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Technicolor No. V: Dye transfer prints from Eastmancolor negative

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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  • HFA_2015_NorthByNorthwest_Reel2_HDR_IMG_0072
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  • HFA_2015_NorthByNorthwest_Rolle5_Farbtemperatur_IMG_0005
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  • HFA_2015_NorthByNorthwest_Rolle5_HDR_IMG_0012_1
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  • LOC_FGB5556_Reels1-2_NorthByNorthwest_Technicolor_HDR_IMG_0714
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  • MoMA_TornCurtain_1966_Technicolor_8085_HDR_IMG_0056
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  • MoMA_The Birds_1963_Technicolor_8052_HDR_IMG_0048
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  • MoMA_The Birds_1963_Technicolor_8052_HDR_IMG_0004
  • MoMA_The Birds_1963_Technicolor_8052_HDR_IMG_0008
  • AcademyFilmArchive_Technicolor_Safety_FunnyFace_Reel1_IMG_0009
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  • AcademyFilmArchive_Technicolor_Safety_FunnyFace_Reel1_HDR_IMG_0033
  • AcademyFilmArchive_Technicolor_Safety_FunnyFace_Reel1_HDR_IMG_0041

Secondary Sources

Haines, Richard W. (1993): Technicolor Movies. The History of Dye Transfer Printing. Jefferson, North Carolina: McFarland, pp. 65-119. 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

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

Mayer, Harold A.; Brackett, F. P. (1967): Technicolor Triple-Rank Super 8. In: JSMPTE, Vol. 76, Oct. 1967, pp. 1005-1006.

Restoration

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.

Harris, Robert; Belton, John (2000): Getting It Right. Robert Harris on Colour Restoration In: Film History, Vol. 12, No. 4, Color Film (2000), pp. 393-409.

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.

Selected analyses

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

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

Allen, Richard (2006): Hitchcock’s Color Designs. In: Dalle, Vacche, Angela/Price, Brian (ed.): Color. The Film Reader. New York (etc.): Routledge, pp. 131–144.

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