FILM HISTORY: Volume 21, Number 1, 2009 – p. 7 · The Technicolor Notebooks at the George Eastman House (pp. 47–60) Plates 1–3. Film samples found in the ‘Subtractive/Plant

‘Unnatural Colours’: An introduction to colouring techniques in silent era movies (pp. 9–46)

Plate 1. Sample sheet of tints from an English edition of the Agfa Kinema Handbook.

Plate 2. Frame from the 1922 print of Quo Vadis? that has been coloured with Iron Blue tone, Prussian

Blue (probably now faded), and a red tint, possibly Amaranth.

Plate 3. Frame from the 1922 print of Quo Vadis? that has been coloured by the dye tone process using

the toxic dye Malachite Green.

Plate 4. Croceine Scarlet MOO, Cine Scarlet tint used for intertitles in the restored print of the 1922

version of Quo Vadis?

Plate 5. Alfred Hitchcock’s The Lodger simulated London fog by colouring all night exteriors with a

double effect, Iron Tone, Prussian Blue, and a yellow tint, Wool Yellow.

The Technicolor Notebooks at the George Eastman House (pp. 47–60)

Plates 1–3. Film samples found in the ‘Subtractive/Plant Notes’ notebook. The colour imbalance in (1)

is likely due to fading. Plate (2) shows a colour restoration of a single frame from the notebook. Note

the well-preserved skin tones typical of two-colour Technicolor in (3). The images are likely from the

lost Technicolor I (originally additive system) film The Gulf Between. [George Eastman House, Motion

Picture Collections.]

Plate 4. A green dye test found in a note book titled ‘Subtractive/Plant Notes’, possibly from one of the

Technicolor sequences in the 1925 feature His Supreme Moment. [George Eastman House, Motion

Picture Collections.]

Restoration of Danish silent films – in colour (pp. 61–66)

Plate 1. Atlantis, Nordisk Film 1913. Blue tint (night).

Plate 2. Atlantis, Nordisk Film 1913. Red tint (fire).

Plate 3. Copenhagen By Night (Biorama, 1910). Original tinted frames from the nitrate print.

Plate 4. Copenhagen By Night (Biorama, 1910). Frames from the new restoration polyester print.

Colours, audiences, and (dis)continuity in the ‘cinema of the second period’ (pp. 67–93)

Plates 1 and 2. Maman Poupée (Olympus-Film, 1919) as coloured in Italy (1) and in France (2).

Plates 3 and 4. Malombra (Cines, 1917) as coloured for the domestic Italian market (3) and for South

America (4).

Plate 5. Lyda Borelli in Malombra (Cines, 1917).

Plate 6. Pathécolor in La poule aux oeufs d’or (Pathé, 1905).

Segundo de Chomón and the fascination for colour (pp. 94–103)

Plate 1. L’écrin du Rajah (1906). [George Willeman/Library of Congress.]

Plate 2. Aladin ou la lampe merveilleuse (1906). [George Willeman/Library of Congress.]

Plate 3. Le trobadour (1906). [Filmoteca de Catalunya, Barcelona.]

Plate 4. Les papillons japonais (1908). [Filmoteca de Catalunya, Barcelona.]

Plate 5. Les papillons japonais (1908). [Filmoteca de Catalunya, Barcelona.]

Plate 6. Voyage au planete Jupiter (1909). [Filmoteca de Catalunya, Barcelona.]

Plate 7. Voyage au planete Jupiter (1909). [Filmoteca de Catalunya, Barcelona.]

Plate 8. Superstition andalouse (1912). [Filmoteca de Catalunya, Barcelona.]

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FILM HISTORY: Volume 21, Number 1, 2009 – p. 7

Symptoms of desire: colour, costume, and commodities in fashion newsreels of the 1910s and 1920s (pp. 107–121)

Plate 1. Senaste modenytt från Paris (Svenska Biografteatern, 1922). [All illustrations courtesy of the

Swedish National Archive of Recorded Sound and Moving Images. SF 2500 B.]

Plate 2. Damernas strumpor (Pathé, 1923).

Plate 3. För sport och högsäsong (Svenska Biografteatern, 1923).

Plate 4. Senaste modenytt från Paris (Svenska Biografteatern, 1922).

Plate 5. För sport och högsäsong (Svenska Biografteatern, 1923).

Plate 6. Damernas strumpor (Pathé, 1923).

Plate 7. Damernas vårhattar (Pathé, 1923).

Plate 8. Senaste modenytt från Paris (Svenska Biografteatern, 1922).

‘The modern Elixir of Life’: Kinemacolor, royalty and the Delhi Durbar (pp. 122–136)

Plate 1. Cover of the Kinemacolor Delhi Durbar programme, 1912. [The Barnes Collection.]

Plate 2. Synthesized image (combining two camera records in video format) of one frame from The

Royal Review of 50,000 Troops, the surviving reel of With Our King and Queen Through India (1912).

[Courtesy of Inkulla Media.]

Colouring the nation: spectacle, reality and British natural colour in the silent and early sound era (pp. 139–149)

Plate 1. A Pictorial Vision of Britain: The Open Road (Spectrum Films, 1926).

Plate 2. Nostalgia for a bygone age. Humphrey Jennings’s Farewell, Topsails (Dufay-Chromex, 1937).

Plate 3. Royal Pageantry on Spectacular Display: Our Inheritance (Empire Film Productions, 1946).

Early 16mm colour by a career amateur (pp. 150–163)

Plate 1. Hand-coloured glass slide from Black’s lantern lecture, Miss America (1897). [Courtesy of

Princeton University Rare Books and Special Collections.]

Plate 2. The Sunday World showcasing the operation of its new colour press (27 March 1898).

Plate 3. Front cover of the World magazine section, 16 July 1911.

Plates 4–6. Transition from black and white stock to Kodachrome using an intertitle to establish

continuity. From the Black family collection.

Plates 7–8. Two of the six shots of the Empire State Building used in Black’s And So to Edinburgh

(Kodachrome, 1937–39). From the Black family collection. [Courtesy of the Berkeley Art Museum and

Pacific Film Archive.]

‘Harmonious sensations of sound by means of colors’: vernacular colour abstractions in silent cinema (pp. 164–176)

Plate 1. The May Irwin Kiss (Edison, 1896). Hand-coloured frame. [Courtesy of the Academy of Motion

Picture Arts and Sciences.]

Plate 2. Frame enlargement showing a cut from yellow tint to blue tone when a candle is blown out in

Le Chemineau (Albert Capellani, Pathé, 1905). [Courtesy of the Netherlands Filmmuseum.]

Plate 3. Frame enlargements from Alfred Machin’s masterpiece, Maudite soit la guerre (Pathé, 1913),

showing a combination of tinting and stenciling (in the first frame), brush-tinting (in the second), and a

transition back to tinting and stenciling without a splice (in the third). [Courtesy of the Netherlands

Filmmuseum.]

Plate 4. Tinted frame enlargement from Walter Ruttmann’s Opus IV (1925). [Courtesy of the Netherlands

Filmmuseum.]

Plate 5. Hand-coloured frame from Annabelle Dances, possibly the film Jenkins and Armat projected

at the Cotton States Exhibition in Atlanta (W.K.L. Dickson and William Heise, Edison, 1895).

Plates 6 and 7. Frame enlargement from [Kaleidoscope] (1925). [Provided by the Motion Picture

Department, George Eastman House.]

Plate 8. Eastman Sonochrome advertisement. American Cinematographer, July 1929. [Courtesy of

Anthony L’Abbate, George Eastman House.]

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FILM HISTORY: Volume 21, Number 1, 2009 – p. 8

‘Unnatural Colours’: An introduction to colouring techniques in silentera movies, by Paul Read, pp. 9–46, Plates 1–5

TheTechnicolor

Notebooks atthe GeorgeEastmanHouse, by

Ulrich Ruedel,pp. 47–60,Plates 1–4

1

2

3

4 5

1 4 3

2

Colour Plates FILM HISTORY, Vol. 21 Issues 1/2 (2009) P1

FILM HISTORY: Volume 21, Number 1, 2009 – p. i

Restoration of Danish silent films – in colour, by Thomas C. Christensen,pp. 61–66, Plates 1–4

Colours, audiences, and (dis)continuity in the ‘cinema of the second period’,by Nicola Mazzanti, pp. 67–93, Plates 1–6

1

2

3

4

1 2 3

4 5 6

Colour PlatesP2 FILM HISTORY, Vol. 21 Issues 1/2 (2009)


Segundo de Chomónand the fascinationfor colour, by JoanM. Minguet Batllori,pp. 94–103, Plates

1–8

1

2

3

4

5

6

7

8



3

1

2

4

5

6

7

8

Symptoms ofdesire: colour,costume, and

commodities infashion

newsreels of the1910s and 1920s,by Eirik Frisvold

Hanssen, pp.107–121, Plates

1–8



The modern Elixir of Life’: Kinemacolor, royalty and the Delhi Durbar,by Luke McKernan, pp. 122–136, Plates 1–2

Colouring the nation: spectacle, reality and British natural colour in thesilent and early sound era, by Simon Brown, pp. 139–149, Plates 1–3

1

2

2

1 3



Early 16mm colour by a career amateur, by Kaveh Askari,pp. 150–163, Plates 1–8

3

4

1 2

5

8

7

6



‘Harmonious sensations of sound by means of colors’:vernacular colour abstractions in silent cinema,

by Joshua Yumibe, pp. 164–176, Plates 1–8

1


5

6

7

2

3

4

8


Advertising Colour Films to the American Film IndustryIllustrations courtesy of David Pierce, Plates 1–4

1 2

3 4

Plate 1. Exhibitors Trade

Review, 19 June 1920,

page 229.

Plate 2. Exhibitors Trade

Review, 19 June 1920,

page 230.

Plate 3. Motion Picture

News, 13 July 1929.

Plate 4. Motion Picture

News, 20 July 1929.



Documents

FILM HISTORY: Volume 21, Number 1, 2009 – p. 7 · The Technicolor Notebooks at the George Eastman House (pp. 47–60) Plates 1–3. Film samples found in the ‘Subtractive/Plant