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Technicolor No. V: Dye transfer prints from chromogenic negative

Year

1954

Principle

Subtractive 3 color: Dye transfer

Invented by

(Technicolor)

Country

USA

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.


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    • All That Heaven Allows (1955)
    (50 Images)

Three prints of All That Heaven Allows (1955)

Credits:

Images courtesy of the Academy Film Archive, Los Angeles

Harvard Film Archive, item no. 769 and no. 3305 (trailer).

Library of Congress.

Photographs by Barbara Flueckiger.

 

 

Selected Analyses:

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

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    • Written on the Wind (1956)
    (41 Images)

Two Technicolor dye-transfer prints of Written on the Wind (USA 1956, Douglas Sirk).

Credit: Harvard Film Archive, item no. 3663 (35 mm dye transfer print, trailer) and item no. 2854 (16 mm dye transfer print).

Photographs by Barbara Flueckiger.

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    • To Catch a Thief (1955)
    (52 Images)

Three dye-transfer prints of To Catch a Thief (USA 1955, Alfred Hitchcock), originally shot in VistaVision.

Credit: Harvard Film Archive, item no. 8010 (trailer) and item no. 1014.

Credit: Courtesy of The Museum of Modern Art Department of Film.

Photographs by Barbara Flueckiger.

See Allen, Richard (2006): Hitchcock’s Color Designs. In: Dalle, Vacche, Angela/Price, Brian (ed.): Color. The Film Reader. New York (etc.): Routledge, pp. 131–144.

 

 

Selected Analyses:

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

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    • Vertigo (1958)
    (164 Images)

Comparison of three different Technicolor dye-transfer prints of Vertigo (USA 1958, Alfred Hitchcock), originally shot in VistaVision.

Credit: Harvard Film Archive, item no. 246, Academy Film Archive and Library of Congress.

HDR photographs by Barbara Flueckiger.

 

 

Selected Analyses:

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

 

 

Restoration:

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.

Harris, Robert; Belton, John (2000): Getting It Right. Robert Harris on Colour Restoration In: Film History, Vol. 12, No. 4, Color Film (2000), pp. 393-409.

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.

DeRosa, Steven (2012): A Very Different “Slice of Cake”. Restoring Alfred Hitchcock’s Vertigo. Blog Post

Smith, Steven C. (1996): Vertigo Interviews. Patricia Hitchcock, Kim Novak and Katz & Harris. Online

 

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    • North by Northwest (1959)
    (97 Images)

Comparison of two dye-transfer prints of North by Northwest (USA 1959, Alfred Hitchcock), originally shot in VistaVision.

Credits:

Harvard Film Archive, item no. 700

Library of Congress.

HDR photographs by Barbara Flueckiger.

 

 

Selected Analyses:

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

View Gallery Page


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