Eastman Color
Description
“The Eastman Colour Films are multilayer films of the type in which the layers are not separated after exposure. Films of this class are known as Multilayer, Monopack or Integral Tripack. “Multilayer” is descriptive not only of this particular group of films, but also those in which the layers may be separated after exposure, while “Monopack” is liable to be associated with a particular process which has been quite widely employed by Technicolor. “Integral Tripack” is therefore adopted as the most convenient term for describing the Eastman Colour Films.
Three types of Eastman Colour Film are manufactured. These are the Colour Negative Film, intended for use as the picture negative material in the camera; the Colour lnternegative Film, used for a similar purpose to black-and-white duplicating negative film; and Colour Print Film, which may be employed in preparing prints from either the Colour Negative or Colour lnternegative. A special black-and-white Separation Positive Film is also provided and this is intended for use in preparing three separation positives from the Colour Negative. The separation positives form an intermediate link with the Colour Negative when making a Colour Internegative, so that their function is similar to that of a master positive in a black-and-white system.
Integral tripack camera films have the advantage that they may be used in a standard black-and-white camera, and apart from a check on the colour correction and focus of the lens, no special precautions are necessary. It is of interest to note that the colours of integral tripack negatives, as well as the densities, are reversed compared with the original scene.
The coloured images in Eastman Colour Films are produced by a method known as dye-coupling development. For this a special developing agent is used in conjunction with a second compound known as the colourforming coupler. Photographic development is a process of chemical reduction brought about by the developing agent, which is oxidized in proportion to the amount of silver formed. The oxidized developing agent combines with the colour forming coupler to create a dye of appropriate colour, the concentration of which is proportional to the amount of silver in the image. The dye thus formed must be insoluble in water so that the reaction shall be quite local and a dye image of high resolution obtained. The silver image is removed at a later stage of the process.
Three colour-forming couplers provide the appropriate dyes and are incorporated in the relevant emulsion layers.”
(Craig, G.J. (1953): Eastman Colour Films for Professional Motion Picture Work. In: British Kinematography, 22,5, 1953, pp. 146-158.)
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Alien (USA 1979, Ridley Scott). Credit: Library of Congress. Photographs of the Eastman Color Print Film from 1979 by Joëlle Kost, ERC Advanced Grant FilmColors.
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Photomicrograph of modern chromogenic stock, . Credit: Silvana Konermann.
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Eastman Color chromogenic monopack. Source: Craig, G.J. (1953): Eastman Colour Films for Professional Motion Picture Work. In: British Kinematography, 22,5, 1953, pp. 146-158.
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Color fading of Eastmancolor stock. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany). Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin: Springer.
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Color reconstruction by Rudolf Gschwind, University of Basel. Credit: Collection Gert Koshofer, Bergisch Gladbach (Germany).
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Color fading of Eastmancolor stock.
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Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
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Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer-Verlag. Photograph by Martin Weiss, ERC Advanced Grant FilmColors.
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Original Technical Papers and Primary Sources
Craig, G.J. (1953): Eastman Colour Films for Professional Motion Picture Work. In: British Kinematography, 22,5, 1953, pp. 146-158. View Quote
Foster, Frederick (1953): Eastman Negative-Positive Color Films for Motion Pictures. In: American Cinematographer, 34,7, July 1953, pp. 322-333, 348. View Quote
Hanson, Wesley T., Jr. (1950): Color Correction with Colored Couplers. In: Journal of the Optical Society of America, 40,3, 1950, pp. 166–171, on p. 166. View Quote
Hanson, Wesley T. (1955): Subtractive Color Photography. Spectral Sensitivities and Masks. In: Journal of the Optical Society of America, 45, 1955, pp. 476-481. View Quote
Horowitz, Paul; Weller, William R. (1958): Some Considerations of Eastman Color Print Film Dye Stability. In: Journal of the Society of Motion Picture and Television Engineers, 67,6, pp. 401–404. View Quote
Keene, G. T.; Clifford, J. D. (1962): Commercial Systems for Making 8mm Prints. In: Journal of the Society of Motion Picture and Television Engineers, 71,6, pp. 447–449. View Quote
Smits, J.; Corluy, H.; De Kerf, J. (1966): Farbmetrische Analyse fotografischer Farbwiedergabe-Verfahren. In: Die Farbe, 15, 1966, pp. 102-118. (in German) View Quote
Young, Freddie (1966): A method of Pre-exposing Color Negative for Subtle Effect. In: American Cinematographer, 47,8, Aug. 1966, p. 537. View Quote
Secondary Sources
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. 47. View Quote
Anonymous (1956): Current Techniques of 35mm Color Film Photography and Printing. In: American Cinematographer, 37,1, January 1956, pp. 26-27 and p. 58. View Quote
Anonymous (1980): Colour Problem. In: Sight and Sound, 50, pp. 12–13, on pp. 12–13 View Quote and on p. 13. View Quote
Batistová, Anna (2013): Glorious Agfacolor, Breathtaking Totalvision and Monophonic Sound. Colour and “Scope” in Czechoslovakia. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 47-55. View Quote
Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on pp. 350–351. 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. 129 View Quote and p. 131. (in French) View Quote
Berthomé, Jean-Pierre (1992): Nestor Almendros. In: Yann Tobin: Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on p. 158. (in French) View Quote
Beyer, Friedemann; Koshofer, Gert; Krüger, Michael (2010): UFA in Farbe. Technik, Politik und Starkult zwischen 1936 und 1945. München: Collection Rolf Heyne, on p. 54. (in German) 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
Bordwell, David; Staiger, Janet; Thompson, Kristin (1985): The Classical Hollywood Cinema. Film Style and Mode of Production to 1960. London: Routledge, on p. 357. 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. 133–136. View Quote
Coote, Jack H. (1993): The Illustrated History of Colour Photography. Surbiton, Surrey: Fountain Press, on p. 156 , on p. 160 View Quote, on p. 161 View Quote, on pp. 163–164 View Quote and on pp. 175–176. View Quote
Cubitt, Sean (2014): The Practice of Light. A Genealogy of Technologies from Prints to Pixels. Cambridge, Massachusetts, London: MIT Press, on p. 135. View Quote
Déribéré, Maurice (1954): Les problèmes du cinéma en couleurs français. In: Technique Cinématographique, 25,145, pp. 185–189. (in French) 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 p. 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 p. 132. (in French) View Quote
Hanson, Wesley T. (1981): The Evolution of Eastman Color Motion Pictures. In: Journal of the Society of Motion Picture and Television Engineers, 90,9, 1981, pp. 791-794. View Quote
Happé, Bernard (1984): 80 Years of Colour Cinematography. London: British Kinematograph Sound & Television Society, on p. 16. 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
Kisner, W. I. (1962): A New Color Negative Film for Better Picture Quality. In: Journal of the Society of Motion Picture and Television Engineers, 71,10, pp. 776–779. View Quote
Kisner, W. I. (1962): A Higher Speed Color Print Film. In: Journal of the Society of Motion Picture and Television Engineers, 71,10, pp. 779–781. View Quote
Kitsopanidou, Kira (2009): “Glorious Technicolor”. La stratégie d’innovation de la couleur de Technicolor dans l’industrie cinématographique Américaine. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 193–206, on pp. 200–203. (in French) 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 p. 1 View Quote, on pp. 6–7 View Quote, on pp. 7–8. 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 p. 163 View Quote, on p. 164 View Quote and on pp. 165–167. 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 p. 20 View Quote and on pp. 21-22. View Quote
Parker, David L. (1973): ‘Blazing Technicolor,’ ‘Stunning Trucolor,’ and ‘Shocking Eastmancolor.’ In: Tom Shales et al. (ed.): The American Film Heritage, The American Film Institute. Washington, D.C.: Acropolis Books Ltd., pp. 19-27. View Quote
Penning, Lars (1988): Farbe im klassischen Piratenfilm. In: Karl-Dietmar Möller-Nass, Hasko Schneider and Hans J. Wulff (eds.): 1. Film- und Fernsehwissenschaftliches Kolloquium. Münster: MAkS, pp. 36–40, on p. 38. (in German) 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. 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. 85–87. View Quote
Petrie, Duncan (2013c): Interview. Stan Sayer. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 97–102, on pp. 99–102.
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on p. 161 View Quote, on pp. 191–192 View Quote, on p. 199 View Quote, on p. 201 View Quote, on pp. 207–208 View Quote, on p. 209 View Quote and on pp. 216–218. (in Italian) View Quote
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 166–167. (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. 21-24. (in French) View Quote
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, on pp. 148-158. 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 p. 187. 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, on pp. 11–26. View Quote
Tessier, Max (1992): De la couleur dans les films japonais. In: Yann Tobin: Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on pp. 152–154. (in French) View Quote
Webers, Johannes; Westendorp, Kurt (1979): Einführung in die Kopierwerktechnik (XIII). In: Fernseh- und Kinotechnik, 33,6, pp. 213–215. (in German) View Quote
Measurements
Dyes’ absorbances extracted with a statistical method from multispectral image capture. Credit: Giorgio Trumpy, ERC Advanced Grant FilmColors.
Films
Sacre d’Elisabeth (Eastman Color negative, Gevacolor copy)31
The Thrill of your Life (USA, Robert Bendick)31
1951
Drums in the Deep South (USA 1951, William Caeron Menzie, United Artists, Print: Super Cinecolor)1
Hurricane Island (USA 1951, Lew Landers, Columbia Pictures, Print: Super Cinecolor)¹
Royal Journey (CAN 1951, David Biarstow, Roger Blais, Gudrun Parker)²
Sunny Side of the Street (USA 1951, Richard Quine, Columbia Pictures, Print: Super Cinecolor)¹
The Barefoot Mailman (USA 1951, Earl McEvoy, Columbia Pictures, Print: Super Cinecolor)¹
The Magic Carpet (USA 1951, Lew Landers, Columbia Pictures, Print: Super Cinecolor)¹
The Redskin Rode (USA 1951, Lew Landers, Columbia Pictures, Print: Super Cinecolor)¹
The Robe (USA 1951, Henry Koster, Twentieth Century-Fox, Print: Technicolor)1, 3, 6, 20
The Sword of Monte Cristo (USA 1951, Maurice Geraghty, Twentieth Century-Fox, Print: Super Cinecolor)1, 9, 19
The Texas Rangers (USA 1951, D. Ross Lederman, Columbia Pictures, Print: Super Cinecolor)¹
1952
Carson City (USA 1952, André De Toth, Warner Bros., Print: Warner Color = Eastman Color)1, 4
She’s Back on Broadway (USA 1952, Gordon Bouglas, Warner Bros., Print: Warner Color = Eastman Color)1, 4
Springfield Rifle (USA 1952, André De Toth, Warner Bros., Print: Warner Color = Eastman Color)1, 4
Stop, You’re Killing Me (USA 1952, Roy Del Ruth, Warner Bros., Print: Warner Color = Eastman Color)¹
The Lion and the Horse (USA 1952, Louis King, Warner Bros., Print: Warner Color = Eastman Color)1, 16, 19
The Miracle of Our Lady of Fatima (USA 1952, John Brahms, Warner Bros., Print: Warner Color = Eastman Color)1, 4
1953
Beneath the Twelve Mile Reef (USA 1953, Robert D. Webb, Twentieth Century-Fox, Print: Technicolor)1, 3, 9
Fair Wind to Java (USA 1953, Joseph Kane, Republic Pictures, Print: Trucolor)¹
Hondo (USA 1953, John Farrow, Warnercolor)14
How to Marry a Millionaire (USA 1953, Jean Negulesco, Twentieth Century-Fox, Print: Technicolor)1, 3, 6, 9, 16, 18, 20
Jigokumon/Gate of Hell (JAP 1953, Teinosuke Kinugasa)13, 28, 37, 42
Lady Wants Mink (USA 1953, William A. Seiter, Republic Pictures)¹
L’Homme au masque de cire/House of Wax (USA 1953, André De Toth, Print: Warner Color = Eastman Color)1, 31, 43
Sangaree (USA 1953, Edward Ludwig, Paramount, Print: Technicolor)¹
1954
Ali Baba et les 40 voleurs/Ali Baba (FRA 1954, Jacques Becker)43
Carmen Jones (USA 1954, Otto Preminger, Color by de Luxe)14
Carosello napoletano (ITA 1954, Ettore Giannini, Pathécolor)23
Dial M for Murder (USA 1954, Alfred Hitchcock)7, 14, 15, 36, 43
For Better, for Worse (GBR 1954, J. Lee Thompson)12
Gli amori di Manon Lescaut (ITA 1954, Mario Costa)23
I cavalieri dell’illusione (ITA 1954, Marc Allégret)23
I maestro di Don Giovanni (ITA 1954, Milton Krims, Vittorio Vassarotti)23
Il visconte di Bragelonne (ITA 1954, Fernando Cerchio)23
La donna del fiume (ITA 1954, Mario Soldati)23
Le due orfanelle (ITA 1954, Giacomo Gentilomo)23
Le Grand Jeu (FRA/ITA 1954, Robert Siodmak)31
Lease of Life (GBR 1954, Charles Frend)11
Les Révoltés de Lomanach (FRA/ITA 1954, Richard Pottier)31
Prince Valiant (USA 1954, Henry Hathaway)18
Robinson Crusoe/The Adventures of Robinson Crusoe (USA/MEX 1954, Luis Buñuel, Pathecolor)14
Sang et Lumière/Beauty and the Bullfighter (FRA/ESP 1954, Georges Rouquier / Ricardo Muñoz Suay)31
Si Versailles m’était conté/Royal Affairs in Versailles (ITA/FRA 1954, Sacha Guitry)31
Souls in Conflict (GBR 1954, Leonard Reeve and Dick Ross)12
Teodora (ITA/FRA 1954, Riccardo Freda)23
The High and the Mighty (USA 1954, William A. Wellman, Warnercolor)14, 20
Three Coins in the Fountain (USA 1954, Jean Negulesco, Color by de Luxe)14
Track of the Cat (USA 1954, William A. Wellman, Warner Bros., Print: Warner Color = Eastman Color)32
1955
East of Eden (USA 1955, Elia Kazan, Warner Bros., Print: Warner Color = Eastman Color)14, 20, 32, 43
Guys and Dolls (USA 1955, Joseph L. Mankiewicz)43
I Died a Thousand Times (USA 1955, Stuart Heisler, Warner Color)43
La risaia (ITA 1955, Raffaello Matarazzo, Eastman Color negative, distributed in Ferraniacolor)25
Land of the Pharaos (USA 1955, Howard Hawks, Warner Color)43
Les grandes manœuvres/The Grand Maneuver (FRA/ITA 1955, René Clair)43
Lola Montès (FRA/BRD 1955, Max Ophüls)8, 32, 43
Oklahoma! (USA 1955, Fred Zinnemann)43
Racconti romani (ITA 1955, Gianni Franciolini)24, 25
Shin Heike monogatari (JPN 1955, Kenji Mizoguchi)37
Yôkihi (JPN/HKG 1955, Kenji Mizoguchi)37
1956
Giant (USA 1956, George Stevens, Warnercolor)20
Lust for Life (USA 1956, Vincente Minnelli, Metrocolor)6, 20, 43
Tea and Sympathy (USA 1956, Vincente Minnelli, Metrocolor)6, 20
1958
Le Chant du styrène (FRA 1958, Alain Resnais)22
Mon Oncle (FRA 1958, Jacques Tati)26
Some Came Running (USA 1958, Vincente Minnelli, Metrocolor)6, 20
1959
Imitation of Life (USA 1959, Douglas Sirk)44
Le Déjeuner sur l’herbe (FRA 1959, Jean Renoir)5
Ukikusa (JPN 1959, Yasujirô Ozu)37
1960
Peeping Tom (GBR 1960, Michael Powell)39
1962
Lawrence of Arabia (GBR 1962, David Lean)14, 40
Light in the Piazza (USA 1962, Guy Green, Metrocolor)12
1963
Blood Feast (USA 1963, Herschell Gordon Lewis)34
Tengoku to jigoku (JPN 1963, Akira Kurosawa) (sequences)37
Yukinojô henge (JPN 1963, Kon Ichikawa)37
1964
Kwaidan (JPN 1964, Masaki Kobayashi)37
Les Parapluies de Cherbourg/The Umbrellas of Cherbourg (FRA 1964, Jacques Demy)27
Two Thousand Maniacs! (USA 1964, Herschell Gordon Lewis)35
1965
Le Bonheur (FRA 1965, Agnès Varda)27
1966
7 Women (USA 1966, John Ford, Metrocolor)21
A Man and a Woman (FRA 1966, Claude Lelouch)27
1967
Bonnie and Clyde (USA 1967, Arthur Penn)14, 33
Elvira Madigan (SWE 1967, Bo Widerberg)27
La Collectionneuse (FRA 1967, Éric Rohmer)38, 41
1968
2001: A Space Odyssey (GBR/USA 1968, Stanley Kubrick, Metrocolor) (sequences)14
1969
Easy Rider (USA 1969, Dennis Hopper) (sequences)14
More (BRD/FRA/LUX 1969, Barbet Schroeder)41
Shônen (JPN 1969, Nagisa Ôshima) (sequences)37
1970
Dodesukaden (JPN 1970, Akira Kurosawa)37
1974
Den-en ni shisu (JPN 1974, Shûji Terayama)37
1975
Zerkalo/Mirror (SUN 1975, Andrei Tarkovsky) (sequences)17
1976
Taxi Driver (USA 1976, Martin Scorsese, Metrocolor)14
1979
Stalker (SUN 1979, Andrei Tarkovsky) (sequences)30
1980
Kagemusha (JPN/USA 1980, Akira Kurosawa)37
1981
Evil under the Sun (GBR 1981, Guy Hamilton)39
1982
Blade Runner (USA 1982, Ridley Scott)10
1984
Saraba hakobune (JPN 1984, Shûji Terayama)37
1986
Blue Velvet (USA 1986, David Lynch)10
Offret/The Sacrifice (SWE/FRA/GBR 1986, Andrei Tarkovsky)17
1990
Yume (JPN/USA 1990, Akira Kurosawa)37
1993
The Piano (FRA/NZL/AUS 1993, Jane Campion)29
1998
Dark City (USA/AUS 1998, Alex Proyas)29
1 Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, on pp. 148-158. View Quote
2 Hanson, Wesley T. (1981): The Evolution of Eastman Color Motion Pictures. In: Journal of the Society of Motion Picture and Television Engineers, Vol. 90, No. 9, 1981, pp. 791-794. View Quote
3 Bordwell, David; Staiger, Janet; Thompson, Kristin (1985): The Classical Hollywood Cinema. Film Style and Mode of Production to 1960. London: Routledge, on p. 357. View Quote
4 Dupar, Edwin B. (1952): Warnercolor. Newest of Color Film Process. In: American Cinematographer, 33,9, pp. 384–385. View Quote
5 Bergala, Alain (1995): La couleur, la Nouvelle Vague et ses maîtres des années cinquante. In: Jacques Aumont (ed.): La Couleur en cinema. Milan: Mazzotta, pp. 126–136, on p. 131. (in French) View Quote
6 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 p. 7.
7 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.
8 André, Emanuelle (1995): La couleur douloureuse. Max Ophuls. Lola Montès. In: Jacques Aumont (ed.): La Couleur en cinéma. Mailand: Mazzotta, pp. 120–122. (in French)
9 Kitsopanidou, Kira (2009): “Glorious Technicolor”. La stratégie d’innovation de la couleur de Technicolor dans l’industrie cinématographique Américaine. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 193–206, on pp. 200–203. (in French) View Quote
10 Chion, Michel (1995): Colorisations. In: Jacques Aumont (ed.): La Couleur en cinéma. Milan: Mazzotta, pp. 63–69, on pp. 65–67. (in French)
11 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
12 Petrie, Duncan (2013b): 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. 85–87.
13 Mamoulian, Rouben (1960): Color and Light in Films. The Esthetics of Colour. In: Film Culture, 21, pp. 68–79.
14 Spehr, Paul C. (1979): Fading, Fading, Faded. The Colour Film in Crisis. In: American Film, Nov., pp. 56–61. View Quote
15 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.
16 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.
17 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.
18 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 p. 1. View Quote
19 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. 6–7. View Quote
20 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. 7–8. View Quote
21 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: Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 160–169.
22 Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 114–115. (in Italian)
23 Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 137–138. (in Italian)
24 Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 189–192. (in Italian) View Quote
25 Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 192–194. (in Italian) View Quote
26 Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 176–184. (in Italian)
27 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. 193–194. View Quote
28 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. 192–193. View Quote
29 Vincent-Arnaud, Nathalie (2009): Contrepoints chromatiques. Couleur et énonciation musicale dans Gattaca d’Andrew Niccol (1997). In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 358–369, on pp. 360–369. (in French)
30 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. 166–171. View Quote
31 Déribéré, Maurice (1954): Les problèmes du cinéma en couleurs français. In: Technique Cinématographique, 25,145, pp. 185–189. (in French) View Quote
32 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. 8–13. View Quote
33 Al Salti, Nadia (2009): Le rouge sang du nouvel Hollywood. Bonnie and Clyde, The Wild Bunch, The Big Save. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 417–425, on pp. 417–425. (in French) View Quote
34 Al Salti, Nadia (2009): Le rouge sang du nouvel Hollywood. Bonnie and Clyde, The Wild Bunch, The Big Save. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 417–425, on pp. 419–420. (in French) View Quote
35 Al Salti, Nadia (2009): Le rouge sang du nouvel Hollywood. Bonnie and Clyde, The Wild Bunch, The Big Save. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 417–425, on pp. 419–420. (in French) View Quote
36 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. 135. View Quote
37 Tessier, Max (1992): De la couleur dans les films japonais. In: Yann Tobin: Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on pp. 152–154. (in French) View Quote
38 Handyside, Fiona (2013): Color and Meaning in the Films of Eric Rohmer. In: Simon Brown, Sarah Street, Liz Watkins (eds.) Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 150–159, on p. 151. View Quote
39 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.
40 Higgins, Scott (2007): Harnessing the Technicolor Rainbow. Color Design in the 1930s. Austin: University of Texas Press, on pp. 9–13.
41 Berthomé, Jean-Pierre (1992): Nestor Almendros. In: Yann Tobin: Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on p. 158. (in French) View Quote
42 Ashton, George (1954): Colour at the Cinema. In: The British Journal of Photography, 101, 25 June 1954, pp. 324–325, on p. 325. View Quote
43 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)
44 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
Restoration
Anonymous (1980): Colour Problem. In: Sight and Sound, 50, pp. 12–13, on p. 12. View Quote
Gitt, Robert; Dayton, Richard (1984): Restoring Becky Sharp. In: American Cinematographer, 65,10, pp. 99–106, on pp. 101–106. View Quote
Drössler, Stefan (2004): Lola Montez. In neuem Licht. In: Christine Rüffert (ed.): ZeitSprünge. Wie Filme Geschichte(n) erzählen. Berlin: Bertz, pp. 170–185, on p. 171 View Quote, on pp. 173–176 View Quote and on pp. 182–183. (in German) View Quote
Magid, Ron (1997): Renewing the Star Wars Sequels. In: American Cinematographer, 78,4, pp. 58–68, on pp. 58–59. View Quote
Magid, Ron (1997): An Expanded Universe. Digital and analog special effects collide in the stooled version of Star Wars. In: American Cinematographer, 78,2, pp. 60–70, on pp. 64–68. View Quote
Magid, Ron (1997): Saving the Star Wars Saga. In: American Cinematographer, 78,2, pp. 55–59, on pp. 55–59. View Quote
O’Connell, Bill (1979): Fade Out. In: Film Comment, 15,5, pp. 11-18. View Quote
Scorsese, Martin (1980): Letter. In: Film Comment, 16,1, 1980, p. 79. View Quote
Spehr, Paul C. (1979): Fading, Fading, Faded. The Colour Film in Crisis. In: American Film, Nov., pp. 56–61. View Quote
Contemporary Reception
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, on p. 325 View Quote and on p. 325. View Quote
Brown, Simon; Street, Sarah; Watkins, Liz (eds.) (2013): Interview. Dave Davis. In: British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 123–130, on pp. 125–127. View Quote
Dupar, Edwin B. (1952): Warnercolor. Newest of Color Film Process. In: American Cinematographer, 33,9, pp. 384–385. View Quote
Selected Analyses
A Man and a Woman (FRA 1966, Claude Lelouch):
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. 193–194. View Quote
Alien (USA 1979, Ridley Scott):
Vanlint, Derek (1979): Alien and its photographic Challenges. In: American Cinematographer, 60,8, pp. 768–771, 806, 812–813, on pp. 768–769 View Quote and on pp. 806, 812. View Quote
Blade Runner (USA 1982, Ridley Scott):
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 141–146. View Quote
Bruno, Giuliana (2002): Ramble City. Postmoderne und Blade Runner. In: Die Postmoderne im Kino. Ein Reader. Marburg: Schüren, pp. 65–79. (in German)
Carmichael, Jae (1982): Lighting and Production Design. In: American Cinematographer, 63,11, pp. 1156–1161, on p. 1157. View Quote
Dryer, David (1982): Blade Runner. Special Photographic Effects. In: American Cinematographer, 63,7, pp. 692–693, 725–732, on pp. 692–693. View Quote
Lightman, Herb A.; Patterson, Richard (1982): Blade Runner. Production Design and Photography. In: American Cinematographer, 63,7, pp. 684–687, 715–725, on pp. 720–723. View Quote
Blood Feast (USA 1963, Herschell Gordon Lewis):
Al Salti, Nadia (2009): Le rouge sang du nouvel Hollywood. Bonnie and Clyde, The Wild Bunch, The Big Save. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 417–425, on pp. 419–420. (in French) View Quote
Blow-up (GBR 1966, Michelangelo Antonioni):
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 92–95. View Quote
Bonnie and Clyde (USA 1967, Arthur Penn):
Al Salti, Nadia (2009): Le rouge sang du nouvel Hollywood. Bonnie and Clyde, The Wild Bunch, The Big Save. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 417–425, on pp. 417–425. (in French) View Quote
Cabaret (USA 1972, Bob Fosse):
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 197–198. View Quote
Das Boot (GER 1981, Wolfgang Petersen):
Block, Bruce A. (1983): Oscar Nominees for Cinematography Das Boot. In: American Cinematographer, 64,4, pp. 64–66, on pp. 64–66. View Quote
Days of Heaven (USA 1978, Terrence Malick):
Almendros, Nestor (1979): Photographing Days of Heaven. In: American Cinematographer, 60,6, pp. 562–565, 592–594, 626–632, on pp. 564–565 View Quote, on pp. 627–628 View Quote and on pp. 630–631. View Quote
Almendros, Nestor (2000): Days of Heaven. Terrence Malick. 1976. In: John Orr and Olga Taxidou (eds.): Post-War Cinema and Modernity. A Film Reader. Edinburgh: Edinburgh University Press, pp. 234–246, on pp. 235–236 View Quote and on pp. 242–246. View Quote
Anonymous (1999): Days of Heaven. In: American Cinematographer, 80,3, p. 134, on p. 134.View Quote
Ciment, Michel (2002): Terrence Malick’s Garden. Days of Heaven. In: Positif 50 years. Selections from the French film journal. New York: The Museum of Modern Art, pp. 195–201, on p. 179. View Quote
Misek, Richard (2010): Chromatic Cinema. A History of Screen Color. Chichester: John Wiley & Sons, on pp. 133–134. View Quote
Deux ou trois choses que je sais d’elle (FRA 1966, Jean-Luc Godard):
Branigan, Edward (1976): The Articulation of Color in a Filmic System. Deux ou trois choses que je sais d’elle. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, 2006, pp. 170–182, on pp. 170–180. View Quote
Dial M for Murder (USA 1954, 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. 135. 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
East of Eden (USA 1955, Elia Kazan):
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. 11–12. View Quote
Elvira Madigan (SWE 1967, Bo Widerberg):
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. 193–194. View Quote
Fantastic Voyage (USA 1966, Richard Fleischer):
Lightman, Herb A. (1966): The Cameraman becomes the Star of Fantastic Voyage. In: American Cinematographer, 47,2, pp. 98–101, 122–123, on p. 99 View Quote and on pp. 101, 122. View Quote
Jigokumon/Gate of Hell (JPN 1953, Teinosuke Kinugasa):
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. 192–193. View Quote
La Collectionneuse (FRA 1967, Éric Rohmer):
Handyside, Fiona (2013): Color and Meaning in the Films of Eric Rohmer. In: Simon Brown, Sarah Street, Liz Watkins (eds.) Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 150–159, on p. 151. View Quote
La risaia (ITA 1955, Raffaello Matarazzo, Eastman Color negative, distributed in Ferraniacolor):
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 192–194. (in Italian) View Quote
Le Bonheur (FRA 1965, Agnès Varda):
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. 193–194. View Quote
Les Parapluies de Cherbourg/The Umbrellas of Cherbourg (FRA 1964, Jacques Demy):
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. 193–194. View Quote
Lola Montès (FRA/BRD 1955, Max Ophüls):
André, Emanuelle (1995): La couleur douloureuse. Max Ophuls. Lola Montès. In: Jacques Aumont (ed.): La Couleur en cinéma. Mailand: Mazzotta, pp. 120–122. (in French) View Quote
Drössler, Stefan (2004): Lola Montez. In neuem Licht. In: Christine Rüffert (ed.): ZeitSprünge. Wie Filme Geschichte(n) erzählen. Berlin: Bertz, pp. 170–185, on pp. 181–183. (in German) View Quote
Galt, Rosalind (2011): Pretty. Film and the Decorative Image. New York: Columbia University Press, on pp. 172–176. View Quote
Lust for Life (USA 1956, Vincente Minnelli):
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
Mon oncle (FRA/ITA 1958, Jacques Tati):
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 223–224. (in Italian) View Quote
Offret/The Sacrifice (SWE/FRA/GBR 1986, Andrei Tarkovsky):
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. 167–171 View Quote and on pp. 174–175. View Quote
Pierrot le fou (FRA 1965, Jean-Luc Godard):
Branigan, Edward (1976): The Articulation of Color in a Filmic System. Deux ou trois choses que je sais d’elle. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, 2006, pp. 170–182, on p. 177. View Quote
Racconti romani (ITA 1955, Gianni Franciolini):
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 210–212. (in Italian) View Quote
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 189–192. (in Italian) View Quote
Shin Heike monogatari (JPN 1955, Kenji Mizoguchi):
Tessier, Max (1992): De la couleur dans les films japonais. In: Yann Tobin: Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on pp. 152–153. (in French) View Quote
Stalker (SUN 1979, Andrei Tarkovsky):
Carrère, Emmanuel (2002): Third Dive Into the Ocean. Andrei Tarkovsky’s The Stalker. In: Positif 50 Years. Selections From the French Film Journal. New York: The Museum of Modern Art, pp. 205–215, on pp. 207–208 View Quote and on p. 210. 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. 166–171. View Quote
Star Wars: Episode IV – A New Hope (USA 1977, George Lucas):
Anonymous (1977): Behind the Scenes of Star Wars. In: American Cinematographer, 58,7, pp. 698–701, 746–747, 762, on pp. 700–701. View Quote
Star Wars: Episode V – The Empire Strikes Back (USA 1980, Irvin Kershner):
Anonymous (1980): The Photography of Star Wars. The Empire Strikes Back. In: American Cinematographer, 61,6, pp. 548–551, 576–577, 615–620, on pp. 616–619. View Quote
Taxi Driver (USA 1976, Martin Scorsese)
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 52–53. View Quote
The Last Emperor (FRA, ITA, GBR 1987, Bernardo Bertolucci):
Bergery, Benjamin (1989): Reflections 10. Storaro, ASC. In: American Cinematographer, 70,8, pp. 70–74, on pp. 70–73. View Quote
Track of the Cat (USA 1954, William A. Wellman):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on pp. 114–115.) (in French) 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 p. 11. View Quote
Two Thousand Maniacs! (USA 1964, Herschell Gordon Lewis):
Al Salti, Nadia (2009): Le rouge sang du nouvel Hollywood. Bonnie and Clyde, The Wild Bunch, The Big Save. In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 417–425, on pp. 419–420. (in French) View Quote
Une femme est une femme (FRA/ITA 1961, Jean-Luc Godard):
Sharits, Paul (1966): Red, Blue, Godard. In: Film Quarterly, 19,4, 1966, pp. 24-29, on pp. 24-26. View Quote
Zerkalo/Mirror (SUN 1975, Andrei Tarkovsky):
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. 166–170. View Quote
