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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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Galleries Hide all Galleries ×Open all Galleries ▼

    • Vertigo (1958)
    (164 Images)

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

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

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

    • North by Northwest (1959)
    (97 Images)

    • Il buono, il brutto, il cattivo (1966)
    (211 Images)

    • Technicolor No. V Samples, Gert Koshofer Collection
    (10 Images)

    • Web of Love (1966)
    (16 Images)

    • The Birds (1963)
    (13 Images)

    • West Side Story (1961)
    (218 Images)

    • Suspiria (1977)
    (200 Images)

    • A Star Is Born (1954)
    (26 Images)

    • Technicolor No. V Printing Process (Cinematography Collection)
    (16 Images)

    • Pal Joey (1957)
    (15 Images)

    • People and Places. Switzerland (1956)
    (47 Images)

    • I tre volti della paura (1963)
    (29 Images)

    • Il deserto rosso (1964)
    (5 Images)

    • Torn Curtain (1966)
    (17 Images)

    • Funny Face (1957)
    (9 Images)

    • Matchless (1967)
    (15 Images)

    • Bora Bora (1968)
    (34 Images)

    • The Lion in Winter (1968)
    (24 Images)

    • Queen of the House (1965)
    (18 Images)

    • Where Did All the Good Things Go (1963)
    (7 Images)

    • Mother Nature Father Time (1965)
    (22 Images)

    • Everything I’ve Got ([1969])
    (13 Images)

    • Goldfinger (1964)
    (27 Images)

    • Harold and Maude (1971)
    (13 Images)

    • Seven Brides for Seven Brothers (1954)
    (11 Images)

    • Neun Leben hat die Katze (1968)
    (14 Images)

    • Rosemary’s Baby (1968)
    (27 Images)

    • Mary Poppins (1964)
    (23 Images)

    • The Robe (1953)
    (77 Images)

    • Glas (1958)
    (78 Images)

    • Technicolor No. V Samples (Kodak Film Samples Collection)
    (17 Images)

    • Lawrence of Arabia (1962)
    (229 Images)

    • The Godfather (1972)
    (121 Images)

    • Marnie (1964)
    (68 Images)

    • Fahrenheit 451 (1966)
    (60 Images)

    • Indiscreet (1957)
    (50 Images)

    • Rebel Without a Cause (1955)
    (65 Images)

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.

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

 

Fahrenheit 451 (GBR 1966, François Truffaut):
Crowther, Bosley (1966): Screen. Fahrenheit 451 Makes Burning Issue Dull. In: The New York Times, 15 November 1966, p. 53. View Quote
Full text on The New York Times 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

 

Il deserto rosso (ITA 1964, Michelangelo Antonioni):
Curtiss, Thomas Quinn (1964): Deserto Rosso Wins Top Prize At 25th Venice Film Festival. In: The New York Times, Sep., p. 39. View Quote
Full text on The New York Times website. View Link

Curtiss, Thomas Quinn (1964): Antonioni Movie hailed in Venice. Red Desert Draws Praise From Opposing Factions. In: The New York Times, Sep., p. 32. View Quote
Full text on The New York Times 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

 

Seven Brides for Seven Brothers (USA 1954, Stanley Donen):
Dinoff, Lester (1954): Seven Brides for 7 Brothers. In: Motion Picture Daily, 75,104, Jun., p. 1 and 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

 

Il deserto rosso (ITA 1964, Michelangelo Antonioni):
Davis, Melton S. (1964): Most Controversial Director. In: The New York Times, Nov., p. 34, p. 104, pp. 106–107, pp. 109–110, p. 112 and p. 114, on p. 109 View Quote and on p. 114. View Quote
Full text on The New York Times website. View Link

 

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

Brost, Laure (2007): On Seeing Red. The Figurative Movement of Film Colour. In: Wendy Everett (ed.): Questions of Colour in Cinema. From Paintbrush to Pixel. Peter Lang: Oxford, pp. 127–139, on pp. 127–128 View Quote and on pp. 131-133. 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

Production Reports

Il deserto rosso (ITA 1964, Michelangelo Antonioni):
Davis, Melton S. (1964): Most Controversial Director. In: The New York Times, Nov., p. 34, p. 104, pp. 106–107, pp. 109–110, p. 112 and p. 114, on p. 34 and on p. 104 View Quote and on p. 112 and on p. 114 View Quote.
Full text on The New York Times website. View Link

 

Rear Window (USA 1954, Alfred Hitchcock):
Gavin, Arthur E. (1954): Rear Window. In: American Cinematographer, 35,2, pp. 76–78 and pp. 97–102, on p. 78 and on pp. 97–100. View Quote