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ANSCOCHROME
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
DUFAYCOLOR ILLUSTRATIONS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
TECHNICOLOR NO. III
The Virgin Queen (USA 1928, Roy William Neill) 26. The Mysterious Island (Technicolor and tinting, with some shots in Kelley Color) (1929) 8, 17, 23. Lonely Gigolo (short, USA 1930, Jack Haskell) Legong: Dance of the Virgins (USA 1935, Henri de la Falaise) 32.GEVACOLOR NEGATIVE
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
ANSCO COLOR NEGATIVE / POSITIVE PROCESS Seven Brides for Seven Brothers (USA 1954, Stanley Donen) 2. The Student Prince (USA 1954, Richard Thorpe) Some well-known titles, like Kiss Me Kate (3D and 2D), Arena (3D) and The Long, Long Trailer are sometimes credited to the Ansco Color Negative/Positive process. However, filmed on Ansco Color Negative, the release printing was doneby
FERRANIA COLOR / FERRANIACOLOR / 3M COLOR The Queen in Australia (AUS 1954, Colin Dean) 22. Giove in doppiopetto (ITA 1955, Daniele D’Anza) 14. La risaia (ITA 1955, Raffaello Matarazzo, Eastman Color negative, distributed in Ferraniacolor) 17. The Queen of Babylon (ITA 1956) 1. Dagli Appennini alle Ande (ITA 1959, Folco Quilici) 21.KODACHROME II
Kodachrome II was introduced in 1961. It was the first film stock since 1936 that was specifically meant for amateur use. Eastman Kodak presented the material as superior to the ‘regular Kodachrome’. It supposedly had a higher speed of 25 ASA for daylight and 40 ASA for photoflood illumination, was sharper and had an improved imagequality.
TECHNICOLOR MONOPACK / KODACHROME PROFESSIONAL TYPE 5267 × About this Project. This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptualpredecessors.
TECHNICOLOR AND THE SIRKIAN STYLE Douglas Sirk's 1950s melodramas are very special in their application of Technicolor. As Thomas Elsaesse eleborated in his seminal paper "Tales of Sound and Fury. Observations of the Family Melodrama.” (in Monogram no. 4, 1972, pp. 2–15), Sirk's style reflects the oppressed emotions and the societal conditions of their female protagonists. PATHÉCOLOR / PATHÉCHROME / STENCIL COLORING Stencil colored films can be identified by the sharp outlines that define the colored areas. Color hues were most often soft pastels. The stencil colored images have a painterly quality, but often they strive for a reality efffect. Casanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française.ANSCOCHROME
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
DUFAYCOLOR ILLUSTRATIONS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
TECHNICOLOR NO. III
The Virgin Queen (USA 1928, Roy William Neill) 26. The Mysterious Island (Technicolor and tinting, with some shots in Kelley Color) (1929) 8, 17, 23. Lonely Gigolo (short, USA 1930, Jack Haskell) Legong: Dance of the Virgins (USA 1935, Henri de la Falaise) 32.GEVACOLOR NEGATIVE
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
ANSCO COLOR NEGATIVE / POSITIVE PROCESS Seven Brides for Seven Brothers (USA 1954, Stanley Donen) 2. The Student Prince (USA 1954, Richard Thorpe) Some well-known titles, like Kiss Me Kate (3D and 2D), Arena (3D) and The Long, Long Trailer are sometimes credited to the Ansco Color Negative/Positive process. However, filmed on Ansco Color Negative, the release printing was doneby
FERRANIA COLOR / FERRANIACOLOR / 3M COLOR The Queen in Australia (AUS 1954, Colin Dean) 22. Giove in doppiopetto (ITA 1955, Daniele D’Anza) 14. La risaia (ITA 1955, Raffaello Matarazzo, Eastman Color negative, distributed in Ferraniacolor) 17. The Queen of Babylon (ITA 1956) 1. Dagli Appennini alle Ande (ITA 1959, Folco Quilici) 21.KODACHROME II
Kodachrome II was introduced in 1961. It was the first film stock since 1936 that was specifically meant for amateur use. Eastman Kodak presented the material as superior to the ‘regular Kodachrome’. It supposedly had a higher speed of 25 ASA for daylight and 40 ASA for photoflood illumination, was sharper and had an improved imagequality.
TECHNICOLOR MONOPACK / KODACHROME PROFESSIONAL TYPE 5267 × About this Project. This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptualpredecessors.
TECHNICOLOR AND THE SIRKIAN STYLE Douglas Sirk's 1950s melodramas are very special in their application of Technicolor. As Thomas Elsaesse eleborated in his seminal paper "Tales of Sound and Fury. Observations of the Family Melodrama.” (in Monogram no. 4, 1972, pp. 2–15), Sirk's style reflects the oppressed emotions and the societal conditions of their female protagonists. TIMELINE OF HISTORICAL FILM COLORS The Timeline of Historical Film Colors. is a comprehensive resource for the investigation of film color technology and aesthetics, analysis and restoration, developed and curated by Barbara Flueckiger since 2012. Check out our recent publication Color Mania. FUJICOLOR | TIMELINE OF HISTORICAL FILM COLORS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
TECHNICOLOR NO. III
The Virgin Queen (USA 1928, Roy William Neill) 26. The Mysterious Island (Technicolor and tinting, with some shots in Kelley Color) (1929) 8, 17, 23. Lonely Gigolo (short, USA 1930, Jack Haskell) Legong: Dance of the Virgins (USA 1935, Henri de la Falaise) 32. AGFACOLOR NEU / AGFACOLOR The result was the new Kodachrome film, launched in 1935. Three very thin emulsion layers were coated on film base, the emulsions being sensitised with non-wandering dyes to red, green and blue light, the red-sensitive layer being at the bottom.” (Coe, Brian (1978): ColourPhotography. The
KINEMACOLOR
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
KODACHROME USED FOR DUPLICATION × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
GEVACOLOR NEGATIVE
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
FILMCOLORS – AN INTERDISCIPLINARY APPROACH Microscopy of Historical Film Colors New Book on Early Applied Colors “If you build it, they will come.” Fifth International ConferenceColour in Film
KODACHROME | TIMELINE OF HISTORICAL FILM COLORS The result was the new Kodachrome film, launched in 1935. Three very thin emulsion layers were coated on film base, the emulsions being sensitised with non-wandering dyes to red, green and blue light, the red-sensitive layer being at the bottom. To deal with the unwanted blue sensitivity of the red and green layers, a yellow filter layerwas
GROSSE FREIHEIT NR. 7 (1944) × About this Project. This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptualpredecessors.
TIMELINE OF HISTORICAL FILM COLORS The Timeline of Historical Film Colors. is a comprehensive resource for the investigation of film color technology and aesthetics, analysis and restoration, developed and curated by Barbara Flueckiger since 2012. Check out our recent publication Color Mania. PATHÉCOLOR / PATHÉCHROME / STENCIL COLORING Stencil colored films can be identified by the sharp outlines that define the colored areas. Color hues were most often soft pastels. The stencil colored images have a painterly quality, but often they strive for a reality efffect. Casanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. LA VIE ET LA PASSION DE JÉSUS CHRIST (1907) La vie et la passion de Jésus Christ (FRA 1907, Lucien Nonguet and Ferdinand Zecca). Credit: EYE Film Museum. Photographs of the stencil colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.Edge mark: Pathé (1911 onward), thin italic letters, on one edge, PATHE FRERES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE EN BELGIQUE ET EN DUFAYCOLOR | TIMELINE OF HISTORICAL FILM COLORS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
EASTMAN COLOR
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
KINEMACOLOR
With the Fighting Forces of Europe (1914) 4. The World, the Flesh and the Devil (1914) Britain Prepared (1915) (monochrome film with Kinemacolor sequences) 4. See also list of surviving Kinemacolor prints on the Charles Urban website by Luke McKernan. The Birth of a Flower (GBR 1910, F. Percy Smith) 2. FERRANIA COLOR / FERRANIACOLOR / 3M COLOR The Queen in Australia (AUS 1954, Colin Dean) 22. Giove in doppiopetto (ITA 1955, Daniele D’Anza) 14. La risaia (ITA 1955, Raffaello Matarazzo, Eastman Color negative, distributed in Ferraniacolor) 17. The Queen of Babylon (ITA 1956) 1. Dagli Appennini alle Ande (ITA 1959, Folco Quilici) 21. ANSCO COLOR NEGATIVE / POSITIVE PROCESS Seven Brides for Seven Brothers (USA 1954, Stanley Donen) 2. The Student Prince (USA 1954, Richard Thorpe) Some well-known titles, like Kiss Me Kate (3D and 2D), Arena (3D) and The Long, Long Trailer are sometimes credited to the Ansco Color Negative/Positive process. However, filmed on Ansco Color Negative, the release printing was doneby
TECHNICOLOR MONOPACK / KODACHROME PROFESSIONAL TYPE 5267 × About this Project. This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptualpredecessors.
TECHNICOLOR AND THE SIRKIAN STYLE Douglas Sirk's 1950s melodramas are very special in their application of Technicolor. As Thomas Elsaesse eleborated in his seminal paper "Tales of Sound and Fury. Observations of the Family Melodrama.” (in Monogram no. 4, 1972, pp. 2–15), Sirk's style reflects the oppressed emotions and the societal conditions of their female protagonists. TIMELINE OF HISTORICAL FILM COLORS The Timeline of Historical Film Colors. is a comprehensive resource for the investigation of film color technology and aesthetics, analysis and restoration, developed and curated by Barbara Flueckiger since 2012. Check out our recent publication Color Mania. PATHÉCOLOR / PATHÉCHROME / STENCIL COLORING Stencil colored films can be identified by the sharp outlines that define the colored areas. Color hues were most often soft pastels. The stencil colored images have a painterly quality, but often they strive for a reality efffect. Casanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. LA VIE ET LA PASSION DE JÉSUS CHRIST (1907) La vie et la passion de Jésus Christ (FRA 1907, Lucien Nonguet and Ferdinand Zecca). Credit: EYE Film Museum. Photographs of the stencil colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.Edge mark: Pathé (1911 onward), thin italic letters, on one edge, PATHE FRERES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE EN BELGIQUE ET EN DUFAYCOLOR | TIMELINE OF HISTORICAL FILM COLORS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
EASTMAN COLOR
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
KINEMACOLOR
With the Fighting Forces of Europe (1914) 4. The World, the Flesh and the Devil (1914) Britain Prepared (1915) (monochrome film with Kinemacolor sequences) 4. See also list of surviving Kinemacolor prints on the Charles Urban website by Luke McKernan. The Birth of a Flower (GBR 1910, F. Percy Smith) 2. FERRANIA COLOR / FERRANIACOLOR / 3M COLOR The Queen in Australia (AUS 1954, Colin Dean) 22. Giove in doppiopetto (ITA 1955, Daniele D’Anza) 14. La risaia (ITA 1955, Raffaello Matarazzo, Eastman Color negative, distributed in Ferraniacolor) 17. The Queen of Babylon (ITA 1956) 1. Dagli Appennini alle Ande (ITA 1959, Folco Quilici) 21. ANSCO COLOR NEGATIVE / POSITIVE PROCESS Seven Brides for Seven Brothers (USA 1954, Stanley Donen) 2. The Student Prince (USA 1954, Richard Thorpe) Some well-known titles, like Kiss Me Kate (3D and 2D), Arena (3D) and The Long, Long Trailer are sometimes credited to the Ansco Color Negative/Positive process. However, filmed on Ansco Color Negative, the release printing was doneby
TECHNICOLOR MONOPACK / KODACHROME PROFESSIONAL TYPE 5267 × About this Project. This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptualpredecessors.
TECHNICOLOR AND THE SIRKIAN STYLE Douglas Sirk's 1950s melodramas are very special in their application of Technicolor. As Thomas Elsaesse eleborated in his seminal paper "Tales of Sound and Fury. Observations of the Family Melodrama.” (in Monogram no. 4, 1972, pp. 2–15), Sirk's style reflects the oppressed emotions and the societal conditions of their female protagonists.TECHNICOLOR NO. III
The Virgin Queen (USA 1928, Roy William Neill) 26. The Mysterious Island (Technicolor and tinting, with some shots in Kelley Color) (1929) 8, 17, 23. Lonely Gigolo (short, USA 1930, Jack Haskell) Legong: Dance of the Virgins (USA 1935, Henri de la Falaise) 32.HAND COLORING
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
AGFACOLOR NEU / AGFACOLOR Lust for Life ( Vicent van Gogh – Ein Leben in Leidenschaft, USA 1956, Vincente Minnelli) negative, CinemaScope, print in Eastman Color Print Film (Metrocolor). 1. US-American feature films in Agfacolor. Carnival Story (USA 1954, Kurt Neumann) negative, print in Technicolor; produced by an American company, shot in Germany. 24. AUTOCHROME | TIMELINE OF HISTORICAL FILM COLORS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
KODACHROME USED FOR DUPLICATION × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
TECHNICOLOR NO. IV: THREE-STRIP Description. With the fourth Technicolor process the company dominated the market for color films from the mid-1930s to the 1950s. In a special camera, three b/w negative films were exposed through a beam-splitter that consisted of two prisms to form a cube. KODACHROME | TIMELINE OF HISTORICAL FILM COLORS The result was the new Kodachrome film, launched in 1935. Three very thin emulsion layers were coated on film base, the emulsions being sensitised with non-wandering dyes to red, green and blue light, the red-sensitive layer being at the bottom. To deal with the unwanted blue sensitivity of the red and green layers, a yellow filter layerwas
TECHNICOLOR MONOPACK / KODACHROME PROFESSIONAL TYPE 5267 × About this Project. This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptualpredecessors.
THE RED SHOES (1948) The Red Shoes (GBR 1948, Michael Powell; Emeric Pressburger) is one of the most beautiful and well-known British Technicolor films. This gallery provides images from four different versions, a Finnish dye-transfer print, the images from the 2009 digital restoration by UCLA film archivist Robert Gitt (before and after), and a dye-transfer print from the British Film Institute.KODACHROME II
Kodachrome II was introduced in 1961. It was the first film stock since 1936 that was specifically meant for amateur use. Eastman Kodak presented the material as superior to the ‘regular Kodachrome’. It supposedly had a higher speed of 25 ASA for daylight and 40 ASA for photoflood illumination, was sharper and had an improved imagequality.
TIMELINE OF HISTORICAL FILM COLORS The Timeline of Historical Film Colors. is a comprehensive resource for the investigation of film color technology and aesthetics, analysis and restoration, developed and curated by Barbara Flueckiger since 2012. Check out our recent publication Color Mania. PATHÉCOLOR / PATHÉCHROME / STENCIL COLORING Stencil colored films can be identified by the sharp outlines that define the colored areas. Color hues were most often soft pastels. The stencil colored images have a painterly quality, but often they strive for a reality efffect. Casanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. LA VIE ET LA PASSION DE JÉSUS CHRIST (1907) La vie et la passion de Jésus Christ (FRA 1907, Lucien Nonguet and Ferdinand Zecca). Credit: EYE Film Museum. Photographs of the stencil colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.Edge mark: Pathé (1911 onward), thin italic letters, on one edge, PATHE FRERES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE EN BELGIQUE ET EN DUFAYCOLOR | TIMELINE OF HISTORICAL FILM COLORS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
EASTMAN COLOR
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
KINEMACOLOR
With the Fighting Forces of Europe (1914) 4. The World, the Flesh and the Devil (1914) Britain Prepared (1915) (monochrome film with Kinemacolor sequences) 4. See also list of surviving Kinemacolor prints on the Charles Urban website by Luke McKernan. The Birth of a Flower (GBR 1910, F. Percy Smith) 2.HAND COLORING
The process was very time-consuming and tedious, depending on the framerate 16 to 20 frames per second were. to be colored manually. Therefore it was mostly abandoned when stencil coloring was introduced. In contrast to stencilled films, hand-colored ones often have soft outlines and the application of color varies from frame toframe.
FERRANIA COLOR / FERRANIACOLOR / 3M COLOR The Queen in Australia (AUS 1954, Colin Dean) 22. Giove in doppiopetto (ITA 1955, Daniele D’Anza) 14. La risaia (ITA 1955, Raffaello Matarazzo, Eastman Color negative, distributed in Ferraniacolor) 17. The Queen of Babylon (ITA 1956) 1. Dagli Appennini alle Ande (ITA 1959, Folco Quilici) 21. ANSCO COLOR NEGATIVE / POSITIVE PROCESS Seven Brides for Seven Brothers (USA 1954, Stanley Donen) 2. The Student Prince (USA 1954, Richard Thorpe) Some well-known titles, like Kiss Me Kate (3D and 2D), Arena (3D) and The Long, Long Trailer are sometimes credited to the Ansco Color Negative/Positive process. However, filmed on Ansco Color Negative, the release printing was doneby
TECHNICOLOR AND THE SIRKIAN STYLE Douglas Sirk's 1950s melodramas are very special in their application of Technicolor. As Thomas Elsaesse eleborated in his seminal paper "Tales of Sound and Fury. Observations of the Family Melodrama.” (in Monogram no. 4, 1972, pp. 2–15), Sirk's style reflects the oppressed emotions and the societal conditions of their female protagonists. TIMELINE OF HISTORICAL FILM COLORS The Timeline of Historical Film Colors. is a comprehensive resource for the investigation of film color technology and aesthetics, analysis and restoration, developed and curated by Barbara Flueckiger since 2012. Check out our recent publication Color Mania. PATHÉCOLOR / PATHÉCHROME / STENCIL COLORING Stencil colored films can be identified by the sharp outlines that define the colored areas. Color hues were most often soft pastels. The stencil colored images have a painterly quality, but often they strive for a reality efffect. Casanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. LA VIE ET LA PASSION DE JÉSUS CHRIST (1907) La vie et la passion de Jésus Christ (FRA 1907, Lucien Nonguet and Ferdinand Zecca). Credit: EYE Film Museum. Photographs of the stencil colored nitrate print by Olivia Kristina Stutz, ERC Advanced Grant FilmColors.Edge mark: Pathé (1911 onward), thin italic letters, on one edge, PATHE FRERES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE EN BELGIQUE ET EN DUFAYCOLOR | TIMELINE OF HISTORICAL FILM COLORS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
EASTMAN COLOR
× Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
KINEMACOLOR
With the Fighting Forces of Europe (1914) 4. The World, the Flesh and the Devil (1914) Britain Prepared (1915) (monochrome film with Kinemacolor sequences) 4. See also list of surviving Kinemacolor prints on the Charles Urban website by Luke McKernan. The Birth of a Flower (GBR 1910, F. Percy Smith) 2.HAND COLORING
The process was very time-consuming and tedious, depending on the framerate 16 to 20 frames per second were. to be colored manually. Therefore it was mostly abandoned when stencil coloring was introduced. In contrast to stencilled films, hand-colored ones often have soft outlines and the application of color varies from frame toframe.
FERRANIA COLOR / FERRANIACOLOR / 3M COLOR The Queen in Australia (AUS 1954, Colin Dean) 22. Giove in doppiopetto (ITA 1955, Daniele D’Anza) 14. La risaia (ITA 1955, Raffaello Matarazzo, Eastman Color negative, distributed in Ferraniacolor) 17. The Queen of Babylon (ITA 1956) 1. Dagli Appennini alle Ande (ITA 1959, Folco Quilici) 21. ANSCO COLOR NEGATIVE / POSITIVE PROCESS Seven Brides for Seven Brothers (USA 1954, Stanley Donen) 2. The Student Prince (USA 1954, Richard Thorpe) Some well-known titles, like Kiss Me Kate (3D and 2D), Arena (3D) and The Long, Long Trailer are sometimes credited to the Ansco Color Negative/Positive process. However, filmed on Ansco Color Negative, the release printing was doneby
TECHNICOLOR AND THE SIRKIAN STYLE Douglas Sirk's 1950s melodramas are very special in their application of Technicolor. As Thomas Elsaesse eleborated in his seminal paper "Tales of Sound and Fury. Observations of the Family Melodrama.” (in Monogram no. 4, 1972, pp. 2–15), Sirk's style reflects the oppressed emotions and the societal conditions of their female protagonists. AGFACOLOR NEU / AGFACOLOR Lust for Life ( Vicent van Gogh – Ein Leben in Leidenschaft, USA 1956, Vincente Minnelli) negative, CinemaScope, print in Eastman Color Print Film (Metrocolor). 1. US-American feature films in Agfacolor. Carnival Story (USA 1954, Kurt Neumann) negative, print in Technicolor; produced by an American company, shot in Germany. 24.TECHNICOLOR NO. III
The Virgin Queen (USA 1928, Roy William Neill) 26. The Mysterious Island (Technicolor and tinting, with some shots in Kelley Color) (1929) 8, 17, 23. Lonely Gigolo (short, USA 1930, Jack Haskell) Legong: Dance of the Virgins (USA 1935, Henri de la Falaise) 32. AUTOCHROME | TIMELINE OF HISTORICAL FILM COLORS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
ANSCO COLOR NEGATIVE / POSITIVE PROCESS Seven Brides for Seven Brothers (USA 1954, Stanley Donen) 2. The Student Prince (USA 1954, Richard Thorpe) Some well-known titles, like Kiss Me Kate (3D and 2D), Arena (3D) and The Long, Long Trailer are sometimes credited to the Ansco Color Negative/Positive process. However, filmed on Ansco Color Negative, the release printing was doneby
DUFAYCOLOR ILLUSTRATIONS × Home. Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search via the tag cloud at the end of this page or directly on the search page, or see the contributing archives’ collections on theheader slides.
TECHNICOLOR NO. IV: THREE-STRIP Description. With the fourth Technicolor process the company dominated the market for color films from the mid-1930s to the 1950s. In a special camera, three b/w negative films were exposed through a beam-splitter that consisted of two prisms to form a cube. TECHNICOLOR MONOPACK / KODACHROME PROFESSIONAL TYPE 5267 × About this Project. This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptualpredecessors.
KODACHROME | TIMELINE OF HISTORICAL FILM COLORS The result was the new Kodachrome film, launched in 1935. Three very thin emulsion layers were coated on film base, the emulsions being sensitised with non-wandering dyes to red, green and blue light, the red-sensitive layer being at the bottom. To deal with the unwanted blue sensitivity of the red and green layers, a yellow filter layerwas
THE RED SHOES (1948) The Red Shoes (GBR 1948, Michael Powell; Emeric Pressburger) is one of the most beautiful and well-known British Technicolor films. This gallery provides images from four different versions, a Finnish dye-transfer print, the images from the 2009 digital restoration by UCLA film archivist Robert Gitt (before and after), and a dye-transfer print from the British Film Institute.KODACHROME II
Kodachrome II was introduced in 1961. It was the first film stock since 1936 that was specifically meant for amateur use. Eastman Kodak presented the material as superior to the ‘regular Kodachrome’. It supposedly had a higher speed of 25 ASA for daylight and 40 ASA for photoflood illumination, was sharper and had an improved imagequality.
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Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search
via the tag cloud at the end of this page or directly on the search page , or see the contributing archives’ collections on the header slides.* Search
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COLOR MANIA BOOK
Out now:
Barbara Flueckiger, Eva Hielscher, Nadine Wietlisbach (eds.) COLOR MANIA. THE MATERIAL OF COLOR IN PHOTOGRAPHY AND FILM Since the earliest days of cinema, film has been a colorful medium and art form. More than 230 film color processes have been devised in the course of film history, often in close connection with photography. In this regard, both media institutionalized numerous techniques such as hand and stencil coloring as well as printing and halftone processes. Apart from these fundamental connections in terms of the technology of color processes, film and photography also share and exchange color attributions and aesthetics. This publication highlights material aspects of color in photography and film, while also investigating the relationship of historical film colors and present-day photography. Works of contemporary photographers and artists who reflect on technological and culture-theoretical aspects of the material of color underline these relations. Thematic clusters focus on aesthetic and technological parallels, including fashion and identity, abstraction and experiment, politics, exoticism, and travel. Color Mania contains a general introduction to color in film and photography (technique, materiality, aesthetics) as well as a series of short essays that take a closer look at specific aspects. An extensive image section illustrates the texts and color systems and continues the aesthetic experience of the various processes and objects in book form. The publication is also available in German Edited by Barbara Flückiger, Eva Hielscher, Nadine Wietlisbach, in collaboration with Fotomuseum Winterthur With contributions by Michelle Beutler, Noemi Daugaard, Josephine Diecke, Evelyn Echle, Barbara Flueckiger, Eirik Frisvold Hanssen, Eva Hielscher, Thilo Koenig, Joëlle Kost, Franziska Kunze, Bregt Lameris, David Pfluger, Ulrich Ruedel, Mona Schubert, Simon Spiegel, Olivia Kristina Stutz, Giorgio Trumpy, Martin Weiss, Nadine WietlisbachDesign: Meierkolb
16 × 24 cm, 6 ¼ × 9 ½ in 240 pages, 122 illustrationspaperback
2020, 978-3-03778-607-9, English* About
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ABOUT THIS PROJECT
This database was created in 2012 and has been developed and curated by Barbara Flueckiger , professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptual predecessors. _Timeline of Historical Film Colors_ was started with Barbara Flueckiger’s research at Harvard University in the framework of her project Film History Re-mastered,
funded by Swiss National Science Foundation, 2011-2013. In 2013 the University of Zurich and the Swiss National Science Foundation awarded additional funding for the elaboration of this web resource. 80 financial contributors sponsored the crowdfunding campaign Database of Historical Film Colors with more than USD 11.100 in 2012. In addition, the Institute for the Performing Arts and Film, Zurich University of the Arts provided a major contribution to the development of the database. Many further persons and institutions have supported the project, seeacknowledgements .
Since February 2016 the database has been redeveloped in the framework of the research project _Film Colors. Technologies, Cultures, Institutions_ funded by a grant from Swiss National Science Foundation. Since 2016, the team of the research project ERC Advanced Grant _FilmColors_ has been collecting and adding written sources and photographs. All the members of the two research projects on film colors, both led by Barbara Flueckiger, have been capturing photographs of historical filmprints since 2017.
Please report errors or suggestions. Follow the links “Access detailed information ›” to access the currently available detail pages for individual processes. These pages contain an image gallery, a short description, a bibliography of original papers and secondary sources connected to extended quotes from these sources, downloads of seminal papers and links. We are updating these detail pages on a regular basis.* News and Blog
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NEWS AND BLOG
In June 2015, the European Research Council awarded the prestigious Advanced Grant to Barbara Flueckiger for her new research project _FilmColors. Bridging the Gap Between Technology and Aesthetics_, see press release of the University of Zurichand information
on the University of Zurich’s website. Subscribe to the blog to receive all the news: https://blog.filmcolors.org/ (check out sidebar on individual entries for the “follow” button).* Acknowledgements
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ACKNOWLEDGEMENTS
Contributions to the Timeline of Historical Film Colors > _“It would not have been possible to collect all the data and the > corresponding images without the support from many individuals and > institutions.Thank you so much for your contribution, I am very> grateful.” _
> Barbara Flueckiger Experts, scholars, institutions | Sponsors, supporters, patrons of the crowdfunding campaign, April 23 to July 21, 2012 EXPERTS, SCHOLARS, INSTITUTIONS * Prof. Dr. David Rodowick, Chair, Harvard University, Department of Visual and Environmental Studies * Prof. Dr. Margrit Tröhler, Department of Film Studies, Universityof Zurich
* Prof. Dr. Jörg Schweinitz, Department of Film Studies, Universityof Zurich
* Prof. Dr. Christine N. Brinckmann, Department of Film Studies, University of Zurich * PD Dr. Franziska Heller, Department of Film Studies, University ofZurich
* Dr. Claudy Op den Kamp, Department of Film Studies, University ofZurich
* Prof. Anton Rey, Institute for the Performing Arts and Film, Zurich University of the Arts * Dr. Haden Guest, Director, Harvard Film Archive * Liz Coffey, Film Conservator, Harvard Film Archive * Mark Johnson, Loan Officer, Harvard Film Archive * Brittany Gravely, Publicist, Harvard Film Archive * Clayton Scoble, Manager of the Digital Imaging Lab & Photography Studio, Harvard University * Stephen Jennings, Photographer, Harvard University, Fine ArtsLibrary
* Dr. Paolo Cherchi Usai, Senior Curator, George Eastman Museum, Motion Picture Department * Jared Case, Head of Cataloging and Access, George Eastman Museum, Motion Picture Department * Nancy Kauffman, Archivist – Stills, Posters and Paper Collections, George Eastman Museum, Motion Picture Department * Deborah Stoiber, Collection Manager, George Eastman Museum, MotionPicture Department
* Barbara Puorro Galasso, Photographer, George Eastman House, International Museum of Photography and Film * Daniela Currò, Preservation Officer, George Eastman House, MotionPicture Department
* James Layton, Manager, Celeste Bartos Film Preservation Center, Department of Film, The Museum of Modern Art * Mike Pogorzelski, Archive Director, Academy Film Archive * Josef Lindner, Preservation Officer, Academy Film Archive * Cassie Blake, Public Access Coordinator, Academy Film Archive * Melissa Levesque, Nitrate Curator, Academy Film Archive * Prof. Dr. Giovanna Fossati, Head Curator, EYE Film Institute, Amsterdam, and Professor at the University of Amsterdam * Annike Kross, Film Restorer, EYE Film Institute, Amsterdam * Elif Rongen-Kaynakçi, Curator Silent Film, EYE Film Institute,Amsterdam
* Catherine Cormon, EYE Film Institute, Amsterdam * Anke Wilkening, Friedrich Wilhelm Murnau Foundation, Wiesbaden,Germany
* Marianna De Sanctis, L’Immagine Ritrovata, Bologna * Paola Ferrari, L’Immagine Ritrovata, Bologna * Gert and Ingrid Koshofer, Gert Koshofer Collection, BergischGladbach, Germany
* Memoriav, Verein zur Erhaltung des audiovisuellen Kulturgutes derSchweiz
* Claudius Kelterborn, Collector * David Landolf, Director, Lichtspiel / Kinemathek Bern * Brigitte Paulowitz, Head Archivist and Restorer, Lichtspiel /Kinemathek Bern
* Margaret Bodde, Executive Director, The Film Foundation * Maria Paleologos, The Film Foundation * Jessica Bursi, The Film Foundation * Michael Champlin, DeBergerac Productions, Inc. Rochester, NY * Joakim Reuteler, Digital Humanities Lab, University of Basel * Prof. Dr. Rudolf Gschwind, Director, Imaging and Media Lab,University of Basel
* Erwin Zbinden, Researcher, University of Basel * Klaus Martin Boese * Mike Mashon, Head of the Moving Image Section, Library of Congress * George Willeman, Nitrate Film Vault Manager, Library of Congress * Lynanne Schweighofer, Safety Film Vault Manager, Library ofCongress
* David Pierce, Library of Congress, Assistant Chief, Library ofCongress
* Kieron Webb, Technical Projects Officer, British Film Institute * Bryony Dixon, Silent Film Curator, British Film Institute * Prof. Dr. Ulrich Ruedel, HTW Berlin * Dr. Jan-Christopher Horak, Director, UCLA Film & TelevisionArchive
* Todd Wiener, Motion Picture Archivist, UCLA Film & TelevisionArchive
* Ross Lipman, Film Restorer and Filmmaker * Dr. Céline Ruivo, Director Film Collections, CinémathèqueFrançaise
* Dr. Iris Deniozou, Archivist, Cinémathèque Française * Paul Read, Film Conservator * Roger Smither, Film Historian * Nicola Mazzanti, Associate Director, Royal Film Archive of Belgium * Laurent Mannoni, Directeur scientifique du patrimoine et du Conservatoire des techniques, Cinémathèque française * François Ede, Researcher and Film Restorer * Andrea Meneghelli, Cineteca di Bologna, Archivio Film * Alessandra Bani, Cineteca di Bologna, Archivio Fotografico * Hege Stensrud Høsøien, Director, National Library of Norway * Dr. Eirik Frisvold Hanssen, Head of Film and Broadcasting Section, National Library of Norway * Tina Anckarmann, Film Archivist, National Library of Norway * Jeanpaul Goergen, Film Scholar * Prof. Martin Koerber, Leiter der Abteilung Film, DeutscheKinemathek
* Reto Kromer, reto.ch * Brian Pritchard, Motion Picture and Film Archive Consultant * Bertrand Lavédrine, Centre de Recherche sur la Conservation desCollections Paris
* Mikko Kuutti, Deputy Director, Kansallinen audiovisuaalinen arkisto / National Audiovisual Archive, Finland * Juha Kindberg, Film Collection, Kansallinen audiovisuaalinen arkisto / National Audiovisual Archive, Finland * Dr Kelley Wilder, Senior Research Fellow, De Montfort University * Michael Harvey, Curator of Cinematography, National Media Museum,Bradford
* Ruth Kitchin, Collections Assistant, National Media Museum,Bradford
* Kathryn Gronsbell, Moving Image Archiving & Preservation, NYU * Gisela Harich-Hamburger, Photo Conservator * Dr Luke McKernan, Lead Curator, Moving Image, The British Library * Dr Michael Pritchard FRPS, FBIPP, Director-General, The Royal Photographic Society * John Falconer, Lead Curator Visual Arts, Curator of Photographs,The British Library
* Cindy Keefer, Director, Center for Visual Music * Dr. Anna Batistová, Národní filmový archiv / National FilmArchive, Prague
* Lenka Šťastná, Národní filmový archiv / National FilmArchive, Prague
* Mark Jacobs
* Toni Booth, Curator, National Science and Media Museum, Bradford * Sylvie Pénichon, Conservator of Photographs, Amon Carter Museumof American Art
* Gawain Weaver, Photograph Conservator, Gawain Weaver Art Conservation, San Anselmo, CA * Phil Rutter, Hon Treasurer & Secretary, British Kinematograph, Sound & Television Society * Ben Letzler, editorial assistance * Beda Künzle, support website programming * Manuel Joller, coordinator data management * Barbara Fritzsche, support data management * Andreas Bühlmann, support data management * Michelle Beutler, support data management * Diana Arenas R., support data management * Sabrina Züger, coordinator data management * Jamie Lee Moser, support data management * Valentina Romero, support data management * Meredith Stadler, support data management SPONSORS, SUPPORTERS, PATRONS OF THE CROWDFUNDING CAMPAIGN April 23 to July 21, 2012, $11,175 raised* reto.ch
* Hannes and Esther Bernhardt, grand supporters * Marianne Flückiger Bösch and Bernhard Bösch, major supporters * Daniel Flückiger, major supporter * Hanna Gubler Ursin * Louis Krähenbühl * Prof. Heinz B. Heller * Dariush Daftarian and Viola Lutz, supporters * Annette Schüren, supporter * Peter A. Huber, supporter * Kurt Horlacher, supporter * Thomas Haegele, supporter* Brigitte Frizzoni
* Stina Werenfels, supporter * Gabriela Schmidt, supporter * Esther Flückiger, supporter* Dorothee Schön
* Stefanos Domalis
* Charlotte Flückiger, supporter * Andreas Koch, supporter * Nina Scheu, supporter * Filmspur audiovisuelle Quellen * Reinhard Zschoche, supporter * William Hungerbuehler, supporter * Franziska Heller, supporter * Silvana Konermann, supporter * Eirik Hanssen, supporter* Thomas Elsaesser
* Tonio Seiler and Nora Cista* Anne Gjelsvik
* Veronika Ronchin
* Ulrich Ruedel
* Dennis Atkinson
* Britta Hartmann
* Cynthia Freeland, sponsor * Dominik Schrey, sponsor * Guido Kirsten, sponsor * Daniela Casanova, sponsor * Alice Christoffel, sponsor* Martin Koerber
* Silvia Müller
* Simon Spiegel, sponsor * Yvonne Zimmermann, sponsor* Elias Savada
* Lars Gaustad
* Alexandra Navratil, sponsor * Christian Gosvig Olesen, sponsor * Joanne Bernardi, Associate Professor, University of Rochester * Laura Major, sponsor * Dan Binns, sponsor * Fred Truniger, sponsor * Margrethe Bruun Vaage, sponsor * Samuel Flückiger, sponsor * Ulrike Bergermann, sponsor * Ursula McCormack, sponsor * Tereza Smid, sponsor * Barbara Fritzsche, sponsor * Marco Brazerol, sponsor * Susie Trenka, sponsor * Jan Sahli, sponsor * Thomas Binder, sponsor * Anne Kelly, sponsor * Brigitte Gloor, sponsor* Sean Kelly
* Lynanne Schweighofer* Mattia Lento
* Philip Frederic Grütter, campaigner* Hitomi Matsuyama
*Note: Several donors prefer to remain anonymous. ERC ADVANCED GRANT FILMCOLORS PROJECT LEADER AND PRINCIPAL INVESTIGATOR: Prof. Dr. Barbara Flueckiger,
baflueckiger@gmail.comTEAM:
* Dr. Bregt Lameris
, PostDoc Film
Studies bregt.lameris@fiwi.uzh.ch * Dr. Giorgio Trumpy, Research
Scientist giorgio@trumpy.eu* Dr. David Pfluger
, Senior
Researcher david.pfluger@uzh.ch* Martin Weiss ,
Technician, Film Restorer and Senior Researcher martin.weiss2@uzh.ch* MA Joëlle Kost
, PhD Candidate
joelle.kost@uzh.ch
* MA Michelle Beutler, PhD
Candidate michelle.beutler@uzh.ch* MA Olivia Stutz
, PhD
Candidate oliviakristina.stutz@uzh.ch RESEARCH MANAGEMENT:Dr. Evelyn Echle ,
Scientific Research Manager evelyn.echle@uzh.ch SOFTWARE DEVELOPMENT:BSc Gaudenz Halter,
Software
Development Color Film Analyses, video annotation und crowdsourcing platform VIAN, in collaboration with Visualization and MultiMedia Lab of Prof. Dr. Renato Pajarola, University of Zurich, (Enrique G. Paredes, PhD; Rafael Ballester-Ripoll, PhD) since 07.2017 BSc Noyan Evirgen, Software Development, in collaboration with Visualization and MultiMedia Lab von Prof. Dr. Renato Pajarola, Universität Zürich (Enrique G. Paredes, PhD; Rafael Ballester-Ripoll, PhD), 03.2017–01.2018 ASSISTANTS FILM ANALYSES: BA Manuel Joller, BA Ursina Früh, BA/MA Valentina Romero FILM COLORS. TECHNOLOGIES, CULTURES, INSTITUTIONSProject Leader:
Prof. Dr. Barbara Flueckiger , baflueckiger@gmail.comTeam:
MA Noemi Daugaard
, PhD
Candidate, noemi_daugaard@access.uzh.chMA Josephine Diecke
, PhD
Candidate, josephine.diecke@uzh.ch DATA MANAGEMENT _TIMELINE OF HISTORICAL FILM COLORS_: MA Sabrina Züger, BA Manuel Joller, BA Jamie-Lee Moser, MA Meredith Stalder, MA Valentina Romero* Budget / Sponsors
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BUDGET / SPONSORS
Financing the Timeline of Historical Film Colors? The development of the project started in fall 2011 with stage 1. Each stage necessitated a different financing scheme. We are now in stage 3 and are looking for additional funding by private sponsors. Please use the Stripe interface to payconveniently
online.
Read more about the financial background of the project onfilmcolors.org
.
Thanks for your support!* Copyright Notice
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IMPORTANT COPYRIGHT NOTICE > Many graphics, photographs, and text portions > that appear on this web page are protected by copyright! Please ask for permission if you would like to use them. The author has exercised the greatest care in seeking all necessary permissions to publish the material on this website. Please contact the author immediately and directly should anything infringe a copyright nonetheless. _Timeline of Historical Film Colors_ by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 InternationalLicense .
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FILMMUSEUM POTSDAM
Founded in 1981 as „Filmmuseum der DDR” (Filmmuseum of the GDR), the Filmmuseum Potsdam holds a large collection of films, as well as film-related materials and film apparatus, focusing mainly on the history of the Babelsberg Film Studio from the origin in 1917 until today. Since 2012, amateur filmmaking in the GDR has become a second important focus of theFilmmuseum.
View entries
THE TIMELINE OF HISTORICAL FILM COLORS is a comprehensive resource for the investigation of film color technology and aesthetics, analysis and restoration, developed and curated by Barbara Flueckigersince 2012.
Check out our recent publication Color Mania. The Material of Color in Photography and Film.
MICROSCOPY PROJECT HTW BERLIN AND UNIVERSITY OF ZURICH In a joint research projectbetween HTW Berlin
and the University of Zurich(UZH),
historical film color samples stemming from the Koshofer Collection, now at UZH, have been microscopically investigated in transmission and in cross-sections at the conservation-scientific facilities of HTW Berlin. The intriguing and often stunning photomicrographs showcase the relationship between the photographic image, their material and chemical composition and the three-dimensional structure unique to the analog moving image heritage in color, while exhibiting their ownpeculiar beauty.
View galleries with photomicrographs.
MUSEUM OF MODERN ART MOMA Opened in 1935, The Museum of Modern Art’s Department of Film has one of the strongest international collections of motion pictures in the world, totaling more than 30,000 films between the permanent and study collections.View entries
EYE FILMMUSEUM AMSTERDAM EYE Filmmuseum is the Dutch centre for cinematography, with a collection of more than 40.000 films, from silent early cinema to contemporary digital productions.View entries
UCLA FILM & TELEVISION ARCHIVE UCLA Film & Television Archive stands among the great world institutions for the conservation, exhibition and interpretation of moving images. The Archive constitutes the largest collection of media materials of any university in the world.View entries
CINÉMATHÈQUE FRANÇAISE “The Cinémathèque for me is a place that must be a kind of home where people come as they are and then come out different,” said once Henri Langlois. Since it was founded in 1936, the Cinémathèque française has given as much importance to films as to everything related to them (archives, books, devices, costumes, models, etc.). Thanks to this visionary spirit, the institution has, over the years, assembled an impressive collection of films, archives and devices.Link
View entries
BFI NATIONAL ARCHIVE Established in 1935, the BFI National Archive holds one of the largest film and television collections in the world containing nearly a million titles. Using the latest preservation methods, we care for a variety of obsolete formats so that future generations can enjoy the UK’s film heritage.View entries
NATIONAL SCIENCE AND MEDIA MUSEUM The National Science and Media Museum in Bradford explores the science and culture of light and sound technologies and their impact on our lives. The Museum’s collections trace the history of the technical developments of both professional and amateur motionpictures.
View entries
LIBRARY OF CONGRESS
The Library of Congress National Audio-Visual Conservation Center acquires, describes, stores, preserves and provides access to the world’s largest and most comprehensive collection of motion pictures, television programs, radio broadcasts and sound recordings.View entries
ACADEMY FILM ARCHIVE The Academy Film Archive was founded 25 years ago to collect and preserve significant contributions to both the art and science of the motion picture. The archive contains nearly 200,000 items and has preserved over 1,000 films.View entries
GEORGE EASTMAN MUSEUM Founded in 1949, the George Eastman Museum is a world leader in the areas of photography, motion pictures, and their associated technologies. The Moving Image Department holds more than 28,000 films from the entire history of cinema and other materials related to the history, production, and exhibition of moving images.View entries
DEUTSCHE KINEMATHEK – MUSEUM FÜR FILM UND FERNSEHEN Founded in 1963, the Deutsche Kinemathek holds a large collection of films, as well as film-related materials such as advertisement material and scripts, photography, scenography, and of film apparatus from the 1900s to the present, and a library. Since 2000, the collections are also shown in a museum for film and television inBerlin.
View entries
DFF DEUTSCHES FILMINSTITUT & FILMMUSEUM The DFF Deutsches Filminstitut & Filmmuseum in Frankfurt am Main is dedicated to the medium of film, showcasing its history and present, its aesthetics and influence. It pursues its mission to provide access to film heritage through museum exhibitions, daily film screenings, publishing activities, film education, film festivals and extensive archival collections. The film archive department conserves and makes accessible over 20 000 film elements: Vintage prints, pre-print elements, original negatives and outtakes, analogue preservation elements, dedicated rental prints and the outcomes of recent digitization projects and digital restoration efforts. A wide range of moving images is represented – dating from the birth of cinema up to the present.View entries
NÁRODNÍ FILMOVÝ ARCHIV / NATIONAL FILM ARCHIVE, PRAGUE The Národní filmový archiv / National Film Archive in Prague is one of the ten oldest and largest film archives in the world. It was set up in 1943 and in 1946 it became a member of the International Federation of Film Archives – FIAF. In 1997 it became a founding member of the Association of European Film Archives and Cinematheques, ACE.View entries
LICHTSPIEL / KINEMATHEK BERN The Lichtspiel / cinémathèque Berne was founded in 2000 to collect and preserve anything related to the production and reproduction of moving images. It is a unique cinematographic collection with an open cinema in the heart of the hall, an archive, a workshop and a storehouse, a mélange of cinema, museum, service station for cinematographic material and network for film aficionados.View entries
CINETECA DI BOLOGNA
Fondazione Cineteca di Bologna is an internationally distinguished film archive founded in the 1960s. Cineteca’s activities include: film restoration, film collection, teaching programs, daily theatrical screenings, publishing (books and DVDs), a globally known restoration festival (Il Cinema Ritrovato), a library, non-film collections. Cineteca’s L’Immagine Ritrovata laboratory has established its reputation in the world of film archives thanks to the restoration of many masterpieces.View entries
DEFA FOUNDATION
Established in 1998 as an incorporated non-profit foundation, it is the mission of the DEFA Foundation to preserve the 12,000 films made at the East German DEFA studios, to use them for the public good and in general to support and sponsor German film culture and art.View entries
FILMMUSEUM POTSDAM
Founded in 1981 as „Filmmuseum der DDR” (Filmmuseum of the GDR), the Filmmuseum Potsdam holds a large collection of films, as well as film-related materials and film apparatus, focusing mainly on the history of the Babelsberg Film Studio from the origin in 1917 until today. Since 2012, amateur filmmaking in the GDR has become a second important focus of theFilmmuseum.
View entries
THE TIMELINE OF HISTORICAL FILM COLORS is a comprehensive resource for the investigation of film color technology and aesthetics, analysis and restoration, developed and curated by Barbara Flueckigersince 2012.
Check out our recent publication Color Mania. The Material of Color in Photography and Film.
Next
Please access detailed information on over 250 individual film color processes via the classification system on this page, display the Timeline of Historical Film Colors in chronological order, search
via the tag cloud at the end of this page or directly on the search page , or see the contributing archives’ collections on the header slides. AUTONOMOUS COLORS (APPLIED COLORS)TINTING
Tinting was one of the earliest and most widespread techniques to apply colors to film. Each individual black-and-white film positive had to be submerged in dye baths. STENCIL COLORING (POCHOIR, PATHÉCOLOR) Stencils were cut out from a positive print to color selected areas of the film frames by the use of brushes or velvet strips.TONING
Toning, like tinting, was one of the earliest film color techniques. It required a complex chemical procedure to replace the silver with colored compounds or dyes for each individual exhibition print.HAND COLORING
Before the introduction of film, hand coloring had long been applied to lantern slides. Colors were applied with tiny brushes to each individual frame of the film. MIMETIC PROCESSES (NATURAL COLORS)ADDITIVE COLORS
TEMPORAL SYNTHESIS (ROTARY FILTERS) Two or three images were exposed through colored filters in succession. In projection, the black and white images were filtered again accordingly. The processes required double or triple framerates.
SPATIAL SYNTHESIS (MULTIPLE LENSES, PRISM) Two or three images were captured simultaneously through multiple lenses or beam-splitter prisms. The images were either dyed or projected through colored filters.SCREEN PROCESSES
Regular or irregular patterns of colored stripes or dots in red, blue and green provide a color sensation by additive mixture. Many of the screen processes were introduced in still photography before their redevelopment for film applications.Line screen
Mosaic screen
Lenticular screen
SUBTRACTIVE COLORS
PRINTING / DYE-TRANSFER Printing processes add one to three layers of colors onto the emulsion of a film, most famously in the Technicolor dye-transfer process. The principle had been introduced in photography before the advent ofmotion pictures.
Direct links to the most famous dye-transfer processes:Technicolor No.
III
Technicolor No. IV
Technicolor No. V
CHROMOLYTIC MULTILAYER In chromolytic multilayer films the dyes in the emulsion are destroyed at the locus of exposure of the silver halide. The colors are very brilliant and stable. The most famous chromolytic process wasGasparcolor
.
DOUBLE-COATED / BI-PACK For many two color and a few three color processes emulsion was applied to both sides of the film and colored independently. The technique was widespread in the early days of subtractive color films from the mid-1910s to the mid-1940s. Often the negatives were bi-packs, two strips of black-and-white film sensitized for differentspectra.
CHROMOGENIC MONOPACK In chromogenic monopacks the color-forming substances are either present in several layers in the emulsion or added during film developing later. The basic principle was discovered in 1911 by Rudolf Fischer. Unfortunately the dyes used in these processes proved to be unstable, thus leading to color-fading of the films.Agfacolor
Eastman Color
Ferraniacolor
OTHER
THEORY
Theoretical writings about color photography and color motionpictures.
EDGE CODES AND IDENTIFICATION The FilmColors research teams collect information about edge codes and identification of color films continuously and post them in thissection.
OTHER
Very few processes do not fit into the above classification system.BIBLIOGRAPHY
You will find here bibliographical information to a variety of topics related to film colors, such as color theory, analysis, aesthetics, narration, culture etc. Contributions are very welcome. Currently it contains bibliographies about color and animation, color perception and cinematography, and the cultural history of color. Display the Timeline of Historical Film Colors in chronological order›
TAGS
* edge codes and identification* splice
* blue
* 1920s
* red
* 1950s
* 1900s
* BFI National Archive* musical
* tinting and toning * cold–warm contrast* monochrome
* EYE Filmmuseum Amsterdam* Natalie Kalmus
* silhouette
* melodrama
* Academy Film Archive* travelogue
* ships
* fashion
* beam-splitter
* decay
* Alfred Hitchcock
* exoticism
* Cecil B. DeMille
* Ray Rennahan
* science fiction
* Len Lye
* glamour shot
* avantgarde
* Powell / Pressburger* Leon Shamroy
* Deborah Kerr
* Michael Curtiz
* colorimetry
* Edith Head
* femme fatale
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_Timeline of
Historical Film Colors_ by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 InternationalLicense .
Quote as Flueckiger, Barbara (2012 ff.): Timeline of Historical Film Colors. (= https://filmcolors.org/).Download BibTex
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