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Ansco Color negative / positive process








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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.

Forrest, John L. (1949): Metallic-Salt Track on Ansco 16mm Color Film. In: Journal of the Society of Motion Picture and Television Engineers, 53,7, pp. 40–49, on p. 40 View Quote and on pp. 43–48. View Quote

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