Technicolor No. V: Dye transfer prints from chromogenic negative
Description
With the introduction of the chromogenic Eastmancolor negative/positive process it became possible to shoot with a normal one-strip camera. Three b/w color separations were produced from the Eastmancolor negative and printed by dye transfer on blank film, for more information on the Technicolor dye transfer process see Technicolor IV.
-
Written on the Wind (1956). Credit: Harvard Film Archive, item no. 3663. Photograph by Barbara Flueckiger.
-
Credit: Harvard Film Archive, item no. 1781. Film: Le Ballon rouge (1956). Photograph by Barbara Flueckiger.
-
Credit: Harvard Film Archive, item no. 1781. Film: Le Ballon rouge (1956). Photograph by Barbara Flueckiger.
-
Surface emulsion side, raking light (tungsten). Credit: Carsta Knaack, HTW Berlin. Film: Robin Hood, 1973.
-
Photomicrograph 16x, raking light. Credit: Carsta Knaack, HTW Berlin. Film: Robin Hood, 1973.
-
Photomicrograph, toplight on white background. Credit: Carsta Knaack, HTW Berlin. Film: Robin Hood, 1973.
-
Photomicrograph 6,4x, top light on white background: picture and perforation area with spots of dye, yellow edge. Credit: Carsta Knaack, HTW Berlin. Film: Ssssss (1973).
-
Photomicrograph 10x, top light on white background: picture and perforation area with spots of dye, yellow edge, yellow dye in frame line. Credit: Carsta Knaack, HTW Berlin. Film: Ssssss (1973).
-
Photomicrograph 16x, top light on white background: sound track and perforation area with spots of dye, yellow edge. Credit: Carsta Knaack, HTW Berlin. Film: Ssssss (1973).
-
Raking light: surface of picture and perforation area with small spots of dye, yellow edge. Credit: Carsta Knaack, HTW Berlin. Film: Ssssss (1973).
-
Surface emulsion side, raking light (tungsten). Credit: Carsta Knaack, HTW Berlin. Film: Robin Hood, 1973.
-
Vertigo (USA 1958, Alfred Hitchcock). Credit: Harvard Film Archive, item no. 246. HDR photograph by Barbara Flueckiger.
Galleries Open all Galleries ▼
Original Technical Papers and Primary Sources
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 pp. 26-27 and p. 58 View Quote and p. 27. View Quote
Kalmus, Herbert T. (1953): Technicolor and New Screen Techniques. In: Martin Quigley (ed.): New Screen Techniques. New York: Quigley, pp. 78–81. View Quote
Secondary Sources
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. 131–134 View Quote, on pp. 135–140 View Quote and on pp. 141–143. View Quote
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
Ashton, George (1954): Colour at the Cinema. In: The British Journal of Photography, 101, 16 April 1954, pp. 195–196, on p. 195. View Quote
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, pp. 135–156. View Quote
Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on p. 351. View Quote
Bordwell, David; Staiger, Janet; Thompson, Kristin (1985): The Classical Hollywood Cinema. Film Style and Mode of Production to 1960. London: Routledge, 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 p. 114. (in French) 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
Farinelli, Nicola; Mazzanti, Gian Luca (2001): Il restauro. Metodo e tecnica. In: Gian Piero Brunetta (ed.): Storia del cinema mondiale. Vol. 5. Teorie, strumenti, memorie. Bologna: Einaudi, pp. 1119–1174, on pp. 1147–1148. (in Italian) 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
Haines, Richard W. (1993): Technicolor Movies. The History of Dye Transfer Printing. Jefferson, North Carolina: McFarland, pp. 65-119. 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 p. 201 View Quote and on pp. 202–203. (in French) View Quote
Lavedrine, Bertrand (1998): History and Technology of Colour Photographic Processes. In: Luciano Berriatúa et al.: Tutti i colori del mondo. Il colore nei mass media tra 1900 e 1930. = All the colours of the world. Reggio Emilia: Edizioni Diabasis, pp. 117-119, on p. 119. View Quote
Mayer, Harold A.; Brackett, F. P. (1967): Technicolor Triple-Rank Super 8. In: Journal of the Society of Motion Picture Engineers, 76, Oct. 1967, pp. 1005-1006.
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
Nieter-O’Leary (1957): Technirama. Ein neues Breitwandsystem von Technicolor. In: Filmtechnikum, 8,1, p. 208. (in German) View Quote
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, pp. 160–161. (in Italian) View Quote
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, pp. 115–117. (in Italian) 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
Measurements

Dyes’ absorbances extracted with a statistical method from multispectral image capture. Credit: Giorgio Trumpy, ERC Advanced Grant FilmColors.

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.
Films
For a comprehensive list of films in Technicolor V see Haines, Richard W. (1993): Technicolor Movies. The History of Dye Transfer Printing. Jefferson, North Carolina: McFarland, pp. 88-99.
Downloads
Mayer, Harold A.; Brackett, F.P. (1967): Technicolor Triple-Rank Super 8. In: Journal of the Society of Motion Picture and Television Engineers, 76, Oct. 1967, pp. 1005–1006.
Download PDFDavine, Lauren (2016): “Could We Not Dye It Red at Least?”. Color and Race in West Side Story. In: Journal of Popular Film and Television, 44,3, Jul., pp. 139–149.
Download PDFPal Joey (USA 1957, George Sidney):
Download PDF
Brinckmann, Christine N. (2001): Cinematic Color as Likeness and as Artifact. In: Brinckmann: Color and Empathy. Amsterdam: Amsterdam University Press, 2015, pp. 11–31 [On Pal Joey (USA 1957, George Sidney) and Chungking Express (HK 1994, Wong Kar-Wai)].
Patents
Restoration
Harris, Robert; Belton, John (2000): Getting It Right. Robert Harris on Colour Restoration In: Film History, 12,4, Color Film (2000), pp. 393-409.
O’Connell, Bill (1979): Fade Out. In: Film Comment, 15,5, pp. 11-18. View Quote
A Star is Born (USA 1954, George Cukor):
Haver, Ronald (2002): A Star Is Born. The Making of the 1954 Movie and Its 1983 Restoration. New York; Milwaukee, WI: Applause Theatre and Cinema Books, on pp. 244–245 View Quote and on pp. 249–250. View Quote
Lawrence of Arabia (GBR / USA 1962, David Lean):
Frumkes, Roy (1989): The Restoration of Lawrence Of Arabia. In: Films in Review, 40,5, 1989, pp. 285-291, on p. 285 View Quote, on p. 288 View Quote, on pp. 288-290 View Quote and on p. 291. View Quote
Vertigo (USA 1958, Alfred Hitchcock):
Enticknap, Leo (2004): Some Bald Assertion by an Ignorant and Badly Educated Frenchman. Technology, Film Criticism, and the “Restoration” of Vertigo (1996). In: The Moving Image 4,1, pp. 130-141.
Roger, Philippe (2000): Images nouvelles pour films anciens, ou, La restauration de film et ses enjeux. L’exemple de Vertigo. In: Odile Bächler, Claude Murcia et Francis Vanoye (eds): Cinéma et audio-visuel. Nouvelles images, approches nouvelles. Paris: L’Harmattan.
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 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. 125–130. 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. 141–146. View Quote
Rohmer, Eric (1989): Of Taste and Colors. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York, London: Routledge, pp. 121-125. View Quote
A Star is Born (USA 1954, George Cukor):
Haver, Ronald (2002): A Star Is Born. The Making of the 1954 Movie and Its 1983 Restoration. New York; Milwaukee, WI: Applause Theatre and Cinema Books, on pp. 134–136. View Quote
The Birds (USA 1963, Alfred Hitchcock):
Anonymous (1963): The Birds. In: Film Bulletin, Apr., p. 16. View Quote
Full text on the Media History Digital Library website. View Link
Lawrence of Arabia (GBR / USA 1962, David Lean):
Anonymous (1963): Making an Academy Award Winning Picture. In: American Cinematographer, May, p. 263. View Quote
Full text on the Media History Digital Library website. View Link
The Robe (USA 1953, Henry Koster):
Anonymous (1953): The Robe with Richard Burton, Victor Mature and Jean Simmons. In: Harrison’s Reports, XXXV,38, Sep., p. 152. View Quote
Full text on the Media History Digital Library website. View Link
Funny Face (USA 1957, Stanley Donen):
Anonymous (1957): It’s News… In Hollywood. In: Photoplay, 51,5, May, pp. 56–57, on p. 57. View Quote
Kane, Sherwin (1957): Funny Face. In: Motion Picture Daily, 81,30, Mar., p. 8 and p. 12. View Quote
Goldwyn, Samuel (1957): Letter to Mr. Barney Balaban. In: Motion Picture Daily, 81,47, Mar., p. 3. View Quote
Selected Analyses
A Star is Born (USA 1954, George Cukor):
Harrell, Al (1984): The Making of A Star is Born. In: American Cinematographer, 65,2, pp. 34–37, on pp. 35–36. View Quote
Haver, Ronald (2002): A Star Is Born. The Making of the 1954 Movie and Its 1983 Restoration. New York; Milwaukee, WI: Applause Theatre and Cinema Books, on pp. 134–136 View Quote and on pp. 155–156. View Quote
All That Heaven Allows (USA 1955, Douglas Sirk):
Haralovich, Mary Beth (1990): All That Heaven Allows. Color, Narrative Space and Melodrama. In: Angela Dalle Vacche and Brian Price (eds.): Color. The Film Reader. New York: Routledge, 2006, pp. 145-153, on pp. 148-153. View Quote
Higgins, Scott (2013): Chromo-Drama. Innovation and Convention in Douglas Sirk’s Color Designs. In: Brown, Simon; Street, Sarah; Watkins, Liz: Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 170-178. 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. 12–13. View Quote
Bonnie and Clyde (USA 1967, Arthur Penn):
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. 188–191. View Quote
Boom (GB 1986, Joseph Losey):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on p. 115. (in French) View Quote
Frenzy (GBR 1972, 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. 137–138. View Quote
Funny Face (USA 1957, Stanley Donen):
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
Krämer, Peter (2000): ‘A cutie with more than beauty’. Audrey Hepburn, the Hollywood Musical and Funny Face. In: Bill Marshall; Robynn Stilwell (eds.): Musicals. Hollywood and Beyond. Exeter: Intellect.
Marschall, Susanne ([2005] 2009): Farbe im Kino. Marburg: Schüren, pp. 323–324. (in German)
Penning, Lars (1990): Die Farbgestaltung in Funny Face (Stanley Donen, USA 1957). In: Hans J. Wulff (ed.): 2. Film- und Fernsehwissenschaftliches Kolloquium. Münster: MAkS. (in German)
Giulietta degli spirti/Juliet of the Spirits (ITA/FRA 1965, Federico Fellini):
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. 194–195. View Quote
Heller in Pink Tights (USA 1960, George Cukor):
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
Invitation To A Dance (USA 1956, Gene Kelly):
Mamoulian, Rouben (1960): Color and Light in Films. The Esthetics of Colour. In: Film Culture, 21, pp. 68–79, on p. 79. View Quote
Lawrence of Arabia (GBR, USA 1962, David Lean):
Kennedy, Christina B. (1994): The Myth of Heroism. Man and Desert in Lawrence of Arabia. In: Stuart C. Aitken and Leo E. Zonn (eds.): Place, Power, Situation, and Spectacle. A Geography of Film. Lanham, Maryland: Rowman and Littlefield Publishers, pp. 161–179, on pp. 168-173. View Quote
Le mépris (FRA/ITA 1963, Jean-Luc Godard):
Sharits, Paul (1966): Red, Blue, Godard. In: Film Quarterly, 19,4, 1966, pp. 24-29, on pp. 24-25 and pp. 26-29. View Quote
Marnie (USA 1964, Hitchcock, Alfred):
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. 134–142. View Quote
Belton, John (2013): Color and Meaning in Marnie. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 189-195. View Quote
Moby Dick (USA 1956, John Huston):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on pp. 112–113 View Quote and on p. 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. 10. View Quote
Misek, Richard (2010): Chromatic Cinema. A History of Screen Color. Chichester: John Wiley & Sons, on p. 157. View Quote
Mamoulian, Rouben (1960): Color and Light in Films. The Esthetics of Colour. In: Film Culture, 21, pp. 68–79, on pp. 78–79. View Quote
North by Northwest (USA 1959, 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. 134–141. View Quote
Pal Joey (USA 1957, George Sidney):
Brinckmann, Christine N. (2001): Cinematic Color as Likeness and as Artifact. In: Brinckmann: Color and Empathy. Amsterdam: Amsterdam University Press, 2015, pp. 11–31 [On Pal Joey (USA 1957, George Sidney) and Chungking Express (HK 1994, Wong Kar-Wai)]. Download PDF
Rear Window (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 pp. 132–138. View Quote
Rebel Without a Cause (USA 1955, Nicholas Ray)
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 13–14. View Quote
Reflections in a Golden Eye (USA 1967, John Huston):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on pp. 115–116.) (in French) View Quote
Rosemary’s Baby (USA 1968, Roman Polanski):
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 65–69. View Quote
Suspiria (ITA 1977, Dario Argento):
Manders, Stanley (2010): Terror in Technicolor. Luciano Tovoli, ASC, AIC Recalls the Details of his Approach to Dario Argento’s Legendary Horror film Suspiria. In: American Cinematographer, No. 2, 2010, pp. 68–78, on pp. 69–76. View Quote
Misek, Richard (2010): Chromatic Cinema. A History of Screen Color. Chichester: John Wiley & Sons, on pp. 142–143. View Quote
Stagni, Piercesare; Valente, Valentina (2018): On Suspiria and Beyond. A Conversation with Cinematographer Luciano Tovoli. Artdigiland Edition, on p. 58 View Quote, on pp. 67–80 View Quote and on pp. 93–96. View Quote
The Birds (USA 1963, 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. 135–142. View Quote
The Buccaneer (USA 1958, Anthony Quinn):
Bourget, Jean-Loup (1995): Esthétiques du Technicolor. In: Jacques Aumont (ed.): La couleur au cinéma. Mailand: Mazzotta, pp. 110–119, on pp. 112–113.) (in French) View Quote
The Godfather (USA 1972, Francis Ford Coppola):
Bellantoni, Patti (2005): If It’s Purple, Someone’s Gonna Die. The Power of Color in Visual Storytelling. Taylor & Francis, on pp. 115–116. View Quote
Pizzello, Stephen (1999): The Godfather. In: American Cinematographer, 80,3, p. 132, on p. 132. View Quote
Steele, Gregg (1994): On Location with The Godfather. In: American Cinematographer, 75,8, pp. 89–92, on pp. 89–90. View Quote
The Man who Knew too Much (GBR 1956, 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. 136–138. View Quote
The Nun’s Story (USA 1959, Fred Zinnemann):
Basten, Fred E. (1980): Glorious Technicolor. The Movies’ Magic Rainbow. South Brunswick: Barnes, on pp. 132–135. View Quote
The Red Desert/Il deserto rosso (FRA/ITA 1964, Michelangelo Antonioni):
Everett, Wendy (2009): Colour in Cinema. A Musical Phenomenon? In: Raphaëlle Costa de Beauregard (ed.): Cinéma et couleur. Paris: M. Houdiard, pp. 347–357, on pp. 351–352. 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. 194–196. View Quote
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 231–242. (in Italian) View Quote
Pierotti, Federico (2016): Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni. Pisa: Edizioni ETS, on pp. 200–206 View Quote and on pp. 207–208. (in Italian) View Quote
The Robe (USA 1953, Henry Koster):
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. 3. View Quote
The Searchers (USA 1956, John Ford):
Kindem, Gorham Anders (1977): Toward a Semiotic of Color in Popular Narrative Films. Color Signification in John Ford’s The Searchers. In: Film Reader, 2, pp. 78–84.) View Quote
The Wild Bunch (USA 1969, Sam Peckinpah):
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. 421–424. (in French) View Quote
Topaz (USA 1969, 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. 132–134. View Quote
Torn Curtain (USA 1966, 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. 134–141. View Quote
To Catch a Thief (USA 1955, 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. 132–137. View Quote
Ulisse/Ulysses (ITA 1954, Mario Camerini):
Pierotti, Federico (2012): La seduzione dello spettro. Storia e cultura del colore nel cinema. Genova: Le Mani-Microart, on pp. 208–209. (in Italian) View Quote
Vertigo (USA 1958, 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. 134–141. View Quote
Potts, Neill (2005): Character Interiority. Space, Point of View and Performance in Hitchcock’s Vertigo (1958). In: John Gibbs and Douglas Pye (eds.): Style and Meaning. Studies in the Detailed Analysis of Film. Manchester: Manchester University Press, pp. 85–97, on pp. 93–94. View Quote
West Side Story (USA 1961, Jerome Robbins; Robert Wise):
Acevedo-Munoz, Ernesto R. (2013): West Side Story as Cinema. The Making and Impact of an American Masterpiece. Lawrence: University Press of Kansas.
Davine, Lauren (2016): “Could We Not Dye It Red at Least?”. Color and Race in West Side Story. In: Journal of Popular Film and Television, 44,3, Jul., pp. 139–149. Download PDF
Dunn, Linwood G. (1961): Effects and Titles for West Side Story. In: American Cinematographer, 42,12, pp. 736–738, 757–760, on pp. 737–738, 757–758. View Quote
Lightman, Herb A. (1961): The Photography of West Side Story. In: American Cinematographer, 42,12, pp. 726–727, 754–756, on pp. 727, 754 – 756. View Quote