Eastman Color Negative, type 5247
Original Technical Papers and Primary Sources
Hanson, W. T., Jr. (1952): Color Negative and Color Positive Film for Motion Picture Use. In: Journal SMPTE, 58, March 1952, pp. 223–238.
Secondary Sources
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. 301–304. View Quote
Koshofer, Gert (1988): 50 Jahre moderne Farbfotografie. Die Farbfilme des Weltmarktes von 1936 bis 1985. In: MFM, 5/88, pp. 216–217; 6/88, pp. 259–260; 7/88, pp. 306–307. View Quote
Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, on pp. 148–149 View Quote and on p. 151. View Quote
Films
1951
Drums in the Deep South (USA 1951, William Caeron Menzie, United Artists, Print: Super Cinecolor)1
How to Marry a Millionaire (USA 1951, Jean Negulesco, Twentieth Century-Fox, Print: Technicolor)¹
Hurricane Island (USA 1951, Lew Landers, Columbia Pictures, Print: Super Cinecolor)¹
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
The Sword of Monte Cristo (USA 1951, Maurice Geraghty, Twentieth Century-Fox, Print: Super Cinecolor)¹
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
House of Wax (USA 1952, André De Toth, Warner Bros., Print: Warner Color = Eastman Color)¹
She’s Back on Broadway (USA 1952, Gordon Bouglas, Warner Bros., Print: Warner Color = Eastman Color)¹
Springfield Rifle (USA 1952, André De Toth, Warner Bros., Print: Warner Color = Eastman Color)¹
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
The Miracle of Our Lady of Fatima (USA 1952, John Brahms, Warner Bros., Print: Warner Color = Eastman Color)¹
1953
Beneath the Twelve Mile Reef (USA 1953, Robert D. Webb, Twentieth Century-Fox, Print: Technicolor)¹
Fair Wind to Java (USA 1953, Joseph Kane, Republic Pictures, Print: Trucolor)¹
Lady Wants Mink (USA 1953, William A. Seiter, Republic Pictures)¹
Sangaree (USA 1953, Edward Ludwig, Paramount, Print: Technicolor)¹
1 Ryan, Roderick T. (1977): A History of Motion Picture Color Technology. London: Focal Press, on pp. 148–149. View Quote
