Technicolor No. IV: Three-strip
Description
With the fourth Technicolor process the company dominated the market for color films from the mid-1930s to the 1950s.
In a special camera, three b/w negative films were exposed through a beam-splitter that consisted of two prisms to form a cube. One portion of the incoming light passed directly to a frame aperture fitted with a green transmitting filter to the negative for the green record. The other portion of the incident light was directed by the semi-transparent, gold or silver dusted mirror at an angle of 90° to a bi-pack film, placed behind a magenta filter. The front film was orthochromatic for the blue record and contained a red-orange dye to block the blue light, the second film was panchromatic and captured the red record.
Before the dye-transfer was executed, the blank-film was exposed with a weak key image in b/w of the green record was exposed to improve perceived image sharpness. The blank film also contained the b/w optical sound track.
For the dye-transfer the three b/w records were printed onto the corresponding matrices, one for each color. Similar to process no. III, these matrices were developed, bleached and washed to form reliefs which could absorb the dyes for the imbibition of the projection print. Since this is a subtractive process the dyes were complementary to the taking colors: magenta for the green record, yellow for the blue record and cyan for the red separation.
These dyes were then transferred onto the blank film containing the key image, one after the other. It is obvious that pin-registering, i.e. the fine adjustment of the three records on top of each other, was crucial to deliver a sharp image without any color fringing.
As a reaction to the problems with process no. III, Technicolor took great care in maintaining a high standard of quality control. A cornerstone in this strategy was the Color Advisory Service, directed by Natalie M. Kalmus. The color consultants advised the productions on how to develop a color score in accordance with the narrative structure of a film. Set and costume design, props, make-up, lighting including the camera work were all controlled by the Technicolor company. The dominant ideology of Technicolor advised a restrained use of colors with an emphasis on naturalness, strictly subordinate to the story development. Colors should subtly convey dramatic moods and impressions to the audience. Kalmus also suggested the use of conventional color associations, such as red for passion, anger, power etc.
Specially trained cameramen had to learn to handle the difficult process. This required many tests before the actual shooting. Special care had to be given to shadows and highlights. White image parts tended to produce obtrusive blotches of white, while blacks were reproduced with unwanted color hues.
The emulsion was very slow, meaning that it needed high levels of illumination, and it was adjusted to the color temperature of daylight. Both these requirements led to the dominant use of hi arc (carbon-arc) lamps. Tungsten light either had to be adjusted to daylight by filters or it produced a yellow light for candles etc.
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Credit: Image courtesy of the Academy Film Archive. Film: Gone with the Wind (USA 1939, Victor Fleming). Photograph by Barbara Flueckiger.
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Film: Samson and Delilah (US 1949, Cecil B. DeMille), trailer.
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Photomicrograph, 50x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
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Photomicrograph, 100x. Credit: Norbert Wey, Institute of Pathology, University of Zurich.
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Original Technical Papers and Primary Sources
Anonymous (1938): Technicolor Advises Theatres on Proper Handling of Prints. In: International Projectionist, 13,5, May, pp. 18–19. View Link
Anonymous (1940): Presentation Tips on Technicolor Prints. In: International Projectionist, 15,9, Sep., p. 17. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1956): Current Techniques of 35mm Color Film Photography and Printing. In: American Cinematographer, 37,1, January 1956, pp. 26-27 and p. 58, on p. 27 View Quote and on p. 27 and p. 58. View Quote
Anonymous (1956): Technicolor Improves Color Printing Process. In: International Projectionist, 31,5, May, p. 14. View Quote
Full text on the Media History Digital Library website. View Link
Ball, J. Arthur (1935): The Technicolor Process of Three-color Cinematography. In: Journal of the Society of Motion Picture Engineers, 25,2, 1935, pp. 127-138. Download PDF
Ball, J. Arthur (1946): Quality in Color Reproduction. In: Hollywood Quarterly, 2,1, pp. 45–49, on pp. 47–48. View Quote
Factor, Max (1937): The Standardization of Motion Picture Make-up. In: Journal of the Society of Motion Picture Engineers. 28,1, pp. 52–62. View Quote
Haller, Ernest (1939): Faster Color Film Cuts Light a Half. In: American Cinematographer, Aug., pp. 355–356. View Quote
Handley, C. W. (1935): Lighting for Technicolor Motion Pictures. In: Journal of the Society of Motion Picture Engineers, 25,5, Nov., pp. 423–431, on pp. 423–431. View Quote
Hoch, Winton (1942): Technicolor Cinematography. In: Journal of the Society of Motion Picture Engineers 39, Aug. 1942, pp. 96-108. Download PDF
Hoch, Winton (1944): Technicolor Cinematography. In: The Technique of Motion Picture Production. A Symposium of Papers Presented at the 51st Semi-annual Convention of the Society of Motion Picture Engineers, Hollywood, Cal. New York: Interscience Publ. 1944, pp. 24-36.” View Quote
Hoch, Winton (1946): The Technicolor Cameraman. In: International Projectionist, 21,10, pp. 20–22 and p. 34. View Link
Holden, Lansing C. (1937): Color! The New Language of the Screen. In: Cinema Arts, 1,2, July, p. 64. View Quote
Holden, Lansing C. (1937): Designing for Color. In: Nancy Naumburg (ed.): We Make the Movies. New York: Norton, pp. 239-252. View Quote
Howe, James Wong (1937): Reaction on Making His First Color Production. In: American Cinematographer, 18, October 1937, pp. 408–409 and pp. 411–412, on p. 408 View Quote, on p. 409 View Quote, on pp. 411–412 View Quote and on p. 412. View Quote
Jackson, Rose (1947): Technicolor Proecess Today. In: International Projectionist, 22,2, p. 24. View Link
Kalmus, Herbert T. (1938): Technicolor Adventures in Cinemaland. In: Journal of the Society of Motion Picture Engineers, 31,6, 1938, pp. 564-585, on pp. 577-584. View Quote
Kalmus, Natalie M. (1935): Color Consciousness. In: Journal of the Society of Motion Picture Engineers, 25,2, 1935, pp. 139-147. View Quote
Kalmus, Natalie M. (1938): Colour. In: Stephen Watts (ed.): Behind the Screen. How Films are Made. New York, London: Dodge, Arthur Barker, pp. 116–127. View Quote
Leigh, Allen (1951): New Technicolor Lighting System Tested by Top-Flight Cinematographers. In: International Projectionist, 26,1, Jan., pp. 20–21. View Link
Mamoulian, Rouben (1935): Some Problems in Directing Color Pictures. In: Journal of the Society of Motion Picture Engineers, 25,2, pp. 148–153. Download PDF
Smith, Nancy (1936): The New Max Factor Technicolor Make-Up. In: International Photographer, 8,5, Jun., p. 10. View Link
Secondary Sources
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on pp. 19–20 View Quote, on p. 27 View Quote, on pp. 30–31 View Quote, on pp. 34–35 View Quote, on p. 43 View Quote, on pp. 44–46 View Quote, on pp. 98–99 View Quote, on p. 102 View Quote, on p. 103 View Quote, on p. 104 View Quote, on p. 111 View Quote, on pp. 127–128 View Quote, on pp. 129–130 View Quote, on pp. 131–132 View Quote, on p. 145 View Quote, on p. 176 View Quote, on pp. 352–353 View Quote, on p. 354 View Quote, on p. 367 View Quote, on pp. 372–373 View Quote, on p. 375 View Quote and on p. 386. (in German) View Quote
Andrew, Dudley (2006): The Post-War Struggle for Colour. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, 2006, pp. 40-50, on p. 44. View Quote
Anonymous (1934): What? Color in the Movies Again. In: Fortune 10, Oct. 1934, pp. 92-97, pp. 161-162, p. 164, p. 166, p. 168 and p. 171. Download PDF
Anonymous (1948): Eastman, Technicolor Sued by Keller-Dorian. $300 Million. In: International Projectionist, XXIII,12, Dec., p. 35. View Link
Anonymous (1960): Dr. Herbert T. Kalmus Father of Color Film, Retires From Technicolor. In: International Projectionist, 35,1, Jan., p. 19. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1980): Colour Problem. In: Sight and Sound, 50, pp. 12–13, on p. 12 View Quote and on p. 13. View Quote
Basten, Fred E. (2005): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 50–52 View Quote, on pp. 66–67 View Quote, on pp. 73–99 View Quote, on pp. 130–131 View Quote and on pp. 149–166. View Quote
Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on pp. 343–348 View Quote and on pp. 348–351. View Quote
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Biberman, Edward (1946): … In Glorious Technicolor In: Hollywood Quarterly, 2,1 (Oct., 1946), pp. 50-56. View Quote
Bordwell, David; Staiger, Janet; Thompson, Kristin (1985): The Classical Hollywood Cinema. Film Style and Mode of Production to 1960. London: Routledge, on p. 353 View Quote, on pp. 353-357 View Quote and on p. 357. View Quote
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on pp. 110–112 View Quote, on p. 113 View Quote, on pp. 116–118 View Quote and on pp. 118–119. (in French) 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. 284-286 (all Technicolor processes). View Quote
Brune, Wolfgang (1953): Die Technik des Farbfilms vervollkommnen. In: Bild und Ton, 6,5, pp. 132–134. (in German) View Quote
Buscombe, Edward (1978): Sound and Color. In: Jump Cut, 17, pp. 23–25. View Quote
Cauda, Ernesto (1938): Il cinema a colori. Quaderno mensile. Roma: Bianco e nero, anno II, nr. 11, on pp. 50–53 View Quote, on pp. 94–95 View Quote and on pp. 95–96. (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. 221–223 View Quote and on pp. 227–228. View Quote
Cooper, Alf; Lawson, Alan; Littlejohn, Frank (2013): Interview. Bernard Happé. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 131–138, on pp. 133–135. View Quote
Cornwell-Clyne, Adrian (1951): Colour Cinematography. London: Chapman & Hall, 3rd. ed., on pp. 451-478. View Quote
Costa de Beauregard, Raphaëlle (2009): Technicolor and Jack Cardiff’s Art and Craft in Powell and Pressburger’s A Matter of Life and Death (1946). In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 225–236, on p. 225 View Quote, on pp. 229–230 View Quote, on pp. 230–231 View Quote and on p. 233. View Quote
Cubitt, Sean (2014): The Practice of Light. A Genealogy of Technologies from Prints to Pixels. Cambridge, Massachusetts, London: MIT Press, on pp. 132–136 View Quote and on p. 143. View Quote
Degenhardt, Inge (1996): On the Absence and Presence of Colour in Film. In: Monica Dall’Asta, Guglielmo Pescatore and Leonardo Quaresima (eds.): Il colore nel cinema muto. Bologna: Clueb, pp. 88–102, on pp. 95–96. View Quote
Déribéré, Maurice (1954): Les problèmes du cinéma en couleurs français. In: Technique Cinématographique, 25,145, pp. 185–189. (in French) View Quote
Eggert, John; Heymer, Gerd (1937): Der Stand der Farbenphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, pp. 7–28, on pp. 20–22 View Quote, on pp. 24–25 View Quote and on pp. 26–28. (in German) 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. 20–22. 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 pp. 129–134. (in French) View Quote
Florstedt, J. (1973): Recent Developments in International Colour Cinematography. In: The British Journal of Photography, pp. 340–348, on p. 347. View Quote
Giuliani, Luca (2002): I colori di Jour de fete di Jacques Tati. Fra anticipazioni stilistiche e ritardi tecnologici. In: Giorgio Placereani and Fabiano Rosso (eds.): Il gesto sonoro. Il cinema di Jacques Tati. Milano: Il Castoro, pp. 1–8, on pp. 3–4 and on p. 8. (in Italian) View Quote
Greene, W. Howard (1938): Low Key Lighting May be as Easy in Color as it is in Monochrome. In: American Cinematographer, April 1938, p. 151. View Quote
Grob, Norbert (1991): Farbe im Auge, Ausdruck im Kopf. Hein Heckroths Farbdramaturgien für Powell & Pressburger. In: Katharina Spielhaupter (ed.): Hein Heckroth. Frankfurt/M.: Filmmuseum, pp. 57–78, on p. 57 View Quote and on p. 62. (in German) View Quote
Haines, Richard W. (1993): Technicolor Movies. The History of Dye Transfer Printing. Jefferson, North Carolina: McFarland. View Quote
Happé, L.B.K. (1959): The Technicolor Process. In: British Cinematography 35, 1959, pp. 4-9. View Quote
Happé, L.B.K. (1960): New Developments in Technicolor Release Printing. In: British Cinematography 37, 1960, pp. 112-116.
Handley, C.W. (1937): Advanced technique of lighting on Technicolor. In: American Cinematographer, June 1937, p. 236. View Quote
Herring, Robert (1935): Technicolossal. In: Life and Letters Today, 13, Sep., pp. 194–196, on pp. 194–195. View Quote
Higgins, Scott (1999): Technology and Aesthetics. Technicolor Cinematography and Design in the Late 1930s. In: Film History, 11,1, pp. 55-76. View Quote
Higgins, Scott (2000): Demonstrating Three-Colour Technicolor. “Early Three-Colour Aesthetics and Design”. In: Film History, 12,4, Color Film (2000), pp. 358–383. View Quote
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 1–2 View Quote, on pp. 3–4 View Quote, on pp. 5–6 View Quote, on pp. 7–13 View Quote, on pp. 15–16 View Quote, on pp. 18–19 View Quote, on pp. 22–27 View Quote, on pp. 27–31 View Quote, on pp. 39–49 View Quote, on pp. 73–75 View Quote, on pp. 76–89 View Quote, on pp. 89–109 View Quote, on pp. 111–112 View Quote, on pp. 115–119 View Quote, on pp. 172–173 View Quote, on pp. 176–179 View Quote, on pp. 208–213 View Quote, on pp. 213–223 View Quote and on pp. 225–240. View Quote
Higgins, Scott (2013): Chromo-Drama. Innovation and Convention in Douglas Sirk’s Color Designs. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 170–178. View Quote
Huntley, John (1949): British Technicolor Films. Cornhill, London: Skelton Robinson, on pp. 19–20 View Quote, on pp. 56–61 View Quote, on pp. 106–107 View Quote, on pp. 199–201 View Quote, on pp. 211–212 View Quote and on pp. 216–217. View Quote
Jacobs, Lewis (1970): The Mobility of Color. In: Lewis Jacobs (ed.): The Movies as Medium. New York: Farrar, Straus and Giroux, pp. 189–196, on pp. 189–192. View Quote
Kalmus, Herbert T. (1993): Mr. Technicolor. Absecon, N.J.: Magic Image Filmbooks.
Kalmus, Herbert T. (1958): The Adventure of Technicolor. In: Journal of the Society of Motion Picture Engineers, 67,12, pp. 829–830. View Quote
Keating, Patrick (2010): Hollywood Lighting from the Silent Era to Film Noir. Columbia University Press: New York, on pp. 201–205 View Quote, on pp. 205–207 View Quote and on pp. 208–221. View Quote
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Koshofer, Gert (1965): Jubiläum für einen Farbfilm. 30 Jahre Kodachrome. In: FM, 9, pp. 40–42, on p. 42. (in German) View Quote
Koshofer (1993): Seit 75 Jahren Technicolor-Filme. In: Film & TV Kameramann 42,1, 1993, pp. 24-34. (in German)
Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on p. 61 View Quote, on pp. 251–252 View Quote, on pp. 252–253 View Quote and on p. 268. View Quote
Legrand, Gérard (1992): ‘Dans le même film’. Proposition pour l’étude du passage noir et blanc / couleur (ou l’inverse). In: Yann Tobin (ed.): Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on pp. 140–142. (in French) View Quote
Mamoulian, Rouben (1960): Color and Light in Films. The Esthetics of Colour. In: Film Culture, 21, pp. 68–79. 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. 13. View Quote
Merritt, Russell (2008): Crying in Color. How Hollywood Coped When Technicolor Died. In: Journal of the National Film and Sound Archive, Australia, 3,2/3, pp. 1–16, on pp. 1–6 View Quote, on p. 6 View Quote, on p. 7. View Quote and on pp. 8–13. 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 pp. 162–163. View Quote
Mitchell, Robert A. (1959): Color in Motion Pictures and TV. 1. In: American Cinematographer, 40, 9, Sep., pp. 616-617, pp. 625-626, on pp. 616–617. 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. 32–33 View Quote and on p. 38. (in Italian) View Quote
Neale, Steve (1985): The Beginnings of Technicolor. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, 2006, pp. 13-23, on pp. 15-21 View Quote and on p. 22. View Quote
Neame, Ronald (1944): A Talk on Technicolor. In: Cine-Technician, May/June 1944. pp. 36–40. Repr. in: Simon Brown, Sarah Street and Liz Watkins (eds.) (2013): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 105–108. View Quote
Neupert, Richard (1990): Technicolor and Hollywood. Exercising Color Restraint. In: Post Script 10,1, pp. 21–29. 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., on pp. 243-260. View Quote
Petrie, Duncan (2013a): Interview. Douglas Slocombe. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 90–93, on pp. 91–93. View Quote
Petrie, Duncan (2013b): Interview. Erwin Hillier. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 88–89, on p. 89. View Quote
Petrie, Duncan (2013c): Interview. Guy Green. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 83–87, on pp. 85–86. View Quote
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on p. 137, View Quote on pp. 137–139 View Quote, on pp. 140–141 View Quote, on pp. 141–143 View Quote, on pp. 146–147 View Quote, on pp. 147–148 View Quote, on pp. 148–150 View Quote, on p. 150 View Quote, on pp. 150–151 View Quote, on pp. 151–153 View Quote, on p. 153 View Quote, on p. 155 View Quote, on pp. 155–156 View Quote, on p. 156 View Quote, on pp. 159–160 View Quote, on pp. 200–201 View Quote and on pp. 207–208. (in Italian) View Quote
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 32–35 View Quote, on pp. 85–86 View Quote, on p. 139 View Quote on pp. 144–145. (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 pp. 21–22. (in French) View Quote
Ray, Reid H. (1949): Use of 35mm Ansco Color Film for 16mm Color Release Prints. In: Journal of the Society of Motion Picture Engineers, 53,8, 1949, pp. 143–148, on p. 144. View Quote
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, on pp. 79-81. 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
Slide, Anthony (1985): The Return of Becky Sharp. In: Films in Review, 36, Mar., pp. 148–153. 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 pp. 186–187. View Quote
Street, Sarah (2009): ‘Colour consciousness’. Natalie Kalmus and Technicolor in Britain. In: Screen 50,2, pp. 191-215. Link to download.
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 38 View Quote, on pp. 44–45 View Quote, on p. 45 View Quote and on pp. 48–50. View Quote
Street, Sarah; Watkins, Liz (2013): Interview. Christopher Challis. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 10–30. View Quote
Tompkins, E.S. (1944): In Defence of “Glorious” Colour. In: British Journal of Photography, 3 March, p. 74. View Quote
Valentine, Joe (1948): Lighting for Technicolor as Compared with Black and White Photography. In: International Photographer 20,1, Jan. 1948, pp. 7-10. View Quote
Viviani, Christian (1992): Le rose carminé de la fleur de cactus. Sur la couleur dans le western. In: Yann Tobin (1992): Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on pp. 150–151. (in French) View Quote
Measurements
Absorbances measured with a multispectral imaging system from film areas with pure dyes. Credit: Giorgio Trumpy, ERC Advanced Grant FilmColors.
Dyes’ absorbances extracted with a statistical method from multispectral image capture. Credit: Giorgio Trumpy, ERC Advanced Grant FilmColors.
Dyes’ absorbances extracted with a statistical method from multispectral image capture. Credit: Giorgio Trumpy, ERC Advanced Grant FilmColors.
Films
For a complete list of films see Haines, Richard W. (1993): Technicolor Movies. The History of Dye Transfer Printing. Jefferson, North Carolina: McFarland. Many early Technicolor productions are mentioned in the quotes below.
Downloads
Kalmus, Herbert T. (1938): Technicolor Adventures in Cinemaland. In: Journal of the Society of Motion Picture Engineers, 31,6, 1938, pp. 564-585.
Download PDFKalmus, Natalie M. (1935): Color consciousness. In: Journal of the Society of Motion Picture Engineers, 25,2, 1935, pp. 139-147.
Download PDFNeupert, Richard (1990): “Technicolor and Hollywood: Exercising Color Restraint.” In: Post Script 10 (1), pp. 21-29.</a> by kind permission of Richard Neupert.
Download PDFHoch, Winton (1942): Technicolor cinematography. In: Journal of the Society of Motion Picture Engineers 39, Aug. 1942, pp. 96-108.
Download PDFBall, J. Arthur (1935): The Technicolor process of three-color cinematography. In: Journal of the Society of Motion Picture Engineers, 25,2, 1935, pp. 127-138.
Download PDFAnonymous (1930): Color and Sound on Film. In: Fortune, 2, Oct. 1930, pp. 33–35, p. 124, pp. 127–128 and p. 130.
Download PDFMamoulian, Rouben (1935): Some Problems in Directing Color Pictures. In: Journal of the Society of Motion Picture Engineers, 25,2, pp. 148–153.
Download PDFBrinckmann, Christine N. (2015): Blood and Sand. Die Farben der Malerei. In: Connie Betz et al. (Hg.): Glorious Technicolor. Berlin: Bertz + Fischer, S. 89–101. (in German)
Download PDF
Patents
E.P. 345,986 (Technicolor Motion Picture Corporation; filed Nov. 28, 1929; granted Mar. 30, 1931)
Download PDFE.P. 350,112 (Technicolor Motion Picture Corporation; filed Apr. 1, 1930; granted June 11, 1931)
Download PDFE.P. 350,320 (Technicolor Motion Picture Corporation; filed Aug. 9, 1930; granted June 11, 1931)
Download PDFE.P. 350,856 (Technicolor Motion Picture Corporation; filed Sep. 30, 1930; granted June 18, 1931)
Download PDFE.P. 351,106 (Technicolor Motion Picture Corporation; filed Aug. 14, 1930; granted June 25, 1931)
Download PDFE.P. 360,274 (Technicolor Motion Picture Corporation; filed Jan. 16, 1931; granted Nov. 5, 1931)
Download PDFE.P. 370,908 (Technicolor Motion Picture Corporation; filed Jan. 12, 1931; granted Apr. 12, 1932)
Download PDFE.P. 373,429 (Technicolor Motion Picture Corporation; filed June 4, 1931; granted May 26, 1932)
Download PDFE.P. 374,849 (Technicolor Motion Picture Corporation; filed Mar. 9, 1931; granted June 9, 1932)
Download PDFE.P. 377,033 (Technicolor Motion Picture Corporation; filed Oct. 20, 1931; granted July 21, 1932)
Download PDFE.P. 382,320 (Technicolor Motion Picture Corporation; filed July 27, 1931; granted Oct. 27, 1932)
Download PDFE.P. 392,785 (Technicolor Motion Picture Corporation; filed Aug. 18, 1932; granted May 25, 1933)
Download PDFE.P. 398,339 (Technicolor Motion Picture Corporation; filed Aug. 18, 1932; granted Sep. 14, 1933)
Download PDFE.P. 475,808 (Technicolor Motion Picture Corporation; filed May 25, 1936; granted Nov. 25, 1937)
Download PDFE.P. 484,411 (Brookes, Neville Edward; filed Nov. 4, 1936; granted May 4, 1938)
Download PDFE.P. 492,673 (Technicolor Motion Picture Corporation; filed Mar. 24, 1937; granted Sep. 26, 1938)
Download PDFU.S.P. 1,821,680 (Troland, Leonard Thompson; filed June 15, 1929; granted Sep. 1, 1931)
Download PDFU.S.P. 1,900,140 (Tuttle, Bertha Sugden; filed Mar. 9, 1929; granted Mar. 7, 1933)
Download PDFU.S.P. 1,919,673 (Eaton, Roland D./Troland, Leonard Thompson; filed Sep. 4, 1931; granted July 25, 1933)
Download PDFE.P. 263,331 (Technicolor Motion Picture Corporation; filed Feb. 8, 1926; granted Dec. 30, 1926)
Download PDFE.P. 263,650 (Technicolor Motion Picture Corporation; filed Feb. 8, 1926; granted Jan. 6, 1927)
Download PDFE.P. 270,279 (Technicolor Motion Picture Corporation; filed Apr. 19, 1927; granted July 19, 1928)
Download PDFE.P. 270,280 (Technicolor Motion Picture Corporation; filed Apr. 19, 1927; granted July 19, 1928)
Download PDFE.P. 288,146 (Technicolor Motion Picture Corporation; filed Mar. 26, 1928; granted June 26, 1929)
Download PDFE.P. 300,818 (Technicolor Motion Picture Corporation; filed Dec. 21, 1927; granted Nov. 22, 1928)
Download PDFE.P. 307,659 (Technicolor Motion Picture Corporation; filed May 14, 1928; granted Mar. 14, 1929)
Download PDFE.P. 319,924 (Technicolor Motion Picture Corporation; filed Sep. 24, 1928; granted Oct. 8, 1929)
Download PDFE.P. 322,173 (Technicolor Motion Picture Corporation; filed Aug. 28, 1928; granted Nov. 25, 1929)
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Links
Anonymous (1934): What? Color in the movies again. In: Fortune 10, Oct. 1934, pp. 92-97, pp. 161-162, p. 164, p. 166, p. 168 and p. 171. View Link
Anonymous (1935): Becky Sharp And a Leading Lady. In: The New York Times, Apr., p. 4. View Link
Anonymous (1935): Color on the Screen. In: The New York Times, Jun., p. 14. View Link
Anonymous (1935): N. Y. Press Comment on Becky Sharp. First All-Color Feature Film. In: International Projectionist, 8,6, Jun., p. 16. View Link
Anonymous (1936): Color Motion Pictures. In: International Projectionist, 11,1, Jul., p. 19. View Link
Anonymous (1938): Technicolor Advises Theatres on Proper Handling of Prints. In: International Projectionist, 13,5, May, pp. 18–19. View Link
Anonymous (1940): Presentation Tips on Technicolor Prints. In: International Projectionist, 15,9, Sep., p. 17. View Link
Anonymous (1948): Eastman, Technicolor Sued by Keller-Dorian. $300 Million. In: International Projectionist, XXIII,12, Dec., p. 35. View Link
Anonymous (1956): Technicolor Improves Color Printing Process. In: International Projectionist, 31,5, May, p. 14. View Link
Anonymous (1960): Dr. Herbert T. Kalmus Father of Color Film, Retires From Technicolor. In: International Projectionist, 35,1, Jan., p. 19. View Link
Higgins, Scott (2000): Demonstrating Three-colour Technicolor. Early three-colour aesthetics and design. In: Film History, Vol. 12, No. 4, (2000), pp. 358-383. View Link
Higgins, Scott (1999): Technology and Aesthetics. Technicolor Cinematography and Design in the Late 1930s. In: Film History, Vol. 11, No. 1, pp. 55-76. View Link
Hoch, Winton (1946): The Technicolor Cameraman. In: International Projectionist, 21,10, pp. 20–22 and p. 34. View Link
Jackson, Rose (1947): Technicolor Proecess Today. In: International Projectionist, 22,2, p. 24. View Link
Leigh, Allen (1951): New Technicolor Lighting System Tested by Top-Flight Cinematographers. In: International Projectionist, 26,1, Jan., pp. 20–21. View Link
Sennwald, Andre (1935): The Screen. The Radio City Music Hall Presents Becky Sharp, the First Full-Length Three-Color Photoplay. In: The New York Times, June 14, 1935. View Link
Smith, Nancy (1936): The New Max Factor Technicolor Make-Up. In: International Photographer, 8,5, Jun., p. 10. View Link
Street, Sarah (2009): ‘Colour consciousness’. Natalie Kalmus and Technicolor in Britain. In: Screen 50(2), pp. 191-215. View Link
Restoration
Aubert, Michelle (1992): Pour une déontologie de la restauration des films en couleur. In: Michel Ciment (ed.): Ciné mémoire. Colloque international d’information (7-9 octobre 1991). Paris: Femis, pp. 25–28, on pp. 26–27. (in French) View Quote
Basten, Fred E. (2005): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on p. 166. View Quote
Borde, Raymond (1988): Die Filmarchive und der Farbfilm. Eine Einführung. In: Gert Koshofer: Color. Die Farben des Films. Berlin: Wissenschaftsverl. Volker Spiess, pp. 7–10, on p. 9. (in German) View Quote
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 9–13 View Quote and on pp. 58–60. View Quote
O’Connell, Bill (1979): Fade Out. In: Film Comment, 15,5, pp. 11-18, on p. 12 View Quote, on p. 13 View Quote, on pp. 14-15 View Quote, on p. 15 View Quote and on p. 17. View Quote
Spehr, Paul C. (1979): Fading, Fading, Faded. The Colour Film in Crisis. In: American Film, Nov., pp. 56–61, on pp. 56–59. View Quote
Watkins, Liz (2013): Interview. Paolo Cherchi Usai. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 208–218, on pp. 215–218. View Quote
Watkins, Liz (2013): Interview. Sonia Genaitay. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 200–207, on p. 201 and on pp. 205–207. View Quote
Becky Sharp (USA 1935, Rouben Mamoulian):
Afra, Kia (2015): Becky Sharp, Technicolor, and the Historiography of Film Style. In: Quarterly Review of Film and Video, 32,2, pp. 99–123, on pp. 102–103. View Quote
Gitt, Robert; Dayton, Richard (1984): Restoring Becky Sharp. In: American Cinematographer, 65,10, pp. 99–106. View Quote
Slide, Anthony (1985): The Return of Becky Sharp. In: Films in Review, 36, Mar., pp. 148–153. View Quote
The Wizard of Oz (USA 1939, Vicotr Fleming):
Fisher, Bob (1998): The Restoration of Oz. In: American Cinematographer, 79,12, Dec., pp. 107–110. View Quote
Contemporary Reception
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on pp. 103–104 View Quote, on pp. 128–129 View Quote, on p. 136 View Quote, on p. 141 View Quote, on p. 153 View Quote, on p. 180 View Quote and on p. 353. (in German) View Quote
Anonymous (1935): Color’s Future Depends on Costs. In: Variety. Jul., p. 5. View Quote
Ashton, George (1954): Colour at the Cinema. In: The British Journal of Photography, 101, 25 June 1954, pp. 324–325, on p. 324 View Quote, on pp. 324–325 View Quote and on p. 325. View Quote
Betancourt, Gilbert (1937): Present Color Trend is Toward Subdued Hues. In: American Cinematographer, Aug., p. 317 and p. 352. View Quote
Brown, Simon; Street, Sarah; Watkins, Liz (eds.) (2013): Interview. Frank Littlejohn. In: British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 139–146, on pp. 141–145. View Quote
Cardiff, Jack (1996): Magic Hour. London, Boston: Faber and Faber, on pp. 46–48 View Quote, on p. 50 View Quote, on pp. 51–53 View Quote, on pp. 54–55 View Quote, on pp. 56-58 View Quote, on pp. 59–60 View Quote, on pp. 62-64 View Quote and on pp. 67–71. View Quote
Cauda, Ernesto (1935): Il sistema Technicolor. In: Cinematografia italiana, 1,1, p. 7. (in Italian) View Quote
Cauda, Ernesto (1938): Il cinema a colori. Quaderno mensile. Roma: Bianco e nero, anno II, nr. 11, on p. 103. (in Italian) View Quote
Dougherty, Kathryn (1935): Photoplay Close-Ups and Long-Shots. In: Photoplay, 48,3, pp. 21–22. View Quote
Elliott, Eric (1934): Wither colour? In: Cinema Quarterly, 2,3, Spring, pp. 161–165. View Quote
Higgins, Scott (1999): Technology and Aesthetics. Technicolor Cinematography and Design in the Late 1930s. In: Film History, 11,1, pp. 55–76, on pp 56–57. View Quote
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 211–212. View Quote
Hughes, Pennethorne (1933): The Colour of It. In: Cinema Quarterly, 2,1, Autumn, pp. 16–18. View Quote
Jones, Robert Edmond (1938): The Problem of Color. In: The New York Times, Feb. View Quote
Lye, Len (1940): The Man Who Was Colourblind. In: Sight and Sound, 9,33, Spring 1940, pp. 6–7. View Quote
Mastin, Mildred (1935): Will Your Favorite Star Survive Color?. In: Photoplay, 47,2, pp. 26–27 and pp. 104–105. View Quote
Meder, Thomas (1999): Die Volksgemeinschaft in Farbe. In: Weltwunder der Kinematographie, 5, 1999, pp. 107–116, on p. 108. (in German) View Quote
Reid, James (1937): We Cover The Studios. In: Photoplay, 51,2, pp. 58–59. View Quote
Reid, James (1937): We Cover the Studios. In: Photoplay, 51,10, pp. 52–53 and p. 70. View Quote
Street, Sarah; Yumibe, Joshua (2019): Chromatic Modernity. Color, Cinema, and Media of the 1920s. New York: Columbia University Press, on pp. 11–13. View Quote
Theisen, Earl (1936): Notes on the History of Color in Motion Pictures. In: International Photographer, 8,5, June, pp. 8–9 and p. 24. View Quote
A Matter of Life and Death (GBR 1946, Michael Powell, Emeric Pressburger):
Crowther, Bosley (1946): The Screen in Review. Stairway to Heaven, a British Production at Park Avenue, Proves a Holiday Delight. In: The New York Times, Dec, p. 28. View Quote
Full text on The New York Times website. View Link
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 113. View Quote
A Star Is Born (USA 1937, William A. Wellman):
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on p. 147. (in German) View Quote
Anonymous (1937): The Shadow Stage. A Review of the New Pictures. A Star Is Born. In: Photoplay, LI,7, Jul., p. 60. View Quote
Bailey, Kent (1937): A Star Is Born Again. In: Photoplay, LI,7, Jul., p. 96. View Quote
Kapetansky, Seymour (1937): Boos and Bouquets. In: Photoplay, LI,7, Jul., p. 4 and p. 90, on p. 90. View Quote
Nugent, Frank S. (1937): Caught in the Showers. The April Cinema Gets a Wetting-Down And Even Harlow and Taylor Shrink. In: The New York Times, Apr., p. 3. View Quote
Olimsky, Fritz (1937): Farbfilme in Venedig. Deutschland-Film ein grosser Fortschritt. In: Neue Leipziger Zeitung, Aug., n.p. (in German) View Quote
(This text was published in Neue Leipziger Zeitung, an official newspaper of the NSDAP, which supported nazi politics and ideology.)
Waterbury, Ruth (1937): Close Ups and Long Shots. In: Photoplay, LI,7, Jul., pp. 9–10, on p. 9. View Quote
An American in Paris (USA 1951, Vincente Minnelli):
Anonymous (1951): An American In Paris with Gene Kelly, Leslie Caron and Oscar Levant. In: Harrison’s Reports, 33,35, Sep., p. 138. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1951): Film Reviews. An American in Paris. In: Variety, 183,12, Aug., p. 6. View Quote
Full text on the Media History Digital Library website. View Link
Crowther, Bosley (1951): The Screen. Four New Movies Open. An American in Paris, Arrival at Music Hall, Has Gene Kelly and Leslie Caron in Leads. In: The New York Times, Oct., p. 24. View Quote
Full text on The New York Times website. View Link
Hamilton, Sara (1951): An American in Paris . In: Photoplay, Nov., p. 24. View Quote
Hanna (1951): An American in Paris Another M-G-M Top Musical. In: Film Bulletin, Sep., p. 10. View Quote
S.K. (1951): An American In Paris. In: Motion Picture Daily , 70,41, Aug., p. 1 and p. 4, on p. 4. View Quote
Babes in the Woods (USA 1932, Burt Gillett):
Anonymous (1932): Talking Shorts. Babes in the Woods. In: Variety, 108,11, Nov., p. 16. View Quote
Becky Sharp (USA 1935, Rouben Mamoulian):
Alt, Dirk (2011): “Der Farbfilm marschiert!” Frühe Farbfilmverfahren und NS-Propaganda 1933-1945. München: Belleville, on p. 105. (in German) View Quote
Anonymous (1934): Becky Sharp. In: Variety, Dec. View Quote
Anonymous (1935): Color on the Screen. In: The New York Times, Jun., p. 14. View Quote
Full text on the The New York Times website. View Link
Anonymous (1935): Becky Sharp And a Leading Lady. In: The New York Times, Apr., p. 4. View Quote
Full text on the The New York Times website. View Link
Anonymous (1935): The Shadow Stage. A Review of the New Pictures. Becky Sharp. In: Photoplay, 48,4, p. 66. View Quote
Anonymous (1935): N. Y. Press Comment on Becky Sharp. First All-Color Feature Film. In: International Projectionist, 8,6, Jun., p. 16. View Link
Anonymous (1936): Color Motion Pictures At The Crossroads. In: International Projectionist, 10,1, pp. 21–22. View Quote
Anonymous (1936): Color Motion Pictures. In: International Projectionist, 11,1, Jul., p. 19. View Link
Dougherty, Kathryn (1935): Close-Ups and Long-Shots. In: Photoplay, XLVIII,3, Aug., pp. 21–22, on p. 21. View Quote
Grant, Jack (1935): Will Becky Sharp Revolutionize Hollywood? In: Photoplay, 48,3, pp. 24–25 and pp. 100–101. View Quote
Hale, Karl (1935): Learn About Shooting Color from Becky Sharp. In: American Cinematographer, Jul., p. 312. View Quote
Higgins, Scott (2000): Demonstrating Three-Colour Technicolor. Early Three-Colour Aesthetics and Design. In: Film History, 12,4, Color Film, 2000, pp. 358-383, on pp. 378–379. View Quote
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 71–72. View Quote
Kuhn, Irene (1937): Rainbow ‘Round the Screen’. In: Cinema Arts, 1,1, Jun., pp. 28–32, on pp. 28–29. View Quote
Sennwald, Andre (1935): The Screen. The Radio City Music Hall Presents Becky Sharp, the First Full-Length Three-Color Photoplay. In: The New York Times, Jun., p. 27. View Quote
Full text on the The New York Times website. View Link
Sennwald, Andre (1935): The Future of Color. After Becky Sharp It Will Play an Increasingly Large Part in Films. In: The New York Times, Jun., p. 3. View Quote
Full text on the The New York Times website. View Link
Tobey, Robert (1935): Cinemacaroni. Becky Sharp. In: International Photographer, 7,7, Aug., p. 32. View Quote
Waterbury, Ruth (1936): Close Ups and Long Shots. In: Photoplay, 49,4, pp. 11–12. View Quote
Black Narcissus (GBR 1947, Michael Powell; Emeric Pressburger):
Anonymous (1947): Black Narcissus with Deborah Kerr. In: Harrison’s Reports, XXIX,28, Jul., p. 111. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1947): Black Narcissus, British Study of Missionary Nuns, Starring Deborah Kerr, Bill at Fulton. Based on Novel by Godden. In: The New York Times, 14 August 1947, p. 29. View Quote
Full text on The New York Times website. View Link
Anonymous (1947): Reviews. Black Narcissus. In: The Film Daily, 92,12, Jul., p. 7. View Quote
Full text on the Media History Digital Library website. View Link
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 131–132. View Quote
Burnup, Peter (1947): Reviews. Black Narcissus. In: Motion Picture Daily, 61,92, May, p. 8. View Quote
Full text on the Media History Digital Library website. View Link
Blanche Fury (GBR 1948, Marc Allégret):
Anonymous (1948): A Romantic Drama Imported From Britain. In: The New York Times, Nov., p. 20. View Quote
Full text on The New York Times website. View Link
Anonymous (1948): Blanche Fury. In: The Exhibitor, 40,19, Sep., p. 2470. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1948): Blanche Fury Sombre British Costume Melodrama. In: Film Bulletin, 16,18, Aug., p. 14. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1948): Reviews of New Films. Blanche Fury. In: The Film Daily, 42, Aug., p. 7. View Quote
Full text on the Media History Digital Library website. View Link
Blithe Spirit (GBR 1945, David Lean):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 95. View Quote
Blood and Sand (USA 1941, Rouben Mamoulian):
Anonymous (1941): Photography of the Month. Blood and Sand. In: American Cinematographer, 22,6, Jun., p. 272. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1941): Reviews of the New Films. Blood and Sand. In: The Film Daily, 79,100, May, p. 5. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1941): The Shadow Stage. A Review of the New Pictures. Blood and Sand. In: Photoplay, 19,3, Aug., p. 102. View Quote
Leyendecker, Frank (1941): Blood and Sand Vivid Technicolor Spectacle. In: Film Bulletin, 8,12, Jun., p. 4. View Quote
Full text on the Media History Digital Library website. View Link
Broken Arrow (USA 1950, Delmer Daves):
Anonymous (1950): Broken Arrow Thrills, Romance, Beauty, in Technicolor Western. In: Film Bulletin, 18,14, Jul., p. 8. View Quote
Full text on the Media History Digital Library website. View Link
Gevinson, Alan (1997): Within Our Gates. Ethnicity in American Feature Films, 1911–1960. University of California Press, on p. 130. View Quote
Flowers and Trees (USA 1932, Burt Gillett):
Anonymous (1932): Talking Shorts. Flowers and Trees. In: Variety, 107,13, Sep., p. 15. View Quote
Theisen, Earl (1933): The History of Cartoons. In: International Photographer, 5,2, Mar., pp. 2–5, on p. 4. View Quote
Gentlemen Prefer Blondes (USA 1953, Howard Hawks):
Anonymous (1953): Gentlemen Prefer Blondes. In: Film Bulletin, Jul., p. 7. View Quote
Full text on the Media History Digital Library website. View Link
Mulvey, Laura (2001): Unmasking The Gaze. Some Thoughts on New Feminist Theory and History. In: Lectora, 7, pp. 5–14, on pp. 11–12. View Quote
Gone with the Wind (USA 1939, Victor Fleming):
Anonymous (1939): Gone With the Wind One of Industry’s Sensations. In: Boxoffice, 36,4, Dec., p. 16. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1940): The Shadow Stage. A Review of the New Pictures. Gone With the Wind. In: Photoplay, LIV,2, Feb., p. 62. View Quote
Flinn Sr., John C. (1939): Gone With the Wind. In: Variety, Dec., n. p. View Quote
Full text on the Variety website. View Link
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on p. 172. View Quote
Nugent, Frank S. (1939): The Screen in Review. David Selznick’s Gone With the Wind Has Its Long-Awaited Premiere at Astor and Capitol, Recalling Civil War and Plantation Days of South. Seen as Treating Book With Great Fidelity. In: The New York Times, Dec., p. 31. View Quote
Full text on The New York Times website. View Link
Weaver, William R. (1939): Showmen’s Reviews. Gone with the Wind. In: Motion Picture Herald, 137,11, Dec., p. 24. View Quote
Full text on the Media History Digital Library website. View Link
Henry V (GBR 1944, Laurence Olivier):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 105. View Quote
La Cucaracha (USA 1934, Lloyd Corrigan):
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 50–52. View Quote
Hall, Mordaunt (1934): The Screen. Ann Harding, Brian Aherne and Paul Lukas in a Film of Charles Morgan’s Novel The Fountain. In: The New York Times, Aug., p. 14. View Quote
Full text on The New York Times website. View Link
Mastin, Mildred (1935): Will Your Favorite Star Survive Color? In: Photoplay, XLVII,2, Jan., pp. 26–27 and pp. 104–105, on p. 27 and on p. 104. View Quote
Tobey, Robert (1935): Cinemacaroni. La Cucaracha. In: International Photographer, 7,1, Feb., p. 26. View Quote
Lassie Come Home (USA 1943, Fred M. Wilcox):
Anonymous (1943): Actual Reviews. Lassie Come Home. In: The Exhibitor, 30,18, Sep., p. 2. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1943): Lassie Come Home with Roddy McDowall and Donald Crisp. In: Harrison’s Reports, XXV,34, Aug., p. 134. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1943): The Box Office Slant. Lassie Come Home. In: Showmen’s Trade Review, 39,5, Aug., p. 26. View Quote
Full text on the Media History Digital Library website. View Link
Stengel, Fred (1943): Review. Lassie Come Home. In: Motion Picture Daily, 54,34, Aug., p. 8. View Quote
Full text on the Media History Digital Library website. View Link
Million Dollar Mermaid (USA 1952, Mervyn LeRoy):
Anonymous (1952): Million Dollar Mermaid Esther Williams B. O. Winner. In: Film Bulletin, 17. Nov., p. 5. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1952): Million Dollar Mermaid with Esther Williams, Victor Mature and Walter Pidgeon. In: Harrison’s Reports, XXXIV,45, Nov., p. 178. View Quote
Full text on the Media History Digital Library website. View Link
Pashkin, Walter (1952): Review. Million Dollar Mermaid. In: Motion Picture Daily, 72,86, Oct., p. 4. View Quote
Full text on the Media History Digital Library website. View Link
Moulin Rouge (GBR 1952, John Huston):
Anonymous (1951): Moulin Rouge. In: Variety, Dec., n.p. View Quote
Anonymous (1952): Moulin Rouge with Jose Ferrer. In: Harrison’s Reports, XXXIV,52, Dec., p. 206. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1953): Brief Reviews. In: Photoplay, 43,4, Apr., p. 112. View Quote
Crowther, Bosley (1953): Moulin Rouge Is Directed by John Huston and Stars Jose Ferrer at the Capitol. In: The New York Times, Feb., p. 33. View Quote
Full text on The New York Times website. View Link
Graves, Janet (1953): Let’s go to the movies. Moulin Rouge. In: Photoplay, 43,3, Mar., p. 20. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 201–202. View Quote
Rope (USA 1948, Alfred Hitchcock):
Anonymous (1948): Feature Reviews. Rope. In: Boxoffice, 53,17, Aug., p. 15. View Quote
Full text on the Media History Digital Library website. View Link
Crowther, Bosley (1948): The Screen in Review. Rope, an Exercise in Suspense Directed by Alfred Hitchcock, Is New Bill at the Globe. In: The New York Times, Aug., p. 12. View Quote
Full text on The New York Times website. View Link
Snow White and the Seven Dwarfs (USA 1937, David Hand):
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on p. 88. View Quote
Anonymous (1938): The Shadow Stage. A Review of the New Pictures. Snow White and the Seven Dwarfs. In: Photoplay, LII,4, Apr., p. 55. View Quote
Full text on the Media History Digital Library website. View Link
Evans, Delight (1938): Reviews of the Best Pictures by Delight Evans. Snow White and the Seven Dwarfs. In: Screenland, XXXVI,5, Mar., p. 52. View Quote
Full text on the Media History Digital Library website. View Link
Nugent, Frank S. (1938): The Screen in Review. The Music Hall Presents Walt Disney’s Delightful Fantasy, Snow White and the Seven Dwarfs. Other New Films at Capitol and Criterion. In: The New York Times, Jan., p. 21. View Quote
The Adventures of Robin Hood (USA 1938, Michael Curtiz; William Keighley):
Anonymous (1938): The Adventures of Robin Hood with Enrol Flynn, Olivia DeHavilland, Basil Rathbone and Claude Rains. In: Harrison’s Reports, XX,19, May, p. 74. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1938): Film Reviews. Robin Hood. In: Variety, 130,7, Apr., p. 22. View Quote
Full text on the Media History Digital Library website. View Link
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on p. 145 View Quote and on pp. 170–171. View Quote
Weaver, William R. (1938): Showmen’s Reviews. Adventures of Robin Hood. In: Motion Picture Herald, 131,5, Apr., p. 44. View Quote
Full text on the Media History Digital Library website. View Link
The Black Swan (USA 1942, Henry King):
Anonymous (1942): The Black Swan. In: Motion Picture Reviews, XVII,9, Nov., pp. 3–4. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1942): The Black Swan with Tyrone Power, George Sanders, Laird Cregar and Maureen O’Hara. In: Harrison’s Reports, XXIV,43, Oct., p. 171. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1942): Film Reviews. The Black Swan. In: Variety, 148,7, Oct., p. 8. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1942): Reviews of the New Films. The Black Swan. In: The Film Daily, 82,76, Oct., p. 7. View Quote
Full text on the Media History Digital Library website. View Link
The Four Feathers (GBR 1939, Zoltan Korda):
Anonymous (1939): Four Feathers. In: Harrison’s Reports, XXI,27, Jul., p. 107. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1939): Four Feathers. In: Motion Picture Reviews, XIII,8, Aug., p. 5. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1939): The Shadow Stage. A Review of the New Pictures. Four Feathers. In: Photoplay, LIII,9, Sep., p. 63. View Quote
Full text on the Media History Digital Library website. View Link
Crowther, Bosley (1939): Alexander Korda Brings a Remake of Four Feathers in Technicolor to the Capitol. In: The New York Times, Aug., p. 11. View Quote
Full text on The New York Times website. View Link
Leyendecker, Frank (1939): Four Feathers Brilliant Technicolor Spectacle. In: Film Bulletin, 5,15, Jul., p. 8. View Quote
Full text on the Media History Digital Library website. View Link
The Garden of Allah (USA 1936, Richard Boleslawski):
Aller, Herbert (1936): The Garden of Allah in the Magic Vestures of Technicolor. In: The International Photographer, 8,11, Dec., p. 26. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1936): Film Reviews. Garden of Allah. In: Variety, 124,11, Nov., p. 14. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1936): The Garden of Allah with Marlene Dietrich and Charles Boyer. In: Harrison’s Reports, XVIII,48, Nov., p. 191. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1937): The Shadow Stage. Garden of Allah. In: Photoplay, LI,1, Jan., p. 107. View Quote
Full text on the Media History Digital Library website. View Link
Evans, Delight (1937): Reviews of the Best Pictures by Delight Evans. The Garden of Allah. In: Screenland, XXXIV,3, Jan., p. 52. View Quote
Full text on the Media History Digital Library website. View Link
J.T.M (1936): The Music Hall’s Garden of Allah Is Technicolor Triumphant, Tarzan Escapes at the Capitol, Two Films Open Here Today. In: The New York Times, Nov., p. 27. View Quote
Full text on The New York Times website. View Link
Kuhn, Irene (1937): Rainbow ‘Round the Screen’. In: Cinema Arts, 1,1, Jun., pp. 28–32, on pp. 28–29. View Quote
Lusk, Norbert (1937): Thumbnail Reviews. The Garden of Allah. In: Picture Play Magazine, XLV,6, Feb., pp. 58–59, on p. 58. View Quote
Full text on the Media History Digital Library website. View Link
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
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 92—94. View Quote
Nugent, Frank S. (1938): The Screen. The Goldwyn Follies, a Typical Musical Revue, Is Shown at the Rivoli. In: The New York Times, Feb., p. 15. View Quote
The Great Mr. Handel (GBR 1942, Norman Walker):
Anonymous (1942): Film Reviews. The Great Mr. Handel. In: Variety, 148,6, Oct., p. 8. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1943): Reviews of the New Films. The Great Mr. Handel. In: The Film Daily, 84,58, Sep., p. 8. View Quote
Full text on the Media History Digital Library website. View Link
The Life and Death of Colonel Blimp (GBR 1943, Michael Powell, Emeric Pressburger):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 86–87. View Quote
The Private Lives of Elizabeth and Essex (USA 1939, Michael Curtiz):
Anonymous (1939): Film Reviews. Elizabeth and Essex. In: Variety, 136,4, Oct., p. 12. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1939): Reviews of the New Films. The Private Lives of Elizabeth and Essex. In: The Film Daily, 76,62, Sep., p. 6. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1939): The Private Lives of Elizabeth and Essex. In: Motion Picture Reviews, XIII,10, Oct., pp. 6–7. View Quote
Full text on the Media History Digital Library website. View Link
Finestone, Alfred (1939): Private Lives of Elizabeth and Essex. In: Motion Picture Daily, 46,62, Sep., p. 1 and p. 8. View Quote
Full text on the Media History Digital Library website. View Link
Nugent, Frank S. (1939): The Screen in Review. Errol Flynn Catches a Tudor in Strand’s Film of Private Lives of Elizabeth and Essex. In: The New York Times, Dec., p. 21. View Quote
Full text on The New York Times website. View Link
The Red Shoes (GBR 1948, Michael Powell; Emeric Pressburger):
Anonymous (1949): Brief Reviews. The Red Shoes. In: Photoplay, 34,5, Apr., p. 6. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1948): Film Reviews. The Red Shoes. In: Variety, 171,9, Aug., p. 11. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1948): The Red Shoes with Anton Walbrook, Marius Goring and Moira Shearer. In: Harrison’s Reports, XXX,43, Oct., p. 170. View Quote
Full text on the Media History Digital Library website. View Link
Crowther, Bosley (1948): The Red Shoes, a British Film About the Ballet, Stars Moira Shearer at Bijou. In: The New York Times, Oct., p. 9. View Quote
Full text on The New York Times website. View Link
Crowther, Bosley (1948): The Red Shoes. Film About Ballet and Dancers a Delight. In: The New York Times, Oct., p. 1. View Quote
The Tales of Hoffmann (GBR 1951, Michael Powell, Emeric Pressburger):
Brown, Simon; Street, Sarah; Watkins, Liz (eds.) (2013): Interview. Dave Davis. In: British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 125–130. View Quote
Crowther, Bosley (1951): Opera on Film. An Opulent Tales of Hoffmann Does Not Fit Well on the Screen. In: The New York Times, Apr., p. X. View Quote
Crowther, Bosley (1951): The Screen. Tales of Hoffmann Arrives. In: The New York Times, Apr., p. 34. View Quote
Full text on The New York Times website. View Link
The Thief of Bagdad (GBR 1940, Ludwig Berger, Michael Powell, Tim Whelan):
Anonymous (1940): Film Reviews. The Thief of Bagdad. In: Variety, 140,6, Oct., p. 16. View Quote
Anonymous (1940): Reviews of the New Films. The Thief of Bagdad. In: The Film Daily, 78,75, Oct., p. 7. View Quote
Anonymous (1940): The Thief of Bagdad. In: Motion Picture Reviews, XV,11, Nov., pp. 10–11.View Quote
Anonymous (1940): Thief of Bagdad with Conrad Veidt, Sabu, June Duprez and John Justin. In: Harrison’s Reports, XXII,43, Oct., p. 170. View Quote
Anonymous (1941): The Shadow Stage. Reviewing Movies of the Month. The Thief of Bagdad. In: Photoplay, 18,2, Jan., p. 11. View Quote
Crowther, Bosley (1940): The Thief of Bagdad, a Delightful Fairy Tale, at the Music Hall. In: The New York Times, Dec., p. 28. View Quote
Full text on The New York Times website. View Link
Huntley, John (1949): British Technicolor Films. Cornhill, London: Skelton Robinson, on pp. 44–47. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 67. View Quote
Waterbury, Ruth (1941): Close Ups and Long Shots. In: Photoplay, 18,2, Jan., p. 4 and p. 74, on p. 74. View Quote
The Trail of the Lonesome Pine (USA 1936, Henry Hathaway):
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 92—94. View Quote
Kuhn, Irene (1937): Rainbow ‘Round the Screen’. In: Cinema Arts, 1,1, Jun., pp. 28–32, on pp. 28–29. View Quote
Waterbury, Ruth (1936): Close Ups and Long Shots. In: Photoplay, 49,4, pp. 11-12. View Quote
The Wizard of Oz (USA 1939, Victor Fleming):
Anonymous (1939): Oz. In: Variety, 135,8, Aug., p. 19. View Quote
Anonymous (1939): Film Reviews. The Wizard of Oz. In: Variety, 135,10, Aug., p. 14. View Quote
Anonymous (1939): Marvels of Make-Up. In: Silver Screen, 9,10, Aug., p. 50 and p. 69, on p. 69. View Quote
Nugent, Frank S. (1939): The Screen in Review. The Wizard of Oz, Produced by the Wizards of Hollywood, Works Its Magic on the Capitol’s Screen. In: The New York Times, Aug., p. 16. View Quote
Full text on The New York Times website. View Link
Willson, Dixie (1939): The Wizardry of Oz. In: Photoplay, LIII,8, Aug., pp. 21–22 and p. 88, on p. 88. View Quote
This Happy Breed (GBR 1944, David Lean):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 94. View Quote
This Is the Army (USA 1943, Michael Curtiz):
Anonymous (1943): Reviews of New Films. This Is the Army. In: The Film Daily, 84,20, Jul., p. 8. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1943): This Is the Army. In: Harrison’s Reports, XXV,32, Aug., p. 127. View Quote
Full text on the Media History Digital Library website. View Link
Kann, Red (1943): This Is the Army. In: Motion Picture Daily, 54,20, Jul., p. 1 and p. 3. View Quote
Full text on the Media History Digital Library website. View Link
Three Little Pigs (USA 1933, Burt Gillett):
Greason, Al (1933): All Markets Crack. Stocks Resist Close to Bottom of July Slump. W. B. Hard Hit. Loew’s Breaks to 28. In: Variety, 112,6, Oct., p. 6 and p. 36, on p. 36. View Quote
Hall, Mordaunt (1933): “Another Language” in Film Form. In: The New York Times, Aug., p. 124. View Quote
Schwab, Mack W. (1934): Cinematic Colour. In: Cinema Quarterly, 2,4, Summer 1934, pp. 237–238. View Quote
Victoria the Great (GBR 1937, Herbert Wilcox):
Olimsky, Fritz (1937): Farbfilme in Venedig. Deutschland-Film ein grosser Fortschritt. In: Neue Leipziger Zeitung, Aug., n.p. (in German) View Quote
(This text was published in Neue Leipziger Zeitung, an official newspaper of the NSDAP, which supported nazi politics and ideology.)
Western Approaches (GBR 1944, Pat Jackson):
Anonymous (1945): Film Reviews. Western Approaches. In: Variety, 157,4, Jan., p. 49. View Quote
Full text on the Media History Digital Library website. View Link
Cleveland, David; Pritchard, Brian (2015): In: How Films were Made and Shown. Some Aspects of the Technical Side of Motion Picture Film 1895–2015, Manningtree, Essex: David Cleveland, on pp. 226–227. View Quote
Crowther, Bosley (1946): The Screen. The Raider, a British-Made Picture Dealing With Merchantmen at War, Opens at Rialto. In: The New York Times, Sep., p. 13. View Quote
Full text on The New York Times website. View Link
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 103–104. View Quote
Wings of the Morning (GBR 1937, Harold D. Schuster):
Anonymous (1937): Motion Picture Daily’s Hollywood Preview. Wings of the Morning. In: Motion Picture Daily, 41,6, Jan., p. 7. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1937): Reviews of the New Films. Wings of the Morning. In: The Film Daily, 71,27, Feb., p. 7. View Quote
Full text on the Media History Digital Library website. View Link
Anonymous (1937): The Shadow Stage. A Review of the New Pictures. Wings of the Morning. In: Photoplay, LI,4, Apr., p. 102. View Quote
Anonymous (1937): Wings of the Morning with Annabella and Henry Fonda. In: Harrison’s Reports, XIX,6, Feb., p. 23. View Quote
Full text on the Media History Digital Library website. View Link
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 60. View Quote
Selected Analyses
A Matter of Life and Death (GBR 1946, Michael Powell, Emeric Pressburger):
Costa de Beauregard, Raphaëlle (2009): Technicolor and Jack Cardiff’s Art and Craft in Powell and Pressburger’s Matter of Life and Death (1946). In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 225–236, on pp. 226–236. View Quote
Ellis, John (1978): Watching Death at Work. An Analysis of A Matter of Life and Death. In: Ian Christie (ed.): Powell, Pressburger and Others. London: BFI, pp. 79–104, on pp. 79–80 View Quote and on pp. 94–96. View Quote
Grob, Norbert (1991): Farbe im Auge, Ausdruck im Kopf. Hein Heckroths Farbdramaturgien für Powell & Pressburger. In: Katharina Spielhaupter (ed.): Hein Heckroth. Frankfurt/M.: Filmmuseum, pp. 57–78, on pp. 58–60. (in German) View Quote
Misek, Richard (2010): Chromatic Cinema. A History of Screen Color. Chichester: John Wiley & Sons, on pp. 33–34. View Quote
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 156–157. (in Italian) View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 112–118. View Quote
A Star is Born (USA 1937, William A. Wellman):
Higgins, Scott (1999): Technology and Aesthetics. Technicolor Cinematography and Design in the Late 1930s. In: Film History, 11,1, pp. 55–76, on pp. 67-76. View Quote
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 91–92 View Quote, on pp. 109–113 View Quote, on. pp. 115–124 View Quote and on pp. 197–198. View Quote
Holden, Lansing C. (1937): Color! The New Language of the Screen. In: Cinema Arts, 1,2, Jul., p. 64. View Quote
An American in Paris (USA 1951, Vincente Minnelli):
Ames, Preston (1951): The Ballet (An American in Paris). In: Production Design, 1,11, pp. 6–9, on pp. 6–8. View Quote
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 36–37. View Quote
Babes in the Woods (USA 1932, Disney):
Telotte, J.P. (2004): Minor Hazards. Disney and the Color Adventure. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, pp. 30–39, on pp. 34–35. View Quote
Becky Sharp (USA 1935, Rouben Mamoulian):
Afra, Kia (2015): Becky Sharp, Technicolor, and the Historiography of Film Style. In: Quarterly Review of Film and Video, 32,2, pp. 99–123, on pp. 99–101 View Quote, on pp. 104–108 View Quote, on p. 114 View Quote and on pp. 116–117. View Quote
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 54–58. View Quote
Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on p. 346. View Quote
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 112 View Quote, on p. 113 View Quote and on p. 116. (in French) View Quote
Grob, Norbert (1991): Farbe im Auge, Ausdruck im Kopf. Hein Heckroths Farbdramaturgien für Powell & Pressburger. In: Katharina Spielhaupter (ed.): Hein Heckroth. Frankfurt/M.: Filmmuseum, pp. 57–78, on pp. 62–64. (in German) View Quote
Herring, Robert (1935): Technicolossal. In: Life and Letters Today, 13, Sep., pp. 194–196, on pp. 194–195. View Quote
Higgins, Scott (2000): Demonstrating Three-Colour Technicolor: “Early Three-Colour Aesthetics and Design”. In: Film History, Vol. 12, No. 4, Color Film (2000), pp. 358–383, on p. 376. View Quote
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 49–71.View Quote
Jacobs, Lewis (1970): The Mobility of Color. In: Lewis Jacobs (ed.): The Movies as Medium. New York: Farrar, Straus and Giroux, pp. 189–196, on p. 192. View Quote
Keating, Patrick (2010): Hollywood Lighting from the Silent Era to Film Noir. Columbia University Press: New York, on p. 217. View Quote
Mamoulian, Rouben (1935): Some Problems in Directing Color Pictures. In: Journal of the Society of Motion Picture Engineers, 25,2, pp. 148–153. Download PDF
Mamoulian, Rouben (1960): Color and Light in Films. The Esthetics of Colour. In: Film Culture, 21, pp. 68–79, on pp. 74–75. 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. 33–35. (in Italian) View Quote
Slide, Anthony (1985): The Return of Becky Sharp. In: Films in Review, 36, Mar., pp. 148–153, on pp. 150–151. View Quote
Black Narcissus (GBR 1947, Michael Powell, Emeric Pressburger):
Brost, Laure (2007): On Seeing Red. The Figurative Movement of Film Colour. In: Wendy Everett (ed.): Questions of Colour in Cinema. From Paintbrush to Pixel. Peter Lang: Oxford, pp. 127–139, on pp. 127–128 View Quote and on pp. 131-135. View Quote
Grob, Norbert (1991): Farbe im Auge, Ausdruck im Kopf. Hein Heckroths Farbdramaturgien für Powell & Pressburger. In: Katharina Spielhaupter (ed.): Hein Heckroth. Frankfurt/M.: Filmmuseum, pp. 57–78, on pp. 58–60. (in German) View Quote
Mamoulian, Rouben (1960): Color and Light in Films. The Esthetics of Colour. In: Film Culture, 21, pp. 68–79, on p. 76. View Quote
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 157–158. (in Italian) View Quote
Street, Sarah (2009): ‘Colour Consciousness’. Natalie Kalmus and Technicolor in Britain. In: Screen, 50,2, p. 191‒215, on pp. 209–212. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 179–183. View Quote
Blanche Fury (GBR 1948, Marc Allégret):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 148–151. View Quote
Blithe Spirit (GBR 1945, David Lean):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 96–100. View Quote
Blood and Sand (USA 1941, Rouben Mamoulian):
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 127–129. View Quote
Brinckmann, Christine N. (2015): Blood and Sand. Die Farben der Malerei. In: Connie Betz et al. (Hg.): Glorious Technicolor. Berlin: Bertz + Fischer, pp. 89–101. (in German) Download PDF
Caesar and Cleopatra (GBR 1945, Gabriel Pascal):
Grob, Norbert (1991): Farbe im Auge, Ausdruck im Kopf. Hein Heckroths Farbdramaturgien für Powell & Pressburger. In: Katharina Spielhaupter (ed.): Hein Heckroth. Frankfurt/M.: Filmmuseum, pp. 57–78, on pp. 57–60. (in German) View Quote
Cover Girl (USA 1944, Charles Vidor):
Keating, Patrick (2010): Hollywood Lighting from the Silent Era to Film Noir. Columbia University Press: New York, on p. 211. View Quote
Dallas (USA 1951, Stuart Heisler):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 118. (in French) View Quote
Dreams That Money Can Buy (USA 1944-46, Hans Richter):
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. 49–50. (in Italian) View Quote
Drums Along the Mohawk (USA 1939, John Ford):
Heckman, Heather (2013): The Cameraman and the Glamour-Puss. Technicolor Cinematography and Design in John Ford’s Drums Along the Mohawk. In: Brown, Simon; Street, Sarah; Watkins, Liz (2013): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 160–169. View Quote
Easter Parade (USA 1948, Charles Walters):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 114. (in French) View Quote
Flowers and Trees (USA 1932, Disney):
Telotte, J.P. (2004): Minor Hazards. Disney and the Color Adventure. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, pp. 30–39, on pp. 33–34. View Quote
For Whom the Bell Tolls (USA 1943, Sam Wood):
Keating, Patrick (2010): Hollywood Lighting from the Silent Era to Film Noir. Columbia University Press: New York, on p. 216. View Quote
Forever Amber (USA 1947, Otto Preminger; John M. Stahl):
Lightman, Herb (1947): Painting with Technicolor Light. In: American Cinematographer, 28,6, pp. 200–201. View Quote
Gentlemen Prefer Blondes (USA 1953, Howard Hawks):
Mulvey, Laura (2001): Unmasking The Gaze. Some Thoughts on New Feminist Theory and History. In: Lectora, 7, pp. 5–14, on pp. 7–8. View Quote
Rowe, Kathleen (1995): Dumb Blondes. In: The Unruly Woman. Gender and the Genres of Laughter. Austin: University of Texas Press, pp. 169–190, on pp. 178–180. View Quote
Turim, Maureen (1990): Gentlemen Consume Blondes. In: Patricia Erens (ed.): Issues in Feminist Film Criticism. Bloomington, Indianapolis: Indiana University Press, pp. 101–111, on pp. 101-104. View Quote
Giulietta e Romeo/Romeo and Juliet (ITA 1954, Renato Castellani):
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 197–200. (in Italian) View Quote
Gone With the Wind (USA 1939, Victor Fleming):
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 9–10 View Quote and on pp. 174–207. View Quote
Lippert, Renate (1996): Rotlicht. Die Farbe Rot in Vom Winde Verweht und Marnie. In: Frauen und Film, 58–59, pp. 77–88, on pp. 78–82. (in German) View Quote
Taylor, Helen (2015): Gone with the Wind. London: Palgrave, on p. 35 and on p. 37 View Quote, on p. 40 and on p. 42 View Quote and on pp. 43–44. View Quote
Henry V (GBR 1944, Laurence Olivier):
Andrew, Dudley (1980): The Post-War Struggle for Colour. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, 2006, pp. 40–50, on p. 45. View Quote
Mamoulian, Rouben (1960): Color and Light in Films. The Esthetics of Colour. In: Film Culture, 21, pp. 68–79, on pp. 77–78. 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. 39–40. (in Italian) View Quote
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 192–199. (in Italian) View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 105–107. View Quote
Ivanhoe (USA 1952, Richard Thorpe):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 113 View Quote and on p. 114. (in French) View Quote
Jack Cardiff, cinematographer, A Matter of Life and Death, Black Narcissus, The Red Shoes, Under Capricorn:
Birchard, Robert S. (2006): A Master’s Palette. Jack Cardiff, BSC Reminisces About his Achievements with Technicolor’s Three-strip Process. In: American Cinematographer, Mar., pp. 58–65. View Quote
Joan of Arc (USA 1948, Victor Fleming):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 118. (in French) View Quote
King Solomon’s Mines (USA 1950, Compton Bennett, Andrew Marton):
Keating, Patrick (2010): Hollywood Lighting from the Silent Era to Film Noir. Columbia University Press: New York, on p. 214. View Quote
La Cucaracha (USA 1934, Lloyd Corrigan):
Higgins, Scott (2000): Demonstrating Three-Colour Technicolor. Early Three-Colour Aesthetics and Design. In: Film History, 12,4, pp. 358–383, on pp. 364–371. View Quote
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 32–39. View Quote
Jacobs, Lewis (1970): The Mobility of Color. In: Lewis Jacobs (ed.): The Movies as Medium. New York: Farrar, Straus and Giroux, pp. 189–196, on p. 191. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 185. View Quote
Leave Her to Heaven (USA 1945, John M. Stahl):
Higgins, Scott (2013): Chromo-Drama. Innovation and Convention in Douglas Sirk’s Color Designs. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 170–178, on pp. 173-174. View Quote
Keating, Patrick (2010): Hollywood Lighting from the Silent Era to Film Noir. Columbia University Press: New York, on pp. 219–220. View Quote
Magnificent Obsession (USA 1954, Douglas Sirk):
Kappelhoff, Hermann; Greifenstein, Sarah (2014): Feeling Gloomy or Riding High. Timings of Melodrama and Comedy. In: Marie-Luise Angerer, Michaela Ott and Bernd Bösel (eds.): Timing of Affect. Epistemologies, Aesthetics, Politics. Zürich: Diaphanes, pp. 263–282, on pp. 267–271 View Quote and on p. 279. View Quote
Moulin Rouge (GBR 1952, John Huston):
A.D. (1953): Die Farbe ist kein Star. In: Bild und Ton, 6,11, p. 349. (in German) View Quote
Bergala, Alain (1995): La couleur, la Nouvelle Vague et ses maîtres des années cinquante. In: Jacques Aumont (ed.): La Couleur en cinéma. Milan: Mazzotta, pp. 126–136, on p. 133. (in French) View Quote
Jacobs, Lewis (1970): The Mobility of Color. In: Lewis Jacobs (ed.): The Movies as Medium. New York: Farrar, Straus and Giroux, pp. 189–196, on p. 193. View Quote
Merritt, Russell (2008): Crying in Color. How Hollywood Coped When Technicolor Died. In: Journal of the National Film and Sound Archive, Australia, 3,2/3, pp. 1–16, on pp. 9–10. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 200–204. View Quote
Musical Poster Number One (GBR 1940, Len Lye):
Horrocks, Roger (2001): Len Lye. A Biography. Auckland University Press., on p. 179. View Quote
Phantom of the Opera (USA 1943, Arthur Lubin):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 114. (in French) View Quote
Rope (USA 1948, Alfred Hitchcock):
Allen, Richard (2006): Hitchcock’s Color Designs. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, pp. 131–144, on p. 137. View Quote
Jacobs, Steven (2013): Color and Containment. Domestic Spaces and Restrained Palettes in Hitchcock’s First Color Films. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 179–188, on pp. 179–187. View Quote
Samson and Delilah (USA 1949, Cecil B. DeMille):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 111. (in French) View Quote
Senso (ITA 1954, Luchino Visconti):
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on p. 196. (in Italian) View Quote
Silly Symphonies:
Moen, Kristian (2010): “The Miracle of our century”. Sergei Eisenstein, Élie Faure and Colour in the Silly Symphonies. In: Screen, 51, pp. 383–389. View Quote
Snow White and the Seven Dwarfs (USA 1937, Maxwell Morgan):
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 173–174. View Quote
Steel (GB 1945, Ronald H. Riley):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 76. View Quote
Summer Holiday (USA 1948, Rouben Mamoulian):
Mamoulian, Rouben (1960): Color and Light in Films. The Esthetics of Colour. In: Film Culture, 21, pp. 68–79, on p. 78. View Quote
The Adventures of Robin Hood (USA 1938, Michael Curtiz, William Keighley):
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 84–88. View Quote
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on pp. 113–114. (in French) View Quote
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s, on pp. 137–171. View Quote
The Adventures of Tom Sawyer (USA 1938, Norman Taurog):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 117. (in French) View Quote
Howe, James Wong (1937): Reaction on Making His First Color Production. In: American Cinematographer, 18, October 1937, pp. 408–409 and pp. 411–412, on pp. 408–409 View Quote, on p. 409 and on p. 411 View Quote, on p. 411 View Quote and on p. 412. View Quote
The Band Concert (USA 1935, Disney):
Telotte, J.P. (2004): Minor Hazards. Disney and the Color Adventure. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, pp. 30–39, on pp. 35–36. View Quote
The Black Swan (USA 1942, Henry King):
Keating, Patrick (2010): Hollywood Lighting from the Silent Era to Film Noir. Columbia University Press: New York, on pp. 218–219. View Quote
Misek, Richard (2010): Chromatic Cinema. A History of Screen Color. Chichester: John Wiley & Sons, on p. 126. View Quote
The Boy with Green Hair (USA 1948, Joseph Losey):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 116. (in French) View Quote
The Four Feathers (GBR 1939, Zoltan Korda):
Costa de Beauregard, Raphaëlle (2009): Technicolor and Jack Cardiff’s Art and Craft in Powell and Pressburger’s Matter of Life and Death (1946). In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 225–236, on p. 230. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 139–140. View Quote
The Garden of Allah (USA 1936, Richard Boleslawski):
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on p. 135. View Quote
Keating, Patrick (2010): Hollywood Lighting from the Silent Era to Film Noir. Columbia University Press: New York, on p. 214 View Quote and on p. 216. View Quote
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
The Great Mr. Handel (GBR 1942, Norman Walker):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 85. View Quote
The Life and Death of Colonel Blimp (GBR 1943, Michael Powell, Emeric Pressburger):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 87–92. View Quote
The Mikado (GBR 1939, Victor Schertzinger):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 49–50. View Quote
The Red Shoes (GBR 1948, Michael Powell, Emeric Pressburger):
Engelke, Henning; Hochscherf, Tobias (2014): Colour Magic at Pinewood. Hein Heckroth, The Archers and Avant-Garde Production Design in The Red Shoes (1948). In: Journal of Design History, 28,1, pp. 48–66, on p. 53 View Quote and on pp. 55–56. View Quote
Grob, Norbert (1991): Farbe im Auge, Ausdruck im Kopf. Hein Heckroths Farbdramaturgien für Powell & Pressburger. In: Katharina Spielhaupter (ed.): Hein Heckroth. Frankfurt/M.: Filmmuseum, pp. 57–78, on pp. 64–70. (in German) View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 187–193. View Quote
The River (FRA/GBR/IND/USA 1951, Jean Renoir):
Bergala, Alain (1995): La couleur, la Nouvelle Vague et ses maîtres des années cinquante. In: Jacques Aumont (ed.): La Couleur en cinéma. Milan: Mazzotta, pp. 126–136, on pp. 131–132. (in French) View Quote
The Pirate (USA 1948, Vincente Minnelli):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 114. (in French) View Quote
The Private Lives of Elizabeth and Essex (USA 1939, Michael Curtiz):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 112 View Quote and on p. 117. (in French) View Quote
The Tales of Hoffmann (GBR 1951, Michael Powell, Emeric Pressburger):
Fischer, Lucy (2017): Cinema by Design. Art Nouveau, Modernism and Film History. New York: Columbia University Press, on pp. 50–51. View Quote
Grob, Norbert (1991): Farbe im Auge, Ausdruck im Kopf. Hein Heckroths Farbdramaturgien für Powell & Pressburger. In: Katharina Spielhaupter (ed.): Hein Heckroth. Frankfurt/M.: Filmmuseum, pp. 57–78, on pp. 64–74. (in German) View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 193–196. View Quote
The Thief of Bagdad (GBR 1940, Ludwig Berger, Michael Powell, Tim Whelan):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 65–67 View Quote and on p. 178. View Quote
The Trail of the Lonesome Pine (USA 1936, Henry Hathaway):
Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 92–108. View Quote
The Wizard of Oz (USA 1939, Victor Fleming):
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 5–8. View Quote
Rushdie, Salman (1992): The Wizard of Oz. London: BFI Publishing, on p. 16 View Quote, on p. 30 and p. 33. View Quote
Turner, George (1998): Behind the Curtain. A cadre of creative minds infused MGM’s classic fantasy The Wizard of Oz a timeless supply of movie magic. In: American Cinematographer, 79,12, pp. 100–106. View Quote
Turner, George (1999): The Wizard of Oz. In: American Cinematographer, 80,3, p. 108. View Quote
This Happy Breed (GBR 1944, David Lean):
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 92–94. View Quote
Three Little Pigs (USA 1933, Burt Gillett):
Jacobs, Lewis (1970): The Mobility of Color. In: Lewis Jacobs (ed.): The Movies as Medium. New York: Farrar, Straus and Giroux, pp. 189–196, on p. 190. View Quote
Trade Tattoo (GBR 1937, Len Lye):
Horrocks, Roger (2001): Len Lye. A Biography. Auckland University Press., on pp. 151–152. View Quote
Under Capricorn (GBR 1949, Alfred Hitchcock):
Allen, Richard (2006): Hitchcock’s Color Designs. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, pp. 131–144, on pp. 136–137. View Quote
Jacobs, Steven (2013): Color and Containment. Domestic Spaces and Restrained Palettes in Hitchcock’s First Color Films. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 179–188, on pp. 179–187. View Quote
Vogues of 1938 (USA 1937, Irving Cummings):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 112. (in French) View Quote
Western Approaches (GBR 1944, Pat Jackson):
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. 223. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 103. View Quote
Wings of the Morning (GBR 1937, Harold D. Schuster):
Huntley, John (1949): British Technicolor Films. Cornhill, London: Skelton Robinson, on pp. 20–25. 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. 38–39. (in Italian) View Quote
Slide, Anthony (1986): Wings of the Morning, an Important Film. In: American Cinematographer, 67,2, pp. 36–40, on pp. 39–40. View Quote
Street, Sarah (2009): ‘Colour Consciousness’. Natalie Kalmus and Technicolor in Britain. In: Screen, 50,2, pp. 191‒215, on pp. 199–206. View Quote
Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900–55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 59–65. View Quote
Production Reports
Cooper, Alf; Lawson, Alan; Littlejohn, Frank (2013): Interview. Bernard Happé. In: Simon Brown, Sarah Street, Liz Watkins (eds.) British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 131–138, on pp. 131–134 and on pp. 136–138. View Quote
An American in Paris (USA 1951, Vincente Minnelli):
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on p. 132. View Quote
Ames, Preston (1951): An American in Paris. In: Production Design, 1,10, pp. 6–9, on pp. 8–9. View Quote
Gilks, Alfred (1952): Some Highlights in the Filming of… An American In Paris. In: American Cinematographer, Jan., pp. 18–19 and pp. 36–38, on p. 19 and on pp. 36–38. View Quote
The Black Swan (USA 1942, Henry King):
Douchet, Jean (1963): Rencontre avec Leon Shamroy. In: Cahiers du Cinéma, 25,147, pp. 31–34, on pp. 33–34. (in French) View Quote
Becky Sharp (USA 1935, Rouben Mamoulian):
Mamoulian, Rouben (1935): Colour and Emotion. In: Cinema Quarterly, 3,4, Summer 1935, pp. 225–226. View Quote
Fantasia(USA 1940, James Algar, Samuel Armstrong, Ford Beebe Jr., Norman Ferguson, David Hand, Jim Handley, T. Hee, Wilfred Jackson, Hamilton Luske, Bill Roberts, Paul Satterfield, Ben Sharpsteen)
Cleveland, David; Pritchard, Brian (2015): In: How Films were Made and Shown. Some Aspects of the Technical Side of Motion Picture Film 1895–2015, Manningtree, Essex: David Cleveland, on p. 408. View Quote
The Blue Lagoon (USA 1980, Randal Kleiser):
Anonymous (1980): Underwater Cinematography for The Blue Lagoon. In: American Cinematographer, 61,8, pp. 828–829 and pp. 833–835, on p. 829 and on pp. 833–835. View Quote
Flowers and Trees (USA 1932, Disney):
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 47–50. View Quote
Gone With the Wind (USA 1939, R: Victor Fleming):
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 98–99. View Quote
Heaven Can Wait (USA 1978, Warren Beatty; Buck Henry):
Anonymous (1979): The Five Best Photographed Motion Pictures of 1978. In: American Cinematographer, 60,5, May, pp. 466–468 and pp. 516–527, on pp. 518–519. View Quote
The Red Shoes (GBR 1948, Michael Powell; Emeric Pressburger):
Lightman, Herb (1949): The Red Shoes. The Ultimate in Choreo-Photography Done in Technicolor by Jack Cardiff, A.S.C. In: American Cinematographer, 30,3, Mar., pp. 82–83 and pp. 99–100, on pp. 82–83 View Quote, on p. 83 and on pp. 99–100. View Quote
Full text on the Media History Digital Library website. View Link
Rope (USA 1948, Alfred Hitchcock):
Yates, Virginia (1948): Rope Sets A Precedent. In: American Cinematographer, 29,7, Jul., pp. 230–231 and p. 246, on p. 231 View Quote and on p. 246. View Quote
Full text on the Media History Digital Library website. View Link
Silly Symphonies:
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 47–50.View Quote
Snow White and the Seven Dwarfs (USA 1937, David Hand):
Baskette, Kirtley (1938): The Amazing Inside Story of How They Made Snow White. In: Photoplay, LII,4, Apr., p. 23, p. 68 and p. 70, on p. 70. View Quote
Full text on the Media History Digital Library website. View Link
Wings of the Morning (GBR 1937, Harold D. Schuster):
Cardiff, Jack (1996): Magic Hour. London; Boston: Faber and Faber, on p. 49. View Quote
The Wizard of Oz (USA 1939, Victor Fleming):
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 95–98. View Quote
Bolger, Ray (1978): The Wizard of Oz and the Golden Era of the American Musical Film. In: American Cinematographer, 59,2, pp. 190–191 and pp. 196–197. View Quote
Western Approaches (GBR 1944, Pat Jackson):
Cardiff, Jack (1945): Filming Western Approaches. In: American Cinematographer, 26,4, Apr., pp. 116–117, p. 140 and p. 142, on pp. 116–117 and p. 140. View Quote
Full text on the Media History Digital Library website. View Link
