with three narrow bands for spectral transmission in the primaries, similar to the ones used in the Dufaycolor printing process (see image on this page).
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Reversal Colour Positive. Credit: Courtesy of BFI National Archive. Photograph by Barbara Flueckiger. Film: A Colour Box (GB 1935, Len Lye).
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Microscopic image of the filter structure of a Dufaycolor film. The Emulsion has been removed. The visible structures are not silver grain but the structure of the filter layers.
Credit: David Pfluger, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich. -
Microscopic images of Dufaycolor film with the focus set at different points within the emulsion and filter layers. The images have been chained to show a travelling through the 3-dimensional structure of the layers.
Credit: David Pfluger, conversion to video by Martin Weiss, ERC Advanced Grant FilmColors. Imaging was performed with support of the Center for Microscopy and Image Analysis, University of Zurich.
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Original Technical Papers and Primary Sources
Kb. (1934): Zum englischen Dufaycolor-Verfahren. In: Die Kinotechnik, 15, Aug., pp. 245–247. Download PDF
Carson, W.H. (1934): The English Dufaycolor Film Process. In: Journal of the Society of Motion Picture Engineers, 23,1, 1934, pp. 15-26. View Quote
Carson, Walter H. (1936): Dufaycolor by the Negative-Positive Method For 35 mm. Professional Use. In: International Photographer, 8,5, p. 12. View Link
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. 215–216. View Quote
Dufay-Chromex (1937): The Dufaycolor Book. London: Dufay-Chromex.
Dufaycolor Company, Inc. (1938): The Dufaycolor Manual. Of Interest to Advanced Amateurs, Professional Photographers and Printers. New York: Dufaycolor, Inc.
Secondary Sources
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on pp. 39–40 View Quote, on p. 45 View Quote, on p. 46 View Quote, on p. 102 View Quote, on p. 119 View Quote, on p. 127 View Quote, on p. 128 View Quote, on pp. 130–131 View Quote, on pp. 132–133 View Quote, on p. 155 View Quote, on p. 376 View Quote and on p. 381. (in German) 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. 269-271. View Quote
Cauda, Ernesto (1938): Il cinema a colori. Quaderno mensile. Roma: Bianco e nero, anno II, nr. 11, on pp. 60–61 View Quote, on p. 61 View Quote and on pp. 61–63. (in Italian). 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. 214–215 View Quote and on pp. 258–259. View Quote
Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions, pp. 124-126. View Quote
Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press, pp. 47-53. View Quote
Dr. N. (1937): Dufaycolor. In: Film-Kurier, No. 183, 20.8.1937, Serie “Farb-Film-Fibel”. (in German) View Quote
Evans, Ralph Merrill; Hanson, W.T., Jr.; Brewer, W. Lyle (1953): Principles of Color Photography.New York: Wiley, pp. 303-304. View Quote
Fleming, Anne (2002): A Colour Box (Len Lye Recovered). In Roger Smither (ed.): This Film is Dangerous. A Celebration of Nitrate Film. Brussels: FIAF, pp. 123-125. View Quote
Friedman, Joseph Solomon (1945): History of Color Photography. Boston: The American Photographic Publishing Company, pp. 166-172. View Quote
Heymer, Gerd (1943): Die neuere Entwicklung der Farbphotographie. In: Ergänzungswerk zum Handbuch der wissenschaftlichen und angewandten Photographie. Wien: Julius Springer 1943, pp. 337-463, on pp. 387-390 [in German]. View Quote
Huntley, John (1949): British Technicolor Films. Cornhill, London: Skelton Robinson, on p. 18 View Quote, on p. 199. View Quote and on pp. 202–204. View Quote
Kassel Siambani, Elena von (2009): Colour in the British Documentary Film Movement. From Colour Box (1935) to Western Approaches (1944). In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 219-224, on pp. 220-222. View Quote
Klein, Adrian Bernhard (Cornwell-Clyne) (1940): Colour Cinematography. Boston: American Photographic Pub. Co., pp. 163-165 View Quote, 165-171 View Quote and 189-191. View Quote
Limbacher (1969): Four Aspects of the Film. A History of the Development of Color, Sound, 3-D and Widescreen Films and Their Contribution to the Art of the Motion Picture. New York: Brussel & Brussel 1969, 386 pp. 44-45. View Quote
Luppi, Livio (1954): Dizionarietto tecnico del colore. In: Giuseppe Sala (ed.): Bianco e Nero. Il colore nel cinema. Rassegna mensile di studi cinematografici, XV,2-4, pp. 177–236, on pp. 196–197. (in Italian) 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 (2007): “Last of the Kodak”. Andrei Tarkovsky’s Struggle with Colour. In: Everett, Wendy (ed.): Questions of Colour in Cinema. From Paintbrush to Pixel. Oxford: Peter Lang, pp. 161–176, on p. 163. View Quote
Misek, Richard (2010): Chromatic Cinema. A History of Screen Color. John Wiley & Sons, on p. 51. View Quote
Pénichon, Sylvie (2013): Twentieth Century Colour Photographs. The Complete Guide to Processes, Identification & Preservation. London, Los Angeles: Thames & Hudson, on p. 47 View Quote and on p. 77. View Quote
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 86–87 View Quote and on pp. 106–108. (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. (in French) View Quote
Schmidt, Richard; Kochs, Adolf (1943): Farbfilmtechnik. Eine Einführung für Filmschaffende. Berlin: Hesse, pp. 54-72. (Schriftenreihe der Reichsfilmkammer, 10.) (in German) View Quote
Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer, pp. 33-36. (in German) View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 39–44 View Quote and on pp. 48–49. View Quote
Tompkins, E.S. (1944): In Defence of “Glorious” Colour. In: British Journal of Photography, 3 March, p. 74. View Quote
Measurements
Absorbances measured with a multispectral imaging system from film areas with pure dyes. Credit: Giorgio Trumpy, ERC Advanced Grant FilmColors.
See the specific sample from which the spectra were measured.
Absorbances measured with a multispectral imaging system from film areas with pure dyes. Credit: Giorgio Trumpy, ERC Advanced Grant FilmColors.
See the specific sample from which the spectra were measured.
Absorbances measured with a multispectral imaging system from film areas with pure dyes. Credit: Giorgio Trumpy, ERC Advanced Grant FilmColors.
See the specific sample from which the spectra were measured.
Dufaycolor, line screen, reversal, 1933–1936. Credit: Gert Koshofer Collection. Sample No. 23. Photograph by Barbara Flueckiger.
Absorbances measured with a multispectral imaging system from film areas with pure dyes. Credit: Giorgio Trumpy, ERC Advanced Grant FilmColors.
See the specific sample from which the spectra were measured.
Films
Private message by Yvonne Zimmermann, New York University:
Wir leben in einer neuen Zeit! (CH 1938, Hans Richter)
Die Geburt der Farbe (CH 1939, Hans Richter)
Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions, pp. 124-126:
Sons of the Sea (GBR 1939, Maurice Elvey, feature film)1
Limbacher (1969): Four Aspects of the Film. A History of the Development of Color, Sound, 3-D and Widescreen Films and Their Contribution to the Art of the Motion Picture. New York: Brussel & Brussel 1969, 386 pp. 44-45:
A color sequence in a film called The Radio Parade (CAN 1934, Norman McLaren)
Color Cocktail
Sails and Sailors
Other British films in Dufaycolor included
Trooping the Colour (GBR 1937)2
Royal Naval Review2
Old Soldiers Never Die (GBR 1931, Monty Banks)2
Souvenirs
Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press, p. 52:
King George V’s Silver Jubilee was photographed in Dufaycolor by Movietone News in 1935
The Coronation of Their Majesties King George VI and Queen Elizabeth aka Coronation 1937 (GB 1937)
Simon Brown (see link in the corresponding section on this page) lists the following films:
Beauties of Britain (Dir unknown, p.c. Merton Park c1939)
Behind the Dykes (Prod Julian Wintle, p.c. Julian Wintle Productions, 1938)
Calling Mr Smith (Dir Franciszka Themerson, p.c. Concanen Productions, GBR 1944)1
Cobham Hall – Kent (p.c. unknown. Camera test c1934)
A Colour Box (Dir Len Lye, p.c. GPO Film Unit, GBR 1935)1, 3, 6
The Co-Operette (Dir Montgomery Tully, p.c. Publicity Films, 1938)
Design For Spring (Dir Humphrey Jennings, p.c. Dufay-Chromex, GBR 1937)1, 4
Devon (Prod Nigel Byass, p.c. Fraternity Films, 1939)
England my England (p.c unknown. Unfinished project, 1939)
Facts and Fancies (p.c. Morris Motors Ltd Cine Department, Cowley, 1938)
The Farm (Dir Humphrey Jennings, p.c. Dufay-Chromex, GBR 1937)1, 4
Farewell Topsails (Dir Humphrey Jennings, p.c. Dufay-Chromex, GBR 1937)1, 2, 4, 5
Follow the Sun (Dir Ronnie Hhaaines, p.c. British Foundation Pictures Ltd, 1940)
Garden of the Sea (Dir Antony Gilkison, p.c. Rayant Wanderfilms, GBR 1939)1
H.P.O (Dir Lotte Reiniger, p.c. GPO Film Unit, GBR 1938)1
Isle of Dreams (Prod Nigel Byass, p.c. Fraternity Films, 1939)
The King’s Stamp (GBR 1935, William Coldstream) (sequences)1
Lakeland Heritage (p.c. Denning Films, GBR 1938)1
The Lancashire Way (Dir and p.c. unknown, advertising film for Lanry liquid soap, c1946)
Love on the Wing (Dir Norman Mclaren, p.c. GPO Film Unit, GBR 1938)1
Our Inheritance (Prods Moss Goodman and Victor Cochrane Hervey, p.c. Empire Film Productions, GBR 1945)1
Radio Parade of 1935 (Dir, Arthur Woods, p.c. British International Pictures, GBR 1935)2
St. Moritz (Dir Anthony Gilkison, p.c Rayant Wanderfilms, 1938)
Sam Goes Shopping (Dir Harold Purcell, p.c. Merton Park, 1938)
Southampton (Prod Nigel Byass, p.c. Fraternity Films, 1939)
According to Brown, Simon (2012): Technical Appendix: Dufaycolor. In: Street, Sarah: Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, p. 270:
Society (1931)
Glimpses of 1935 (1935)
Kaleidoscope (1935)
Coronation of King George VI (Pathé Gazette, 1937)
Design for Spring (GBR 1937, Humphrey Jennings, rereleased as Making Fashion in 1938)1, 4
English Harvest (GBR 1937, Humphrey Jennings, re-edited as The Farm)1, 4
Old Soldiers (1939)
According to Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on p. 381. (in German):
Garbancito de la Mancha (Arturo Moreno, José Mariá Blay, ESP 1945)
According to Huntley, John (1949): British Technicolor Films. Cornhill, London: Skelton Robinson, on pp. 202–204:
Abdel Wahab (1946)
Alice in Switzerland (GBR 1940, Alberto Cavalcanti)
Australia (GBR 1940)
Bankok (1939)
Bali (1939)
Berlei No. 1 (1939)
Berlei No. 2 (1939)
Beauties of Britain (1939)
Behind The Dykes (GBR 1939, Robin Carruthers)
Budapest (Czecho-Slovakia) (1939)
Calling Mr. Smith (GBR 1944, Franciska Themerson)
Camouflage (1940)
Cognac (1939)
Come Back to Erin (1939)
Collective Adventure (1940)
Colour Fantasy (1938)
Co-operette (GBR 1938, Montgomery Tully)
Corner of Devon (1940)
Devon (GBR 1939, Cyril James)
Dismissed (1939)
Ducks and Drakes (GBR 1939, Mary Field)
East of the Pennines (1939)
Egypt Eternal (1940)
End of the Day (1939)
Facts and Fancies (1939)
Farewell Topsails (GBR 1939, Humphrey Jennings)
Father of the Family (1939)
First Outpost (1939)
Flame Throwers (1942)
Follow the Sun (1940)
Garbancito de la Mancha (ESP 1946, Arturo Moreno)
Garden of the Sea (GBR 1939, Antony Gilkison)
Ghost Island (1939)
Happy Event (FRA/GBR 1939, Leon Hepner)
Hills of the Smiling Death (1939)
Holiday Swing (1939)
Homes of Britain (1938)
Housepainter (1939)
Isle of Dreams (1939)
Jutland Holiday (1939)
Magnetism (1942)
Malta (1941)
Men of the West (1939)
Merrie England (1939)
Money to Burn (1938)
Mother of Men (1939)
Old Blue (1939)
Old Soldiers (1939)
Our Inheritance (GBR 1945, Frank R. Phillips)
Over the Border (1939)
Palestine Within (1939)
Plane Sailing (1941)
Pyrenees (1940)
Romance of the Sands (1938)
Roumania (1939)
Royal Naval Review (1940)
Sails and Sailors (1939)
Sam Goes Shopping (GBR 1938, Harold Purcell)
Scanning Scandinavia (1938)
Second Sight (1938)
Seed to Salad (1939)
Skiways (1939)
Sons of the Sea (GBR 1939, Maurice Elvey)
Southampton (1939)
Souvenirs (1939)
Speedway (1938)
Spey Salmon (1942)
Springtime in the Holyland (1938)
St. Moritz (GBR 1938, Anthony Gilkison)
Strassbourg (1939)
Teleprinter (1940)
Timbuctoo (1938)
Trooping the Colour (1939)
Two Little Orphans (1939)
Water Baby (1939)
Yugoslavia (1939)
According to Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 86–87. (in Italian):
L’ebbrezza del cielo (ITA 1940, Giorgio Ferroni)5
1 Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 39–44. View Quote
2 Huntley, John (1949): British Technicolor Films. Cornhill, London: Skelton Robinson, on p. 18. View Quote
3 Herring, Robert (1935): Technicolossal. In: Life and Letters Today, 13, Sep., pp. 194–196, on pp. 195–196. View Quote
4 Watkins, Liz (2013): Interview. Kieron Webb. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 186–199, on pp. 187–198. View Quote
5 Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 86–87. (in Italian) View Quote
6 Horrocks, Roger (2001): Len Lye. A Biography. Auckland University Press., on pp. 137–140. View Quote
Downloads
Carson, W.H. (1934): The English Dufaycolor Film Process. In: Journal of the Society of Motion Picture Engineers, 23,1, 1934, pp. 15-26.
Download PDFDufaycolor Company, Inc. (1938): The Dufaycolor Manual. Of Interest to Advanced Amateurs, Professional Photographers and Printers. New York: Dufaycolor, Inc.
Download PDFKb. (1934): Zum englischen Dufaycolor-Verfahren. In: Die Kinotechnik, 15, Aug., pp. 245–247.
Download PDF
Patents
E.P. 217,557 (Dufay, Louis/Compagnie d’Exploitation des Procédés de Photographie en Couleurs Louis Dufay; filed April 16, 1924; granted Feb. 26, 1925)
Download PDFE.P. 262,386 (Dufay, Louis/Compagnie d’Exploitation des Procédés de Photographie en Couleurs Louis Dufay; filed July 28, 1926; granted April 21, 1927)
Download PDFE.P. 307,437 (Dufay, Louis; filed Sept. 7, 1927; granted March 7, 1929)
Download PDFE.P. 321,222 (Bonamico, Charles/Wade, Harold; filed Aug. 3, 1928; granted Nov. 4, 1929)
Download PDFE.P. 324,043 (Thorne Baker, Thomas; filed Aug. 8, 1928; granted Jan. 8, 1930)
Download PDFE.P. 335,899 (Thorne Baker, Thomas; filed July 1, 1929; granted Oct. 1, 1930)
Download PDFE.P. 337,040 (Thorne Baker, Thomas; filed July 25, 1929; granted Oct. 27, 1930)
Download PDFE.P. 406,663 (Dufaycolor Limited/Thorne Baker, Thomas; filed Aug. 29, 1932; granted Feb. 28, 1934)
Download PDFE.P. 414,157 (Dufaycolor Limited/Thorne Baker, Thomas; filed Feb. 13, 1933; granted Aug. 2, 1934)
Download PDFE.P. 417,860 (Harrison, Dr. Geoffrey Bond; filed April 6, 1933; granted Oct. 8, 1934)
Download PDFE.P. 420,824 (Dufaycolor Limited/Thorne Baker, Thomas; filed June 6, 1933; granted Dec. 6, 1934)
Download PDFE.P. 422,355 (Chapman, Walter/Dufaycolor Limited/Lamboit, Paul/Thorne Baker, Thomas; filed July 10, 1933; granted Jan. 10, 1935)
Download PDFE.P. 434,434 (Harrison, Dr. Geoffrey Bond; filed March 1, 1934; granted Sept. 2, 1935)
Download PDFE.P. 437,888 (Harrison, Dr. Geoffrey Bond/Threadgold, Stanley Dennis; filed May 2, 1934; granted Nov. 4, 1935)
Download PDFE.P. 444,773 (Dufaycolor Limited/Thorne Baker, Thomas; filed Feb. 2, 1935; granted March 27, 1936)
Download PDFE.P. 446,679 (Threadgold, Stanley Dennis; filed Nov. 3, 1934; granted May 4, 1936)
Download PDFE.P. 448,264 (Chapman, Walter/Dufaycolor Limited; filed Dec. 4, 1934; granted June 4, 1936)
Download PDFE.P. 451,234 (Dufaycolor Limited/Thorne Baker, Thomas/Wycherley, Sydney Renoden; filed Feb. 2, 1935; granted July 31, 1936)
Download PDFE.P. 470,855 (Spencer, Douglas Arthur; filed Jan. 23, 1936; granted Aug. 23, 1937)
Download PDFE.P. 471,586 (Harrison, Dr. Geoffrey Bond; filed Dec. 11, 1935; granted Sept. 8, 1937)
Download PDFU.S.P. 1,805,361 (Dufay, Louis; filed March 8, 1929; granted May 12, 1931)
Download PDF
Links
Brown, Simon (2002): Dufaycolor – the Spectacle of Reality and British National Cinema. View Link
See also Brown, Simon (2009): Colouring the nation: Spectacle, reality and British natural colour in the silent and early sound era. View Link
Dufaycolor films on the Website of British Pathé. View Link
Carson, Walter H. (1936): Dufaycolor by the Negative-Positive Method For 35 mm. Professional Use. In: International Photographer, 8,5, p. 12. View Link
Gawain Weaver’s Blog The Photographs I Find. View Link
Restoration
Fleming, Anne (2002): A Colour Box (Len Lye Recovered). In Roger Smither (ed.): This Film is Dangerous. A Celebration of Nitrate Film. Brussels: FIAF, 2002, pp. 123-125. View Quote
Watkins, Liz (2013): Interview. João S. De Oliveira, Hon. FBKS. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 171–185, on pp. 179–182. View Quote
Watkins, Liz (2013): Interview. Kieron Webb. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 186–199, on pp. 187–198. View Quote
Contemporary Reception
Fanstone, Robert M. (1935): Experiences with Dufaycolor Film. In: British Journal of Photography, 7 June 1935. (Repr. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, 2013, on pp. 208-209). View Quote
Selected Analyses
A Colour Box (GBR 1935, Len Lye):
Herring, Robert (1935): Technicolossal. In: Life and Letters Today, 13, Sep., pp. 194–196, on pp. 195–196. View Quote
Horrocks, Roger (2001): Len Lye. A Biography. Auckland University Press., on pp. 137–140. View Quote
Kassel Siambani, Elena von (2009): Colour in the British Documentary Film Movement. From Colour Box (1935) to Western Approaches (1944). In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 219–224, on p. 220. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 41. View Quote
Calling Mr Smith (GBR 1944, Franciszka Themerson):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 42. View Quote
Design for Spring (GBR 1937, Humphrey Jennings, rereleased as Making Fashion in 1938):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 42–44. View Quote
Kassel Siambani, Elena von (2009): Colour in the British Documentary Film Movement. From Colour Box (1935) to Western Approaches (1944). In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 219-224, on pp. 220-222. View Quote
English Harvest (GBR 1937, Humphrey Jennings, re-edited as The Farm):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 42. View Quote
Farewell Topsails (GBR 1937, Humphrey Jennings):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 42. View Quote
Kaleidoscope (GBR 1935, Len Lye):
Horrocks, Roger (2001): Len Lye. A Biography. Auckland University Press., on pp. 142–143. View Quote
The King’s Stamp (GBR 1935, William Coldstream):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 41. View Quote
Sons of the Sea (GBR 1939, Maurice Elvey):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 83–85. View Quote
