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    89 Results


    Quote

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

    Quote

    Eggert, John; Heymer, Gerd (1937): Der Stand der Farbenphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, pp. 7–28, on pp. 15–17. (in German)

    Quote

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

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    Cubitt, Sean (2014): The Practice of Light. A Genealogy of Technologies from Prints to Pixels. Cambridge, Massachusetts, London: MIT Press, on pp. 132–136.

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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. 21. (in French)

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

    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. 165–167.

    Quote

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

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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

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

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

     

    Quote

    Chion, Michel (1995): Colorisations. In: Jacques Aumont (ed.): La Couleur en cinéma. Milan: Mazzotta, pp. 63–69, on pp. 63–65. (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. 21. (in French)

    Quote

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

    Quote

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

    Quote

    Grob, Norbert (1991): Farbe im Auge, Ausdruck im Kopf. Hein Heckroths Farbdramaturgien für Powell & Pressburger. In: Katharina Spielhaupter (ed.): Hein Heckroth. Frankfurt/M.: Filmmuseum, pp. 57–78, on pp. 58–60. (in German)

    Quote

    Huntley, John (1949): British Technicolor Films. Cornhill, London: Skelton Robinson, on p. 200.

    Quote

    Eggert, John; Heymer, Gerd (1937): Der Stand der Farbenphotographie. In: Veröffentlichungen des wissenschaftlichen Zentral-Laboratoriums der photographischen Abteilung Agfa, pp. 7–28, on pp. 15–17. (in German)

    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 p. 163.

    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

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

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

    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)

    Quote

    Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on p. 38.

    Quote

    Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 39–44.

     

     

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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.

    Quote

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

    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)