Cinecolor (subtractive 2 color)

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Original Technical Papers and Primary Sources

Crespinel, William T. (1933): As to Cinecolor. In: American Cinematographer, 14, pp. 355, 380-381. View Quote

Secondary Sources

Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on pp. 43–44. (in German) View Quote

Anonymous (1946): Cinecolor Now Rated as a Formidable Factor. In: International Projectionist, 21,9, p. 32. View Link

Anonymous (1947): Trucolor Only Acetate Releases ’til 1948. Splicing and Focusing Data. In: International Projectionist, 22,8, p. 12 and pp. 35–36. View Link

Belton, John (2000): CinecoIor. In: Film History, 12,4, Color Film (2000), pp. 344-357. 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. 211. View Quote

Crespinel, William T. (1936): A Few Moments With Cinecolor. In: International Photographer, 8,5, p. 25. View Link

Crespinel, William T. (1947): Bi-Pack Photography Now A Formidable Color Entry. In: International Projectionist, 22,1, p. 23 and p. 28. View Link

Finler, Joel (1992): De Becky Sharp à Lola Montès. Comment la couleur vint au cinéma, entre 1935 et 1955. In: Yann Tobin (1992): Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on p. 132. (in French) 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. 195-196. View Quote

Petersen, F. W. (1949): Kommt das universale Farbfilmkopiermaterial? In: Bild und Ton, 2,10, p. 310. (in German) View Quote

Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, pp. 102-106. View Quote


Gitt, Robert; Dayton, Richard (1984): Restoring Becky Sharp. In: American Cinematographer, 65,10, pp. 99–106, on pp. 100–104. View Quote

Contemporary Reception

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


The Goldwyn Follies (USA 1938, George Marshall):
Anonymous (1938): Film Reviews. The Goldwyn Follies. In: Variety, 129,8, Feb., p. 15. View Quote
Full text on the Media History Digital Library website. View Link

Anonymous (1938): Goldwyn Follies with Adolphe Menjou, Andrea Leeds and Kenny Baker. In: Harrison’s Reports, XX,7, Feb., p. 27. View Quote
Full text on the Media History Digital Library website. View Link

Anonymous (1938): Reviews of the New Films. The Goldwyn Follies. In: The Film Daily, 73,22, Jan., p. 5. View Quote
Full text on the Media History Digital Library website. View Link

Anonymous (1938): The Shadow Stage. A Review of the New Pictures. The Goldwyn Follies. In: Photoplay, LII,2, Feb., p. 55. View Quote
Full text on the Media History Digital Library website. View Link

Nugent, Frank S. (1938): The Screen. The Goldwyn Follies, a Typical Musical Revue, Is Shown at the Rivoli. In: The New York Times, 21 February 1938, p. 15. View Quote

Selected Analyses

The Goldwyn Follies (USA 1938, George Marshall):
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 109–110 View Quote and on pp. 124–133. View Quote