Ansco Color negative / positive process
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Ansco Color, positives of Ansco Color negative, ca. 1952. Credit: Gert Koshofer Collection. Sample No. 10. Photograph by Barbara Flueckiger.
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Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer.
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Source: Schultze, Werner (1953): Farbenphotographie und Farbenfilm. Wissenschaftliche Grundlagen und technische Gestaltung. Berlin/Göttingen /Heidelberg: Springer.
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Source: Society of Motion Picture and Television Engineers; ed. (1957): The Elements of Color in Professional Motion Pictures. Prepared by a special committee of the Society. Wilton R. Holm, chairman. New York: The Society.
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Credit: Cinémathèque française, conservatoire des techniques, Paris.
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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
Duerr, Herman H. (1952): The Ansco Color Negative-Positive Process. In: Journal of the Society of Motion Picture Engineers, 58,6, pp. 465-479. View Quote
Duerr, Herman H. (1954): Letters to the Editor, “Feature Films on Ansco Color”. In: The British Journal of Photography, January 15, 1954, p. 33.
Mitchell, Robert A. (1953): The new Ansco Color film and process. In: American Cinematographer, 34,4, April 1953, pp. 166. View Quote
Pelz, W. (1961): Farbkuppler. Eine Literaturübersicht. In: Mitteilungen aus den Forschungslaboratorien der Agfa Leverkusen-München. Band 3. Berlin, Göttingen, Heidelberg: Springer-Verlag, pp. 111–175, on pp. 113–115 View Quote, on pp. 117–119 View Quote, on pp. 127–135 View Quote, on p. 161 View Quote, on p. 163 View Quote, on pp. 170–172 View Quote and on pp. 173–175. (in German) View Quote
Ross, Rodger J. (1951): Duplication of Color Images With Narrow-Band Filters. In: Journal of the Society of Motion Picture and Television Engineers, 57,9, pp. 267–274. View Quote
Rowan, Arthur (1952): ‘The Wild North’ introduces MGM’s new Ansco Color process. In: American Cinematographer, 33,3, March 1952, pp. 106-107, 122-124. View Quote
Schadlich, Karl (1956): Professional Printing Techniques for Ansco Color Negative-Positive Motion Picture Film. In: Journal SMPTE, Vol. 65, July 1956, pp. 375-377.
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. 46. 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
Brune, Wolfgang (1954): Ein altes farbenfotografisches Verfahren unter neuen Gesichtspunkten. In: Bild und Ton, 7,10, pp. 293–295. (in German) 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
Idelson, Martin (1950): Note on Metol Analysis In Photographic Developers. In: Journal of the Society of Motion Picture and Television Engineers, 54,4, pp. 492–493. View Quote
Koshofer, Gert (1966): Fünfundzwanzig Jahre deutscher Farbenspielfilm. In: Film – Kino – Technik, Vol. 20, No. 10, 1966, pp. 259-262, on p. 261. (in German) 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 p. 6 View Quote and on p. 7. View Quote
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on p. 165. (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, pp. 139-142. View Quote
Films
The Wild North (USA 1952, Andrew Marton)1
Escape from Fort Bravo (USA 1953, John Sturges)
Ride Vaquero (USA 1953, John Farrow)
Take the High Ground (USA 1953, Richard Brooks)
Brigadoon (USA 1954, Vincente Minnelli)3
Seven Brides for Seven Brothers (USA 1954, Stanley Donen)2
The Student Prince (USA 1954, Richard Thorpe)
Some well-known titles, like Kiss Me Kate (3D and 2D), Arena (3D) and The Long, Long Trailer are sometimes credited to the Ansco Color Negative/Positive process. However, filmed on Ansco Color Negative, the release printing was done by Technicolor’s imbibition process (see statement of the former Technical Director of Ansco in Duerr [1954]).
1 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. 6. View Quote
2 Mamoulian, Rouben (1960): Color and Light in Films. The Esthetics of Colour. In: Film Culture, 21, pp. 68–79.
3 Spehr, Paul C. (1979): Fading, Fading, Faded. The Colour Film in Crisis. In: American Film, Nov., pp. 56–61.
Downloads
Schadlich, Karl (1956): Professional Printing Techniques for Ansco Color Negative-Positive Motion Picture Film. In: Journal of the SMPTE, 65, July 1956, pp. 375–377.
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