Cinecolor (subtractive 2 color)
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Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
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Credit: Harvard Film Archive, George Huizinga Collection, item no. 10454. Film: Prehistoric Women (1951).
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Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
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Reflection on Cinecolor print. Credit: Image courtesy of the 20th Century Fox Collection at the Academy Film Archive. Photograph by Barbara Flueckiger
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Reflection on Cinecolor 16 mm print. Credit: Library of Congress. Photograph by Barbara Flueckiger
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Original Technical Papers and Primary Sources
Anonymous (1946): Cinecolor Now Rated as a Formidable Factor. In: International Projectionist, 21,9, p. 32. View Link
Anonymous (1946): Profits Through Loss. In: Time, 48, Sep., pp. 88–90. 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
Crespinel, William T. (1934): As to Cinecolor. In: American Cinematographer, 14, p. 355 and pp. 380-381. View Link
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
McCormick, A. L. (1938): The “Color” Situation. In: Boxoffice, Oct., p. 32 and p. 34. View Link
Petersen, F. W. (1949): Kommt das universale Farbfilmkopiermaterial? In: Bild und Ton, 2,10, p. 310. (in German) 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
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
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
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, pp. 102-106. View Quote
Films
Cartoons:
Honeymoon Hotel (Warner Bros. ‘Merrie Melodie’, 1934)
Beauty and the Beast (Warner Bros. ‘Merrie Melodie’, 1934
Poor Cinderella (Dave Fleischer, 1934)
Feature films:
Gentleman from Arizona (Earl Haley, Monogram, 1939/1940)1,
The Moon and Sixpence ([color sequence] United Artists, 1942)
Series of shorts made at Fox:
India the Goddess (L. C. Thaw, 1942)
Gateway to Asia (L. C. Thaw, 1942)
Valley of Blossoms (L. C. Thaw, 1942)
Royal Araby (L. C. Thaw, 1942)
Turkey Opens the Door (1942)
Two-colour reissues of three-colour Technicolor films (1943):
Becky Sharp (1935)
Dancing Pirate (1936)
A Star is Born (1937)
Nothing Sacred (1937)
Feature Films:
Asi se Quiere en Jalisco (MX 1944)
China Poblana (MX 1944)
The Adventures of Pinocchio (MX 1944)
The Enchanted Forest (Producers Releasing Corp., 1945)
Song of Old Wyoming (Producers Releasing Corp., 1945)
Northwest Trail (Screen Guild, 1945)
Gallant Bess (MGM, 1946)
Caravan Trail (PRC, 1946)
Colorado Serenede (PRC, 1946)
Death Valley (Screen Guild, 1946)
God’s Country (Screen Guild, 1946)
The Michigan Kid (Universal, 1946)
Romance of the West (PRC, 1946)
Wild West (PRC, 1946)
Adventure Island (Paramount, 1947)
Curley (United Artists, 1947)
Scared to Death (Screen Guild, 1947)
Vigilantes Return (Universal, 1947)
Here Comes Trouble (Hal Roach, 1948)
Who Killed Doc Robbin (Hal Roach, 1948)
television series
Yosemite (Screen Guild)
Trail to Alaska (Monogram)
Twin Sombreros (Columbia)
Wild Fire (Screen Guild)
Invaders from Mars (1953)
Kansas Pacific (1953)
Sabre Jet (1953)
Pride of the Blue Grass (1953).1
1 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
Downloads
Patents
U.S.P. 2,016,666 (William T. Crespinel; filed Dec. 2, 1932; granted Oct. 8, 1935)
Download PDFU.S.P. 2,226,339 (William T. Crespinel; filed Jan. 3, 1938; granted Dec. 24, 1940)
Download PDFU.S.P. 2,281,075 (Allen L. McCormick, Chalmers C. Smith, William T. Crespinel; filed Sep. 3, 1938; granted Apr. 28, 1942)
Download PDF
Links
Anonymous (1946): Cinecolor Now Rated as a Formidable Factor. In: International Projectionist, 21,9, p. 32. View Link
Anonymous (1946): Profits Through Loss. In: Time, 48, Sep., pp. 88–90. 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
Crespinel, William T. (1934): As to Cinecolor. In: American Cinematographer, 14, p. 355 and pp. 380-381. View Link
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
McCormick, A. L. (1938): The “Color” Situation. In: Boxoffice, Oct., p. 32 and p. 34. View Link
Restoration
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
