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Cinechrome

Description

“[…] pictures were taken side by side, full-size, on double-width film, the film not only being perforated on the edges but also down the centre between the pairs of images.”

(Klein, Adrian Bernhard = Cornwell-Clyne (1940): Colour Cinematography. Boston: American Photographic Pub. Co.. 2nd revised edition: p. 12.)

  • Cinechrome Colour Test with Soap Boxes and Packets (1920)
  • Cinechrome Colour Test with Soap Boxes and Packets (1920)
  • Cinechrome Colour Test with Soap Boxes and Packets (1920)

Secondary Sources

Brown, Simon (2012): Technical Appendix. In: Sarah Street: Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, pp. 259-287, on pp. 266-268. View Quote

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, on pp. 16–22. View Quote

Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI, p. 28. View Quote

Klein, Adrian Bernhard = Cornwell-Clyne (1940): Colour Cinematography. Boston: American Photographic Pub. Co.. 2nd revised edition, p. 11-12. View Quote

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 p. 186. View Quote

Street, Sarah (2012): Colour Films in Britain. The Negotiation of Innovation 1900-55. Basingstoke, Hampshire: Palgrave Macmillan, on pp. 38–39. View Quote

Contemporary Reception

Kelley, William Van Doren (1918): Natural Color Cinematography. In: Transactions of the Society of Motion Picture Engineers, 7, Nov. 1918, pp. 38–43, on p. 42. View Quote