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, browse by image, search by color, 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.
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, see acknowledgements.
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 film prints 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.
More than a decade of research on film colors, countless visits to archives to explore and document historical film colors for the Timeline has led the team to develop the scientifically proven multispectral scanning workflow Scan2Screen.
Based on an in-depth study of 8 leading commercial film scanners the team identified core requirements to capture historical film colors in a more comprehensive and future-proof way.
For more information visit the website or follow Scan2Screen on LinkedIn.
Currently, Scan2Screen has headquarters in Palo Alto, California, and in Zurich, Switzerland.
Barbara Flueckiger, Eva Hielscher, Nadine Wietlisbach (eds.)
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 Wietlisbach
Design: Meierkolb
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 Zurich and 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).
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
April 23 to July 21, 2012, $11,175 raised
*Note: Several donors prefer to remain anonymous.
Project Leader and Principal Investigator:
Prof. Dr. Barbara Flueckiger, [email protected]
Team:
Research Management:
Dr. Evelyn Echle, Scientific Research Manager [email protected]
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
Project Leader:
Prof. Dr. Barbara Flueckiger, [email protected]
Team:
MA Noemi Daugaard, PhD Candidate, [email protected]
MA Josephine Diecke, PhD Candidate, [email protected]
Data Management Timeline of Historical Film Colors:
MA Sabrina Züger, BA Manuel Joller, BA Jamie-Lee Moser, MA Meredith Stalder, MA Valentina Romero
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.
Read more about the financial background of the project on filmcolors.org.
Thanks for your support!
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 International License.
E-mail to Barbara Flueckiger, founder and project leader of Timeline of Historical Film Colors
Thank you very much for your financial contribution! Each sponsor receives a credit on the acknowledgement page: http://zauberklang.ch/acknowledgements.html
1946 – 1958
Subtractive 3 color: Chromogenic monopack, reversal, 16 mm
(Eastman Kodak)
In 1946 Kodachrome Commercial camera film Type 5268 was introduced. This stock had a lower-contrast emulsion and became leading in the professional field until it was replaced by Ektachrome Commercial type 7255 in 1958. Both Commercial Kodachrome and Ektachrome were not suitable for projection, because of their soft and fragile emulsions and the low contrast of the image (Pope 2016, 70).
Timeline of Historical Film Colors by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Quote as Flueckiger, Barbara (2012 ff.): Timeline of Historical Film Colors. (= https://filmcolors.org/).
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