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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

 

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

 

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