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    125 Results


    Quote

    Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 41.

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    Huntley, John (1949): British Technicolor Films. Cornhill, London: Skelton Robinson, on pp. 211–212.

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    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. 7.

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    Misek, Richard (2007): “Last of the Kodak”. Andrei Tarkovsky’s Struggle with Colour. In: Everett, Wendy (ed.): Questions of Colour in Cinema. From Paintbrush to Pixel. Oxford: Peter Lang, pp. 161–176, on pp. 166–171.

    Quote

    Behlmer, Rudy (1964): Technicolor. In: Films in Review, 15,6, pp. 333–351, on pp. 343–348.

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    Aubert, Michelle (1992): Pour une déontologie de la restauration des films en couleur. In: Michel Ciment (ed.): Ciné mémoire. Colloque international d’information (7-9 octobre 1991). Paris: Femis, pp. 25–28, on pp. 26–27. (in French)

    Quote

    Pinel, Vincent (1992): La forêt des techniques. In: Michel Ciment (ed.): Ciné mémoire. Colloque international d’information (7-9 octobre 1991). Paris: Femis, pp. 17–24, on p. 22. (in French)

    Quote

    Yumibe, Joshua (2013): L’espace de la couleur comme espace de jeu dans la littérature enfantine, le cinéma des premiers temps et les fééries. In: 1895. Revue d’Histoire du Cinéma, 71, pp. 33–46, on pp. 37–46. (in French)

    Quote

    Chion, Michel (1995): Colorisations. In: Jacques Aumont (ed.): La Couleur en cinéma. Milan: Mazzotta, pp. 63–69, on pp. 65–67. (in French)

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    Narath, Albert (1952): Psychologische Probleme bei der Wiedergabe von Farbfilmen. In: Kino-Technik, 6, pp. 131–132. (in German)

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    Haller, Ernest (1939): Faster Color Film Cuts Light a Half. In: American Cinematographer, Aug., pp. 355–356.

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    Herring, Robert (1935): Technicolossal. In: Life and Letters Today, 13, Sep., pp. 194–196, on pp. 194–195.

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    Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on p. 114.

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    Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on pp. 125–126.

    Quote

    Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 15–19.

     

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    Hunt, R.W.G. (1951): Colour Cinematography and the Human Eye. In: British Kinematography, 19,6, pp. 173–180, on pp. 173–175.

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    Beckett, Clark; Morris, Robert A.; Schafer, Richard K.; Seemann, J. Marvin (1968): Preparation of Duplicate Negatives Using Eastman Color Reversal Intermediate Film. In: Journal of the Society of Motion Picture and Television Engineers, 77,10, pp. 1053–1056.

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    Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on p. 112.

    Quote

    Pochadt, Eberhard (1969): Das 16-mm-Gevachrome-Programm im praktischen Fernsehbetrieb. In: Fernseh- und Kinotechnik, 23,8, pp. 244–246, on pp. 245–246. (in German)

    Quote

    Pinel, Vincent (1992): La forêt des techniques. In: Michel Ciment (ed.): Ciné mémoire. Colloque international d’information (7-9 octobre 1991). Paris: Femis, pp. 17–24, on p. 21. (in French)

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    Petrie, Duncan (2013): Interview. Douglas Slocombe. In: Simon Brown, Sarah Street and Liz Watkins (eds.): British Colour Cinema. Practices and Theories. Hampshire: Palgrave Macmillan, pp. 90–93, on pp. 91–93.

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    Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 37.

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    Desmet, Noël; Read, Paul (1998): The Desmetcolor Method for Restoring Tinted and Toned Films. In: Luciano Berriatúa, Manlio Brusatin, Noël Desmet, Enrico Fornaroli, Giovanna Fossati, Bertrand Lavedrine, Bob Mabberley, Nicola Mazzanti, Ruggero Pierantoni, Paul Read and Sonja Snoek: Tutti i colori del mondo. Il colore nei mass media tra 1900 e 1930. = All the colours of the world. Reggio Emilia: Edizione Diabasis, pp. 147–150.

    Quote

    Aubert, Michelle (1992): Pour une déontologie de la restauration des films en couleur. In: Michel Ciment (ed.): Ciné mémoire. Colloque international d’information (7-9 octobre 1991). Paris: Femis, pp. 25–28, on pp. 26–27. (in French)

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    Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on pp. 99–102.

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    Brown, Simon (2013): The Brighton School and the Quest for Natural Color. Redux. In: Simon Brown, Sarah Street and Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archive. New York, London: Routledge, pp. 13–22.

    Quote

    Misek, Richard (2007): “Last of the Kodak”. Andrei Tarkovsky’s Struggle with Colour. In: Everett, Wendy (ed.): Questions of Colour in Cinema. From Paintbrush to Pixel. Oxford: Peter Lang, pp. 161–176, on pp. 167–171.

    Quote

    Layton, James; Pierce, David (2015): The Dawn of Technicolor. Rochester: George Eastman House, on p. 264.

    Quote

    Ede, François (1992): Jour de fête en couleurs. Ou l’art du puzzle. In: Yann Tobin (1992): Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on pp. 135–137. (in French)

    Quote

    Misek, Richard (2007): “Last of the Kodak”. Andrei Tarkovsky’s Struggle with Colour. In: Everett, Wendy (ed.): Questions of Colour in Cinema. From Paintbrush to Pixel. Oxford: Peter Lang, pp. 161–176, on pp. 174–175.