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image. When the exposed silver-halide crystal is developed, it is coupled with a dye grain of its complementary color. This forms a dye "cloud" (like a drop of water on a paper towel) and is limited in its growth by development-inhibitor-releasing (DIR) couplers, which also serve to refine the sharpness of the processed image by limiting the size of the dye clouds. The dye clouds formed in the blue layer are actually yellow (the opposite or complementary color to blue). There are two layers to each color; a "fast" and a "slow." The fast layer features larger grains that are more sensitive to light than the slow layer, which has finer grain and is less sensitive to light. Silver-halide crystals are naturally sensitive to blue light, so the blue layers are on the top of the film and they are followed immediately by a yellow filter, which stops any more blue light from passing through to the green and red layers and biasing those crystals with extra blue exposure. Next are the red-sensitive record (which forms cyan dyes when developed); and, at the bottom, the green-sensitive record, which forms magenta dyes when developed. Each color is separated by a gelatin layer that prevents silver development in one record from causing unwanted dye formation in another. On the back of the
894:. (These features are often billed as "Color by Technicolor-DeLuxe".) Indeed, some Eastmancolor-originated films billed as "Color by Technicolor" were never actually printed using the dye-transfer process, due in part to the throughput limitations of Technicolor's dye-transfer printing process, and competitor DeLuxe's superior throughput. Incredibly, DeLuxe once had a license to install a Technicolor-type dye-transfer printing line, but as the "loss of register" problems became apparent in Fox's CinemaScope features that were printed by Technicolor, after Fox had become an all-CinemaScope producer, Fox-owned DeLuxe Labs abandoned its plans for dye-transfer printing and became, and remained, an all-Eastmancolor shop, as Technicolor itself later became. One major downside of Eastmancolor was that the dyes used were unstable which caused the color to fade into magenta over time, with visible fading starting to occur within as little of a few years of manufacturing. This cannot be prevented but can be slowed down by storing the film stock in a cold environment where the chemical reactions responsible for it slow down. This has recently gained significant attention online as a result of the Blu-Ray editions of
828:, although it asserted that term as if it were a registered trademark, and it had the force of a legal agreement between it and Eastman Kodak to back up that assertion. It was a solely-sourced product, too, as Eastman Kodak was legally prevented from marketing any color motion picture film products wider than 16mm, 35mm specifically, until the expiration of the so-called "Monopack Agreement" in 1950. This, notwithstanding the facts that Technicolor never had the capability to manufacture sensitized motion picture films of any kind, nor single-strip color films based upon its so-called "Troland Patent" (which Technicolor maintained covered all monopack-type films in general, and which Eastman Kodak elected not to contest as Technicolor was then one of its largest customers, if not its largest customer). After 1950, Eastman Kodak was free to make and market color films of any kind, particularly including monopack color motion picture films in 65/70mm, 35mm, 16mm and 8mm. The "Monopack Agreement" had no effect on color still films.
890:, Eastmancolor became a marketing imperative as CinemaScope was incompatible with Technicolor's Three-Strip camera and lenses. Indeed, Technicolor Corp became one of the best, if not the best, processor of Eastmancolor negative, especially for so-called "wide gauge" negatives (5-perf 65mm, 8- and 6-perf 35mm), yet it far preferred its own 35mm dye-transfer printing process for Eastmancolor-originated films with a print run that exceeded 500 prints, not withstanding the significant "loss of register" that occurred in such prints that were expanded by CinemaScope's 2X horizontal factor, and, to a lesser extent, with so-called "flat wide screen" (variously 1.66:1 or 1.85:1, but spherical and not anamorphic). This nearly fatal flaw was not corrected until 1955 and caused numerous features initially printed by Technicolor to be scrapped and reprinted by
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halves, and was later re-slit into two 16mm wide prints without the need for re-perforation). This modification also facilitated the early experiments by
Eastman Kodak with its negative-positive monopack film, which eventually became Eastmancolor. Essentially, the "Imbibition Agreement" lifted a portion of the "Monopack Agreement's" restrictions on Technicolor (which prevented it from making motion picture products less than 35mm wide) and somewhat related restrictions on Eastman Kodak (which prevented it from experimenting and developing monopack products greater than 16mm wide).
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the soundtrack, was struck and treated with dye mordants to aid in the imbibition process (this "black" layer was discontinued in the early 1940s). The matrices for each strip were coated with their complementary dye (yellow, cyan, or magenta), and then each successively brought into high-pressure contact with the receiver, which imbibed and held the dyes, which collectively rendered a wider spectrum of color than previous technologies. The first animation film with the three-color (also called three-strip) system was
518:, 1912), which was filmed in December 1911. The Kinemacolor process consisted of alternating frames of specially sensitized black-and-white film exposed at 32 frames per second through a rotating filter with alternating red and green areas. The printed film was projected through similar alternating red and green filters at the same speed. A perceived range of colors resulted from the blending of the separate red and green alternating images by the viewer's persistence of vision.
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aesthetics for the use of color in the film industry. The film-making process involves color choices, which can have a significant impact on how the audience perceives a story. The perception of color is influenced by various elements, such as the context in which each color is observed, the material properties they exhibit, the cultural framework in which they are presented, as well as each individual viewer's subjective response.
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estimated to retain their color for centuries. With the introduction of
Eastmancolor low-fade positive print (LPP) films, properly stored (at 45 °F or 7 °C and 25 percent relative humidity) monopack color film is expected to last, with no fading, a comparative amount of time. Improperly stored monopack color film from before 1983 can incur a 30 percent image loss in as little as 25 years.
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lens. A subtractive primary color (cyan, magenta, yellow) is what remains when one of the additive primary colors (red, green, blue) has been removed from the spectrum. Eastman Kodak's monopack color films incorporated three separate layers of differently color sensitive emulsion into one strip of film. Each layer recorded one of the additive primaries and was processed to produce a dye image in the
361:, who was one of the pioneers in animated movies, made several animated films in which he directly manually painted the images, and in some cases, also the soundtrack, on each frame of the film. This approach was previously employed in the early years of movies, late 19th and early 20th century. One of the precursors in color manual painting frame by frame were the Aragonese
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protective topcoat, (B) UV filter, (C) "Fast" blue layer, (D) "Slow" blue layer, (E) Yellow filter to cut all blue light from passing through to (F) "Fast" green layer, (G) "Slow" green layer, (H) Inter (subbing) layer, (I) "Fast" red layer, (J) "Slow" red layer, (K) Clear triacetate base, and (L) Antihalation (rem-jet) backing.
824:. For many years, Monopack (capitalized) was a proprietary product of Technicolor Corp, whereas monopack (not capitalized) generically referred to any of several single-strip color film products, including various Eastman Kodak products. It appeared that Technicolor made no attempt to register Monopack as a trademark with the
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less overall graininess to the film. This made for sharper and more sensitive films. The T-Grain technology was first employed in Kodak's EXR line of motion picture color negative stocks. This was further refined in 1996 with the Vision line of emulsions, followed by Vision2 in the early 2000s and Vision3 in 2007.
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emulsion, a technological advancement in the shape and make-up of silver halide grains in their films. T-Grain is a tabular silver halide grain that allows for greater overall surface area, resulting in greater light sensitivity with a relatively small grain and a more uniform shape that results in a
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is an anti-halation layer that absorbs light which would otherwise be weakly reflected back through the film by that surface and create halos of light around bright features in the image. In color film, this backing is "rem-jet", a black-pigmented, non-gelatin layer which is removed in the developing
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in a specially modified camera to send red and green light to adjacent frames of one strip of black-and-white film. From this negative, skip-printing was used to print each color's frames contiguously onto film stock with half the normal base thickness. The two prints were chemically toned to roughly
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black-and-white film. The finished film was projected through similar filters to reconstitute the color. In 1902, Turner shot test footage to demonstrate his system, but projecting it proved problematic because of the accurate registration (alignment) of the three separate color elements required for
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in 1929. The
Sonochrome line featured films tinted in seventeen different colors including Peachblow, Inferno, Candle Flame, Sunshine, Purple Haze, Firelight, Azure, Nocturne, Verdante, Aquagreen, Caprice, Fleur de Lis, Rose Doree, and the neutral-density Argent, which kept the screen from becoming
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Fuji films also integrated tabular grains in their SUFG (Super
Unified Fine Grain) films. In their case, the SUFG grain is not only tabular, it is hexagonal and consistent in shape throughout the emulsion layers. Like the T-grain, it has a larger surface area in a smaller grain (about one-third the
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The three color records are stacked as shown at right, with a UV filter on top to keep the non-visible ultraviolet radiation from exposing the silver-halide crystals, which are naturally sensitive to UV light. Next are the fast and slow blue-sensitive layers, which, when developed, form the latent
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printing was a "tie-in" product. In the 16mm case, there were
Eastman Kodak duplicating and printing stocks and associated chemistry, not the same as a "tie-in" product. In exceptional cases, Technicolor offered 16mm dye-transfer printing, but this necessitated the exceptionally wasteful process of
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The three negatives were then printed to gelatin matrices, which also completely bleached the image, washing out the silver and leaving only the gelatin record of the image. A receiver print, consisting of a 50% density print of the black-and-white negative for the green record strip, and including
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The first color systems that appeared in motion pictures were additive color systems. Additive color was practical because no special color stock was necessary. Black-and-white film could be processed and used in both filming and projection. The various additive systems entailed the use of color
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The film industry recognizes the impact of color on human psychology as it plays a key role in filmmaking by creating the right mood, directing attention, and evoking certain emotions from the audience. Filmmakers use different color combinations to communicate various emotions to the audience. The
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negative-positive process incorporated into one strip of film. This eventually rendered Three-Strip color photography obsolete, even though, for the first few years of
Eastmancolor, Technicolor continued to offer Three-Strip origination combined with dye-transfer printing (150 titles produced in
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base, was available exclusively from
Technicolor, as its so-called "Technicolor Monopack" product. Similarly, for sub-professional motion picture photography, Kodachrome Commercial, on a 16mm base, was available exclusively from Eastman Kodak. In both cases, Eastman Kodak was the sole manufacturer
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Monopack color films are based on the subtractive color system, which filters colors from white light by using superimposed cyan, magenta and yellow dye images. Those images are created from records of the amounts of red, green and blue light present at each point of the image formed by the camera
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By their nature, these additive systems were very wasteful of light. Absorption by the color filters involved meant that only a minor fraction of the projection light actually reached the screen, resulting in an image that was dimmer than a typical black-and-white image. The larger the screen, the
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after
William's death in 1921. William sued George Albert Smith, alleging that the Kinemacolor process infringed on the patents for his Bioschemes, Ltd.; as a result, Smith's patent was revoked in 1914. Both Kinemacolor and Biocolour had problems with "fringing" or "haloing" of the image, due to
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A representation of the layers within a piece of developed color 35 mm negative film. When developed, the dye couplers in the blue-, green-, and red-sensitive layers turn the exposed silver halide crystals to their complementary colors (yellow, magenta, and cyan). The film is made up of (A) Clear
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Technicolor continued to offer its proprietary imbibition dye-transfer printing process for projection prints until 1975, and even briefly revived it in 1998. As an archival format, Technicolor prints are one of the most stable color print processes yet created, and prints properly cared for are
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A late modification to the "Monopack
Agreement", the "Imbibition Agreement", finally allowed Technicolor to economically manufacture 16mm dye-transfer prints as so-called "double-rank" 35/32mm prints (two 16mm prints on a 35mm base that was originally perforated at the 16mm specification for both
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on both the movie camera and projector. Additive color adds lights of the primary colors in various proportions to the projected image. Because of the limited amount of space to record images on film, and later because the lack of a camera that could record more than two strips of film at once,
554:. After development, the resulting silver images were bleached away and replaced with color dyes, red on one side and cyan on the other. The pairs of superimposed dye images reproduced a useful but limited range of color. Kodak's first narrative film with the process was a short subject entitled
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Color psychology is an essential aspect of the film industry. Hermann Von
Helmholtz began investigating the physiological responses to color in the mid-19th century. His and other research changed the way filmmakers approach color in their productions, which prompted standards in technology and
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in London in 1861. By that time, it was known that light comprises a spectrum of different wavelengths that are perceived as different colors as they are absorbed and reflected by natural objects. Maxwell discovered that all natural colors in this spectrum as perceived by the human eye may be
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At one point, Technicolor implemented a two-tiered print pricing structure, one for dye-transfer prints, which favored large volume printing, and one Eastmancolor prints, which favored small volume printing—but this was after the "tie-in" between origination and printing had been broken by the
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The real push for color films and the nearly immediate changeover from black-and-white production to nearly all color film were pushed forward by the prevalence of television in the early 1950s. In 1947, only 12 percent of American films were made in color. By 1954, that number rose to over 50
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The way that light affects our perception of color can be defined by the principles of additive and subtractive color. Additive color theory states that colors come from the addition of light, while subtractive color theory states that colors are created by the absorption of light. Hermann von
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in the appropriate areas for up to six colors by a coloring machine with dye-soaked, velvet rollers. After a stencil had been made for the whole film, it was placed into contact with the print to be colored and run at high speed (60 feet per minute) through the coloring (staining) machine. The
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color film. The process necessary is ECN-2, which has an initial step using an alkaline bath to remove the backing layer. There are also minor differences in the remainder of the process. If motion picture negative is run through a standard C-41 color film developer bath, the rem-jet backing
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Technicolor's early system were in use for several years, but it was a very expensive process: shooting cost three times that of black-and-white photography and printing costs were no cheaper. By 1932, color photography in general had nearly been abandoned by major studios, until Technicolor
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A color film is made up of many different layers that work together to create the color image. Color negative films provide three main color layers: the blue record, green record, and red record; each made up of two separate layers containing silver halide crystals and dye-couplers. A
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system used two strips of film running through the camera, one recording red, and one recording blue-green light. With the black-and-white negatives being printed onto duplitized film, the color images were then toned red and blue, effectively creating a subtractive color print.
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having a pink tint due to film fading and no color correction being applied. While modern digital film scanning and color correcting techniques have mitigated this issue to a degree, it highlights the importance of digitizing and backing up of analog media.
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process was introduced by Kodak as "Kodachrome", a name recycled twenty years later for a very different and far better-known product. Filter-photographed red and blue-green records were printed onto the front and back of one strip of black-and-white
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processes were introduced. These also used black-and-white film to photograph multiple color-filtered source images, but the final product was a multicolored print that did not require special projection equipment. Before 1932, when three-strip
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were in general use). In 1950, a federal court ordered Technicolor to allot a number of its three-strip cameras for use by independent studios and filmmakers. Although this certainly affected Technicolor, its real undoing was the invention of
721:, which allowed for the transferring of dyes from both color matrices into a single print, avoiding several problems that had become evident with the cemented prints and allowing multiple prints to be created from a single pair of matrices.
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Tinting and toning continued to be used well into the sound era. In the 1930s and 1940s, some western films were processed in a sepia-toning solution to evoke the feeling of old photographs of the day. Tinting was used as late as 1951 for
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dimmer the picture. For this and other case-by-case reasons, the use of additive processes for theatrical motion pictures had been almost completely abandoned by the early 1940s, though additive color methods are employed by all the color
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cross-sectional representation of a piece of developed color negative film is shown in the figure at the right. The triacetate base is 0.005 inch thick, the total thickness of the emulsion and other coatings is less than 0.0015 inches.
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moods and psychological states of characters are often conveyed by colored lights, while object colors, in conjunction with the colors attributed to characters costumes, hair, and skin tones, establish relationships or conflicts.
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In 1947, the United States Justice Department filed an antitrust suit against Technicolor for monopolization of color cinematography through their 1934 "Monopack Agreement" with Kodak (even though rival processes such as
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The tie-in ensures the quality of the tied-good when the tied good (dye-transfer printing, in this case) is used in conjunction with the tying good (Three-Strip or Monopack origination, in this case), paraphrasing
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in the form of a cube, light from the lens was deflected by the prisms and split into two paths to expose each one of three black-and-white negatives (one each to record the densities for red, green, and blue).
558:(1916). Though their duplitized film provided the basis for several commercialized two-color printing processes, the image origination and color-toning methods constituting Kodak's own process were little-used.
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support this, as they inform that the colors we perceive are determined by the combination of object colors, the colors interactions with light, and their color temperature and spectral properties.
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Each photographed color component, initially just a colorless record of the luminous intensities in the part of the spectrum that it captured, is processed to produce a transparent dye image in the color
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size of traditional grain) for the same light sensitivity. In 2005, Fuji unveiled their Eterna 500T stock, the first in a new line of advanced emulsions, with Super Nano-structure ÎŁ Grain Technology.
292:. This creates a color effect in which the dark parts of the image are replaced with a color (e.g., blue and white rather than black and white). Tinting and toning were sometimes applied together.
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1953, 100 titles produced in 1954 and 50 titles produced in 1955, the last year for Three-Strip as camera negative stock). The first commercial feature film to use Eastmancolor was the documentary
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to the color of the light that it recorded. The superimposed dye images combine to synthesize the original colors by the subtractive color method. In some early color processes (e.g.,
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color. This process was popular during the silent era, with specific colors employed for certain narrative effects (red for scenes with fire or firelight, blue for night, etc.).
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films were modified versions of these films. They were introduced around 1940 but only came into wide use for commercial motion picture production in the early 1950s. In the US,
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Eastman Kodak manufactures film in 54-inch (1,372 mm) wide rolls. These rolls are then slit into various sizes (70 mm, 65 mm, 35 mm, 16 mm) as needed.
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was the first commercially successful application of monopack multilayer film, introduced in 1935. For professional motion picture photography, Kodachrome Commercial, on a 35mm
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98:, which is usually what is meant by the words "color film" as commonly used. The few color photographic films still being made in the 2020s are of this type. The first color
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A three-color theory of combination, which informs that all colors are created by combining the three main hues of red, blue, and green, was first established by
186:), the component images remained in black-and-white form and were projected through color filters to synthesize the original colors by the additive color method.
350:(1945). Kodak's Sonochrome and similar pre-tinted stocks were still in production until the 1970s and were used commonly for custom theatrical trailers and
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was initially printed on Eastmancolor positive, but its significant success eventually resulted in it being reprinted by Technicolor, using dye-transfer.
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of color into several regions (normally three, commonly referred to by their dominant colors: red, green and blue) and recording each region separately.
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printing on a 35mm base, only thereafter to be re-perforated and re-slit to 16mm, thereby discarding slightly more than one-half of the end product.
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process was repeated for each set of stencils corresponding to a different color. By 1910, Pathé had over 400 women employed as stencilers in their
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in 1929, became one of the most accurate and reliable stencil coloring systems. It incorporated an original print of a film with sections cut by
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was used to align and combine each group of three frames into one color image. As a result, these films from 1902 became viewable in full color.
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in 1899. It used a rotating set of red, green and blue filters to photograph the three color components one after the other on three successive
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offered manual-painted prints of his own films at an additional cost over the black-and-white versions, including the visual-effects pioneering
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chemistry (positive prints for direct projection), usually abbreviated as ECN-2 and ECP-2. Fuji's products are compatible with ECN-2 and ECP-2.
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abandonment of Three-Strip and Monopack origination. For small print runs, dye-transfer remained an option, but at a significantly higher cost.
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complementary hues of red and green, then cemented together, back to back, into a single strip of film. The first film to use this process was
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With color motion picture film, information about the color of the light at each image point is also captured. This is done by analyzing the
873:, released in December 1951. Hollywood studios waited until an improved version of Eastmancolor negative came out in 1952 before using it;
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was the usual choice, but it was often re-branded with another trade name, such as "WarnerColor", by the studio or the film processor.
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was introduced, commercialized subtractive processes used only two color components and could reproduce only a limited range of color.
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237:(1902). The film had various parts of the film painted frame-by-frame by twenty-one women in Montreuil in a production-line method.
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However, after 1917, Kelley reinvented the process as a subtractive one with several years of short films and travelogues, such as
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reproduced with additive combinations of three primary colors—red, green, and blue—which, when mixed equally, produce white light.
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to some degree. As orthochromatic film stock hindered color photography in its beginnings, the first films with color in them used
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Wilhelm, Henry; Brower, Carol (1993). "The Extraordinarily Stable Technicolor Dye Imbibition Motion Picture Color Print Process".
622:, developed a system he called Naturalcolor, and first showed a short test film made in the process on 15 May 1917 at his home in
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59:. These early systems used black-and-white film to photograph and project two or more component images through different color
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that yielded a black-and-white image—that is, an image in shades of gray, ranging from black to white, corresponding to the
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acceptable results. Turner died a year later without having satisfactorily projected the footage. In 2012, curators at the
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Current color films do this with three layers of differently color-sensitive photographic emulsion coated on one strip of
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94:". These were the first films of the "integral tripack" type, coated with three layers of different color-sensitive
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percent. The rise in color films was also aided by the breakup of Technicolor's near monopoly on the medium.
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Between 1900 and 1935, dozens of natural color systems were introduced, although only a few were successful.
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Motion picture film, primarily because of the rem-jet backing, requires different processing than standard
604:(1921) is available on DVD in Treasures 5 The West 1898–1938 by the National Film Preservation Foundation.
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of each point on the photographed subject. Light, shade, form and movement were captured, but not color.
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The Cinema in Flux: The Evolution of Motion Picture Technology from the Magic Lantern to the Digital Era
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in New York City on 8 February 1917. Prizma began in 1916 as an additive system similar to Kinemacolor.
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In the United States, St. Louis engraver Max Handschiegl and cinematographer Alvin Wyckoff created the
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most early motion-picture color systems consisted of two colors, often red and green or red and blue.
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in 1899 and tested in 1902. A simplified additive system was successfully commercialized in 1909 as
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partially dissolves and destroys the integrity of the developer and, potentially, ruins the film.
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was an early film which employed three separate and interlocked strips of Eastmancolor negative.
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copied to black-and-white 35 mm film, which was then scanned into a digital video format by
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These principles on which color photography is based were first proposed by Scottish physicist
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Film was the dominant form of cinematography until the 2010s, when it was largely replaced by
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Many early filmmakers from the first ten years of film also used this method to some degree.
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Making Kodak Film: The Illustrated Story of State-of-the-Art Photographic Film Manufacturing
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chemistry (camera negative stocks, duplicating interpositive and internegative stocks) and
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In the field of motion pictures, the many-layered type of color film normally called an
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invented another additive color system called Biocolour, which was developed by his son
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developed a new advancement to record all three primary colors. Utilizing a special
607:
The invention of Prizma led to a series of similarly printed color processes. This
561:
The first truly successful subtractive color process was William van Doren Kelley's
166:
to photograph the color components as completely separate images (e.g., three-strip
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The first commercially successful stencil color process was introduced in 1905 by
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492:, first demonstrated in 1906. This was a two-color system created in England by
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Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897-1925
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used a form of manual-coloring for the orange-red gun-blast at the audience in
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2017:
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1945:
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1689:"Anime film restorer reveals reason why 'Sailor Moon' has a pink 'aesthetic'"
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1113:"Studios Abandon Film, Small Theaters Struggle – And There's a Happy Ending"
212:
dyes to create artificial color. Manual-colored films appeared in 1895 with
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introduced its own system of pre-tinted black-and-white film stocks called
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1375:
Pritchard, B. (2012). "Lee-Turner Project with the National Media Museum".
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in broader contexts has long been known by the less tongue-twisting term
776:
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673:, one with a red filter, one with a green filter) from 1915 to 1921, Dr.
633:
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from 1909 on. It was used for a many films, most notably the documentary
489:
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167:
87:
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1738:
Holben, Jay (June 1999). "Preserving Negatives for the Next Generation"
886:
By 1953, and especially with the introduction of anamorphic wide screen
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The first motion pictures were photographed using a simple homogeneous
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The pioneering three-color additive system was patented in England by
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1721:. Preservation Publishing Company. pp. 345–366. Archived from
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285:, replaces the silver particles in the film with metallic salts or
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626:. The only feature film known to have been made in this process,
299:, a dye-transfer equivalent of the stencil process, first used in
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4014:
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862:, introduced in 1950, was Kodak's first economical, single-strip
286:
209:
117:
Later color films were standardized into two distinct processes:
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2503:
2357:
1274:"Bright Signals: A History of Color Television by Susan Murray"
1068:
808:
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The process was later refined through the incorporation of dye
562:
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excessively bright when switching to a black-and-white scene.
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factory. Pathéchrome continued production through the 1930s.
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534:
1779:
Probst, Christopher. (May 2000). "Taking Stock" Part 2 of 2
1498:
Leon F. Douglass: Inventor and Victor's First Vice-President
372:
Tinting was gradually replaced by natural color techniques.
268:
A more common technique emerged in the early 1910s known as
3081:
1874:
1820:
The American Widescreen Museum has a thorough treatise on
1640:"Film Preservation 101: Why are old films sometimes pink?"
565:, an early color process that was first introduced at the
488:
Practical color in the motion picture business began with
309:, and used in special effects sequences for films such as
580:(1919) before releasing features such as the documentary
529:
the separate red and green images not fully matching up.
289:
1094:"Martin Scorsese on world's first colour film discovery"
1766:
Holben, Jay. (April 2000). "Taking Stock" Part 1 of 2.
665:
After experimenting with additive systems (including a
847:
and the sole processor. In the 35mm case, Technicolor
1558:
Colour Films in Britain: The Eastmancolor Revolution
984:
1757:, Robert L. Shanebrook, 2010, Rochester, New York.
1604:
1602:
1512:
The American Film Industry: A Historical Dictionary
1448:
The American Film Industry: A Historical Dictionary
958:
403:
Psychological and theoretical uses of color in film
1168:(2nd edition, W. W. Norton & Company, 1990).
971:
940:Manufacturers of color film for motion picture use
537:and computer display systems in common use today.
86:in 1936. They were intended primarily for amateur
1798:Hollywood's Conversion of All Production to Color
1596:, S. J. Liebowitz, University of Texas at Dallas.
1358:"World's first colour moving pictures discovered"
170:) or adjacent microscopic image fragments (e.g.,
4430:
1599:
700:. Perhaps the most ambitious film to use it was
455:in Bradford, UK, had the original custom-format
1320:"A Digital Humanities Approach to Film Colors"
1220:
1218:
1216:
1214:
596:(1924). A Prizma promotional short filmed for
189:
1859:
1711:
1609:Chronology of Motion Picture Films: 1940–1959
1534:" Widescreenmuseum.com. Retrieved 2006-07-07.
375:
1715:The Permanence and Care of Color Photographs
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1189:
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812:A strip of undeveloped 35 mm color negative.
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174:) in a one-layer black-and-white emulsion.
1866:
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1317:
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644:—was filmed in the Lake Lagunitas area of
1545:"Gasparcolor: Perfect Hues for Animation"
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963:In the late 1980s, Kodak introduced the
913:
807:
755:), the first short live-action film was
650:
469:
200:The earliest motion picture stocks were
20:
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1582:(1996) Eastman Kodak Publication H-188.
1573:
1504:
1440:
1432:How to Make and Operate Moving Pictures
1238:
4431:
1637:
1446:Slide, Anthony. (1990) "Prizma Color"
1135:
1110:
803:
382:Thomas Young and Hermann von Helmholtz
369:, who were Melies' close competitors.
357:In the last half of the 20th century,
47:The first color cinematography was by
1847:
1594:Tie-in Sales and Price Discrimination
1510:Slide, Anthony. (1990) "Technicolor"
1386:
507:With Our King and Queen Through India
496:, and commercialized by film pioneer
482:With Our King and Queen Through India
1822:early motion picture color processes
1745:
1664:"EASTMANCOLOR FADE INFORMATION PAGE"
1524:
1389:"World's first colour film unveiled"
1313:
1311:
1309:
1271:
1267:
1265:
540:
340:for the green lost-world sequences.
51:systems such as the one patented by
1816:BBC article on the first color film
502:Natural Color Kinematograph Company
13:
4206:List of American independent films
1811:Timeline of Historical Film Colors
1790:
1686:
1399:
1387:Singh, Anita (12 September 2012).
1247:Monaco, James (1981) (Revised ed)
1111:Hurley, Michael (2 January 2014).
1053:List of motion picture film stocks
946:List of motion picture film stocks
661:A Kodak 1922 film test in colour
567:American Museum of Natural History
40:in a format suitable for use in a
14:
4465:
1804:
1781:American Cinematographer Magazine
1768:American Cinematographer Magazine
1740:American Cinematographer Magazine
1434:Funk & Wagnalls. Courtesy of
1306:
1262:
1043:List of early color feature films
424:
196:List of early color feature films
66:During 1930s the first practical
4412:
4403:
4402:
987:
959:Kodak color motion picture films
909:
578:A Prizma Color Visit to Catalina
281:A complementary process, called
1873:
1828:List of films in Prizma at IMDb
1732:
1680:
1656:
1631:
1621:
1585:
1562:
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1489:
1482:Cornwell-Clyne, Adrian. (1951)
1476:
1460:
1424:
1380:
1368:
972:Fuji color motion picture films
1410:. University of Exeter Press.
1350:
1086:
826:US Patent and Trademark Office
636:and with cameo appearances by
1:
1638:Amidon, Audrey (2016-01-11).
1336:10.5749/movingimage.17.2.0071
1079:
763:), and the first feature was
391:in 1855 and presented at the
384:, in the early 19th century.
162:. Early processes used color
29:in 1902, as secret technology
25:Still from test film made by
1834:Animation in Natural Colours
1318:Flueckiger, Barbara (2017).
1199:The Complete Film Dictionary
1065:mainly about film for stills
732:equipped with two 45-degree
710:), starring and produced by
82:was introduced, followed by
7:
1471:The American Museum Journal
1166:A History of Narrative Film
980:
190:Tinting and manual coloring
135:
10:
4470:
4097:Classical Hollywood cinema
3286:Commedia sexy all'italiana
2194:Exploitation film template
2138:Commedia sexy all'italiana
1532:The History of Technicolor
1251:Oxford University Press.
1201:Meridan PAL Books, 1987)
1038:List of color film systems
943:
618:(1869–1940), a founder of
376:Physics of light and color
193:
4439:Film and video technology
4398:
4001:
3919:
3664:German underground horror
3619:Documentary Film Movement
3527:American eccentric cinema
3512:
2758:
1884:
1800:, Tobey Publishing, 2000.
1580:Exploring the Color Image
1501:(Retrieved on 2007-03-26)
297:Handschiegl Color Process
36:refers both to unexposed
34:Color motion picture film
1687:Ke, Bryan (2024-01-26).
1473:(1917), vol. 17, p. 150.
1377:Retrieved 20 April 2013.
646:Marin County, California
465:digital image processing
312:The Phantom of the Opera
123:Eastman Color Positive 2
119:Eastman Color Negative 2
102:films and corresponding
4444:Photographic film types
3599:Cinema of Transgression
2733:Cinema of Transgression
1742:ASC Press. pp. 147–152.
1514:Limelight pp. 338–340.
1486:Chapman and Hall press.
1406:McKernan, Luke (2018).
593:Venus of the South Seas
38:color photographic film
3819:The Prague film school
3684:Hollywood on the Tiber
1783:ASC Press. pp. 110–120
1770:ASC Press. pp. 118–130
1530:Hart, Martin (2003). "
1291:10.1353/tech.2020.0028
1278:Technology and Culture
1272:Kane, Carolyn (2020).
1228:(HarperCollins, 1994)
920:
813:
662:
624:San Rafael, California
587:The Glorious Adventure
574:Everywhere With Prizma
485:
130:digital cinematography
30:
16:Photographic film type
3674:Grupo Cine LiberaciĂłn
3614:Czechoslovak New Wave
3609:Commedia all'italiana
1956:Commedia all'italiana
1547:. Fischinger Archive.
1484:Colour Cinematography
1430:(1917) "Kinemacolor"
1226:The Film Encyclopedia
917:
836:subtractive primary.
811:
660:
616:Leon Forrest Douglass
522:William Friese-Greene
480:
453:National Media Museum
440:Edward Raymond Turner
142:photographic emulsion
53:Edward Raymond Turner
42:motion picture camera
24:
4201:Guerrilla filmmaking
3864:Kitchen sink realism
3749:New French Extremity
3659:German Expressionist
3567:Kitchen sink realism
3432:Contemporary Western
3212:Environmental issues
2743:New French Extremity
2701:New French Extremity
2526:Softcore pornography
2521:Hardcore pornography
2388:New French Extremity
1644:The Unwritten Record
1364:. 12 September 2012.
1100:. 22 September 2012.
1048:List of film formats
681:. The system used a
545:The first practical
526:Claude Friese-Greene
365:and his French wife
3937:Children and family
3911:Yugoslav Black Wave
3784:Nuevo Cine Mexicano
3669:Nigerian Golden Age
3634:European art cinema
3537:Australian New Wave
804:Monopack color film
689:The Toll of the Sea
516:The Durbar at Delhi
494:George Albert Smith
389:James Clerk Maxwell
305:(1917) directed by
4235:Major film studios
3829:Pure Film Movement
3809:Polish Film School
3709:Italian neorealist
3689:Hong Kong New Wave
3291:Mexican sex comedy
2348:German underground
1614:2009-06-25 at the
1450:Limelight p. 271.
1436:Wide Screen Museum
1249:How to Read a Film
1123:on 1 February 2016
921:
814:
663:
602:Sunshine Gatherers
486:
234:A Trip to the Moon
216:'s manual-painted
146:luminous intensity
31:
4426:
4425:
4365:Socialist realist
4077:Behind-the-scenes
3854:Socialist realist
3849:Spaghetti Western
3839:Romanian New Wave
3714:Japanese New Wave
3380:Sword and sorcery
3296:Nazi exploitation
2878:Mumbai underworld
2634:Planetary romance
1668:ian-partridge.com
1063:Photographic film
1018:Color photography
748:Flowers and Trees
712:Douglas Fairbanks
658:
642:Douglas Fairbanks
556:Concerning $ 1000
547:subtractive color
541:Subtractive color
478:
363:Segundo de ChomĂłn
242:Segundo de ChomĂłn
218:Annabelle's Dance
68:subtractive color
4461:
4416:
4406:
4405:
4385:Vulgar auteurism
4213:Interstitial art
4191:Hyperlink cinema
3906:Vulgar auteurism
3901:Toronto New Wave
3891:Telefoni Bianchi
3886:Sword-and-sandal
3704:Italian futurist
3699:Iranian New Wave
3562:British New Wave
3375:Sword-and-sandal
3256:Rape and revenge
3197:Mouth of Garbage
3043:Tentacle erotica
2991:Goona-goona epic
2971:Extraterrestrial
2858:Heroic bloodshed
2492:Occult detective
2323:Christmas horror
2175:Sword-and-sandal
1907:Hong Kong action
1902:Heroic bloodshed
1868:
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1324:The Moving Image
1315:
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1293:
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1245:
1236:
1222:
1209:
1197:Ira Konigsberg,
1195:
1176:
1164:Cook, David A.,
1162:
1133:
1132:
1130:
1128:
1119:. Archived from
1108:
1102:
1101:
1090:
997:
992:
991:
990:
881:This is Cinerama
876:This is Cinerama
818:integral tripack
800:that same year.
703:The Black Pirate
659:
632:(1918)—starring
582:Bali the Unknown
510:, depicting the
479:
367:Julienne Mathieu
342:Alfred Hitchcock
307:Cecil B. DeMille
153:visible spectrum
4469:
4468:
4464:
4463:
4462:
4460:
4459:
4458:
4449:History of film
4429:
4428:
4427:
4422:
4394:
4335:Semidocumentary
4260:Minimalist film
4250:Message picture
4245:Maximalist film
4139:Database cinema
4122:Computer screen
4082:Black-and-white
4007:
4005:
4003:
3997:
3915:
3871:Soviet parallel
3794:Parallel cinema
3789:Pan-Indian film
3719:Kammerspielfilm
3654:French New Wave
3574:Budapest school
3557:Brighton School
3532:New Objectivity
3514:
3508:
3477:Science fiction
3109:Bruceploitation
3018:Girls with guns
2964:Turksploitation
2838:Gentleman thief
2754:
2589:Science fiction
2435:Minimalist film
2430:Maximalist film
2408:Science fiction
2368:Japanese horror
2165:Social guidance
1880:
1872:
1838:Moving Pictures
1807:
1793:
1791:Further reading
1788:
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1616:Wayback Machine
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598:Del Monte Foods
552:duplitized film
543:
514:(also known as
470:
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405:
378:
334:'s sci-fi film
198:
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17:
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5:
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4320:Reverse motion
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4307:
4302:
4297:
4292:
4287:
4282:
4277:
4272:
4270:Modernist film
4267:
4262:
4257:
4252:
4247:
4242:
4237:
4232:
4227:
4226:
4225:
4215:
4210:
4209:
4208:
4203:
4193:
4188:
4183:
4178:
4173:
4168:
4163:
4162:
4161:
4151:
4146:
4141:
4136:
4135:
4134:
4132:midnight movie
4124:
4119:
4114:
4109:
4104:
4099:
4094:
4089:
4084:
4079:
4074:
4069:
4064:
4059:
4058:
4057:
4052:
4047:
4042:
4037:
4032:
4022:
4017:
4011:
4009:
3999:
3998:
3996:
3995:
3994:
3993:
3988:
3978:
3977:
3976:
3971:
3961:
3960:
3959:
3954:
3946:
3945:
3944:
3934:
3929:
3923:
3921:
3920:By demographic
3917:
3916:
3914:
3913:
3908:
3903:
3898:
3893:
3888:
3883:
3878:
3873:
3868:
3867:
3866:
3859:Social realist
3856:
3851:
3846:
3841:
3836:
3831:
3826:
3821:
3816:
3814:Poliziotteschi
3811:
3806:
3804:Poetic realist
3801:
3796:
3791:
3786:
3781:
3776:
3771:
3766:
3761:
3759:New generation
3756:
3751:
3746:
3741:
3736:
3734:Modernist film
3731:
3726:
3724:L.A. Rebellion
3721:
3716:
3711:
3706:
3701:
3696:
3691:
3686:
3681:
3676:
3671:
3666:
3661:
3656:
3651:
3646:
3641:
3636:
3631:
3626:
3621:
3616:
3611:
3606:
3601:
3596:
3591:
3589:Cinéma du look
3586:
3581:
3576:
3571:
3570:
3569:
3559:
3554:
3549:
3544:
3539:
3534:
3529:
3524:
3518:
3516:
3510:
3509:
3507:
3506:
3505:
3504:
3502:Zapata Western
3499:
3494:
3489:
3484:
3482:Singing cowboy
3479:
3474:
3469:
3464:
3459:
3454:
3449:
3444:
3439:
3437:Dacoit Western
3434:
3429:
3419:
3418:
3417:
3412:
3407:
3397:
3392:
3387:
3382:
3377:
3372:
3367:
3362:
3357:
3356:
3355:
3345:
3340:
3335:
3330:
3325:
3320:
3318:Shoshimin-eiga
3315:
3314:
3313:
3308:
3306:Nunsploitation
3303:
3301:Pornochanchada
3298:
3293:
3288:
3283:
3273:
3268:
3263:
3258:
3253:
3248:
3247:
3246:
3236:
3231:
3226:
3221:
3216:
3215:
3214:
3204:
3199:
3194:
3189:
3188:
3187:
3186:
3185:
3175:
3170:
3165:
3160:
3150:
3149:
3148:
3138:
3137:
3136:
3131:
3126:
3121:
3116:
3111:
3101:
3096:
3091:
3090:
3089:
3084:
3074:
3069:
3068:
3067:
3057:
3052:
3047:
3046:
3045:
3040:
3035:
3025:
3020:
3015:
3014:
3013:
3008:
3003:
2993:
2988:
2983:
2978:
2976:Food and drink
2973:
2968:
2967:
2966:
2961:
2956:
2954:Blaxploitation
2946:
2941:
2936:
2931:
2926:
2925:
2924:
2919:
2909:
2908:
2907:
2897:
2892:
2891:
2890:
2885:
2883:Poliziotteschi
2880:
2875:
2870:
2865:
2860:
2855:
2850:
2845:
2840:
2835:
2830:
2820:
2815:
2810:
2805:
2800:
2795:
2794:
2793:
2788:
2778:
2773:
2768:
2762:
2760:
2756:
2755:
2753:
2752:
2747:
2746:
2745:
2740:
2738:Extreme cinema
2735:
2725:
2724:
2723:
2718:
2713:
2708:
2703:
2698:
2693:
2688:
2683:
2678:
2668:
2663:
2658:
2657:
2656:
2651:
2646:
2641:
2636:
2631:
2626:
2621:
2616:
2611:
2606:
2601:
2596:
2586:
2585:
2584:
2579:
2574:
2569:
2564:
2563:
2562:
2547:
2542:
2537:
2536:
2535:
2528:
2523:
2513:
2508:
2507:
2506:
2501:
2500:
2499:
2494:
2479:
2478:
2477:
2472:
2467:
2462:
2457:
2452:
2442:
2437:
2432:
2427:
2426:
2425:
2420:
2415:
2410:
2405:
2400:
2395:
2390:
2385:
2380:
2375:
2370:
2365:
2360:
2355:
2350:
2345:
2340:
2335:
2330:
2325:
2320:
2318:Chinese horror
2315:
2310:
2305:
2295:
2294:
2293:
2288:
2283:
2278:
2273:
2263:
2262:
2261:
2256:
2251:
2241:
2240:
2239:
2234:
2229:
2224:
2219:
2214:
2209:
2199:
2198:
2197:
2184:
2179:
2178:
2177:
2167:
2162:
2157:
2156:
2155:
2150:
2145:
2140:
2130:
2129:
2128:
2127:
2126:
2116:
2111:
2106:
2101:
2091:
2090:
2089:
2084:
2079:
2074:
2069:
2064:
2059:
2054:
2049:
2039:
2038:
2037:
2027:
2026:
2025:
2020:
2015:
2010:
2005:
2000:
1995:
1990:
1985:
1980:
1975:
1970:
1965:
1964:
1963:
1953:
1948:
1938:
1933:
1928:
1923:
1922:
1921:
1911:
1910:
1909:
1904:
1899:
1888:
1886:
1882:
1881:
1871:
1870:
1863:
1856:
1848:
1842:
1841:
1830:
1825:
1818:
1813:
1806:
1805:External links
1803:
1802:
1801:
1792:
1789:
1786:
1785:
1772:
1759:
1744:
1731:
1728:on 2006-06-19.
1704:
1679:
1655:
1630:
1620:
1598:
1584:
1572:
1561:
1550:
1536:
1523:
1503:
1488:
1475:
1459:
1439:
1423:
1417:978-0859892964
1416:
1398:
1379:
1367:
1349:
1305:
1284:(1): 375–376.
1261:
1237:
1224:Ephraim Katz,
1210:
1177:
1134:
1103:
1084:
1083:
1081:
1078:
1077:
1076:
1071:
1066:
1060:
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1015:
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1005:
999:
998:
982:
979:
973:
970:
960:
957:
941:
938:
911:
908:
805:
802:
675:Herbert Kalmus
620:Victor Records
542:
539:
426:
425:Additive color
423:
404:
401:
377:
374:
359:Norman McLaren
337:Lost Continent
302:Joan the Woman
202:orthochromatic
191:
188:
137:
134:
49:additive color
15:
9:
6:
4:
3:
2:
4466:
4455:
4452:
4450:
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4343:
4341:
4338:
4336:
4333:
4331:
4328:
4326:
4323:
4321:
4318:
4316:
4315:Postmodernist
4313:
4311:
4308:
4306:
4305:Participatory
4303:
4301:
4298:
4296:
4293:
4291:
4288:
4286:
4283:
4281:
4278:
4276:
4275:Musical short
4273:
4271:
4268:
4266:
4263:
4261:
4258:
4256:
4253:
4251:
4248:
4246:
4243:
4241:
4238:
4236:
4233:
4231:
4228:
4224:
4221:
4220:
4219:
4216:
4214:
4211:
4207:
4204:
4202:
4199:
4198:
4197:
4194:
4192:
4189:
4187:
4186:Found footage
4184:
4182:
4179:
4177:
4174:
4172:
4169:
4167:
4164:
4160:
4157:
4156:
4155:
4152:
4150:
4147:
4145:
4142:
4140:
4137:
4133:
4130:
4129:
4128:
4125:
4123:
4120:
4118:
4115:
4113:
4110:
4108:
4105:
4103:
4100:
4098:
4095:
4093:
4092:Cinéma vérité
4090:
4088:
4085:
4083:
4080:
4078:
4075:
4073:
4070:
4068:
4065:
4063:
4060:
4056:
4053:
4051:
4048:
4046:
4043:
4041:
4038:
4036:
4033:
4031:
4028:
4027:
4026:
4023:
4021:
4018:
4016:
4013:
4012:
4010:
4008:or production
4000:
3992:
3989:
3987:
3984:
3983:
3982:
3979:
3975:
3972:
3970:
3967:
3966:
3965:
3962:
3958:
3955:
3953:
3950:
3949:
3947:
3943:
3940:
3939:
3938:
3935:
3933:
3930:
3928:
3925:
3924:
3922:
3918:
3912:
3909:
3907:
3904:
3902:
3899:
3897:
3894:
3892:
3889:
3887:
3884:
3882:
3879:
3877:
3874:
3872:
3869:
3865:
3862:
3861:
3860:
3857:
3855:
3852:
3850:
3847:
3845:
3842:
3840:
3837:
3835:
3832:
3830:
3827:
3825:
3824:Prussian film
3822:
3820:
3817:
3815:
3812:
3810:
3807:
3805:
3802:
3800:
3797:
3795:
3792:
3790:
3787:
3785:
3782:
3780:
3777:
3775:
3772:
3770:
3769:New Nollywood
3767:
3765:
3764:New Hollywood
3762:
3760:
3757:
3755:
3752:
3750:
3747:
3745:
3742:
3740:
3737:
3735:
3732:
3730:
3727:
3725:
3722:
3720:
3717:
3715:
3712:
3710:
3707:
3705:
3702:
3700:
3697:
3695:
3692:
3690:
3687:
3685:
3682:
3680:
3677:
3675:
3672:
3670:
3667:
3665:
3662:
3660:
3657:
3655:
3652:
3650:
3647:
3645:
3642:
3640:
3637:
3635:
3632:
3630:
3627:
3625:
3622:
3620:
3617:
3615:
3612:
3610:
3607:
3605:
3602:
3600:
3597:
3595:
3592:
3590:
3587:
3585:
3584:Cannibal boom
3582:
3580:
3579:Calligrafismo
3577:
3575:
3572:
3568:
3565:
3564:
3563:
3560:
3558:
3555:
3553:
3550:
3548:
3547:Berlin School
3545:
3543:
3540:
3538:
3535:
3533:
3530:
3528:
3525:
3523:
3520:
3519:
3517:
3511:
3503:
3500:
3498:
3497:Weird Western
3495:
3493:
3490:
3488:
3485:
3483:
3480:
3478:
3475:
3473:
3470:
3468:
3465:
3463:
3460:
3458:
3455:
3453:
3450:
3448:
3445:
3443:
3440:
3438:
3435:
3433:
3430:
3428:
3425:
3424:
3423:
3420:
3416:
3413:
3411:
3408:
3406:
3403:
3402:
3401:
3398:
3396:
3393:
3391:
3388:
3386:
3383:
3381:
3378:
3376:
3373:
3371:
3368:
3366:
3363:
3361:
3358:
3354:
3351:
3350:
3349:
3346:
3344:
3341:
3339:
3336:
3334:
3331:
3329:
3328:Slice of life
3326:
3324:
3321:
3319:
3316:
3312:
3309:
3307:
3304:
3302:
3299:
3297:
3294:
3292:
3289:
3287:
3284:
3282:
3281:Bavarian porn
3279:
3278:
3277:
3276:Sexploitation
3274:
3272:
3269:
3267:
3264:
3262:
3259:
3257:
3254:
3252:
3249:
3245:
3242:
3241:
3240:
3237:
3235:
3234:Partisan film
3232:
3230:
3227:
3225:
3222:
3220:
3217:
3213:
3210:
3209:
3208:
3205:
3203:
3202:Muslim social
3200:
3198:
3195:
3193:
3190:
3184:
3183:Zombie comedy
3181:
3180:
3179:
3176:
3174:
3171:
3169:
3166:
3164:
3161:
3159:
3158:Giant monster
3156:
3155:
3154:
3151:
3147:
3144:
3143:
3142:
3139:
3135:
3132:
3130:
3127:
3125:
3122:
3120:
3117:
3115:
3112:
3110:
3107:
3106:
3105:
3102:
3100:
3097:
3095:
3092:
3088:
3085:
3083:
3080:
3079:
3078:
3075:
3073:
3070:
3066:
3063:
3062:
3061:
3058:
3056:
3053:
3051:
3048:
3044:
3041:
3039:
3036:
3034:
3031:
3030:
3029:
3026:
3024:
3021:
3019:
3016:
3012:
3009:
3007:
3004:
3002:
2999:
2998:
2997:
2994:
2992:
2989:
2987:
2984:
2982:
2979:
2977:
2974:
2972:
2969:
2965:
2962:
2960:
2959:Mexploitation
2957:
2955:
2952:
2951:
2950:
2947:
2945:
2942:
2940:
2937:
2935:
2932:
2930:
2927:
2923:
2920:
2918:
2915:
2914:
2913:
2910:
2906:
2903:
2902:
2901:
2898:
2896:
2893:
2889:
2886:
2884:
2881:
2879:
2876:
2874:
2871:
2869:
2866:
2864:
2861:
2859:
2856:
2854:
2851:
2849:
2846:
2844:
2841:
2839:
2836:
2834:
2831:
2829:
2826:
2825:
2824:
2821:
2819:
2816:
2814:
2813:Coming-of-age
2811:
2809:
2806:
2804:
2801:
2799:
2796:
2792:
2789:
2787:
2784:
2783:
2782:
2779:
2777:
2774:
2772:
2769:
2767:
2764:
2763:
2761:
2757:
2751:
2748:
2744:
2741:
2739:
2736:
2734:
2731:
2730:
2729:
2728:Transgressive
2726:
2722:
2719:
2717:
2714:
2712:
2711:Psychological
2709:
2707:
2704:
2702:
2699:
2697:
2694:
2692:
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2673:
2672:
2669:
2667:
2664:
2662:
2661:Slice of life
2659:
2655:
2652:
2650:
2647:
2645:
2642:
2640:
2637:
2635:
2632:
2630:
2627:
2625:
2622:
2620:
2617:
2615:
2612:
2610:
2607:
2605:
2602:
2600:
2597:
2595:
2592:
2591:
2590:
2587:
2583:
2580:
2578:
2575:
2573:
2570:
2568:
2565:
2561:
2558:
2557:
2556:
2553:
2552:
2551:
2548:
2546:
2543:
2541:
2538:
2533:
2529:
2527:
2524:
2522:
2519:
2518:
2517:
2514:
2512:
2509:
2505:
2502:
2498:
2495:
2493:
2490:
2489:
2488:
2485:
2484:
2483:
2480:
2476:
2473:
2471:
2468:
2466:
2463:
2461:
2458:
2456:
2453:
2451:
2448:
2447:
2446:
2443:
2441:
2438:
2436:
2433:
2431:
2428:
2424:
2421:
2419:
2416:
2414:
2411:
2409:
2406:
2404:
2401:
2399:
2398:Psychological
2396:
2394:
2391:
2389:
2386:
2384:
2381:
2379:
2376:
2374:
2373:Korean horror
2371:
2369:
2366:
2364:
2361:
2359:
2356:
2354:
2351:
2349:
2346:
2344:
2343:Found footage
2341:
2339:
2336:
2334:
2331:
2329:
2326:
2324:
2321:
2319:
2316:
2314:
2311:
2309:
2306:
2304:
2301:
2300:
2299:
2296:
2292:
2289:
2287:
2284:
2282:
2279:
2277:
2274:
2272:
2269:
2268:
2267:
2264:
2260:
2257:
2255:
2252:
2250:
2247:
2246:
2245:
2242:
2238:
2235:
2233:
2232:Magic realism
2230:
2228:
2225:
2223:
2220:
2218:
2215:
2213:
2210:
2208:
2205:
2204:
2203:
2200:
2196:
2195:
2190:
2189:
2188:
2185:
2183:
2180:
2176:
2173:
2172:
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1495:Gracyk, Tim.
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1456:0-87910-139-3
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1234:0-06-273089-4
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910:Functionality
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870:Royal Journey
865:
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844:BH-perforated
841:
837:
835:
834:complementary
829:
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731:
730:beam splitter
728:
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698:Anna May Wong
695:
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684:
683:beam splitter
680:
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638:Mary Pickford
635:
631:
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629:Cupid Angling
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319:Eastman Kodak
316:
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293:
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284:
279:
277:
276:monochromatic
273:
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230:
229:George Méliès
225:
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214:Thomas Edison
211:
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187:
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181:
180:complementary
175:
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156:
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133:
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126:
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109:
108:Eastman Kodak
105:
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62:
58:
54:
50:
45:
43:
39:
35:
28:
27:Edward Turner
23:
19:
4154:Experimental
4149:Ethnofiction
4106:
3896:Third Cinema
3799:Persian Film
3542:Auteur films
3513:By movement
3370:Swashbuckler
3229:Ozploitation
3224:Outlaw biker
3104:Martial arts
3099:Magical girl
2949:Exploitation
2944:Ethnographic
2873:Mafia comedy
2516:Pornographic
2393:Psycho-biddy
2378:Lovecraftian
2212:Contemporary
2193:
2187:Exploitation
2182:Experimental
2062:Mockumentary
1931:Biographical
1837:
1797:
1796:John Waner,
1780:
1775:
1767:
1762:
1754:
1739:
1734:
1723:the original
1714:
1707:
1696:. Retrieved
1692:
1682:
1671:. Retrieved
1667:
1658:
1647:. Retrieved
1643:
1633:
1623:
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1539:
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1470:
1467:Museum Notes
1462:
1447:
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1407:
1401:
1392:
1382:
1370:
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1352:
1330:(2): 71–94.
1327:
1323:
1281:
1277:
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1225:
1198:
1165:
1125:. Retrieved
1121:the original
1116:
1106:
1097:
1088:
975:
962:
952:C-41 process
949:
935:
926:
922:
905:
901:
885:
880:
874:
868:
860:Eastmancolor
858:
854:
849:dye-transfer
838:
830:
821:
817:
815:
798:Eastmancolor
785:
781:
775:
764:
757:La Cucaracha
756:
746:
739:
723:
716:
701:
687:
664:
627:
614:
609:bipack color
606:
601:
591:
590:(1922), and
585:
581:
577:
573:
571:
560:
555:
544:
531:
520:
515:
512:Delhi Durbar
505:
487:
481:
457:nitrate film
448:panchromatic
437:
428:
416:Helmholtz's
414:
410:
406:
398:
386:
379:
371:
356:
345:
335:
332:Sam Newfield
328:
317:
310:
300:
294:
282:
280:
271:film tinting
269:
267:
249:
246:Pathé Frères
244:working for
239:
232:
226:
217:
206:panchromatic
199:
176:
157:
150:
139:
127:
116:
112:Eastmancolor
77:
65:
46:
33:
32:
18:
4380:Video nasty
4375:Underground
4360:Slow cinema
4330:Sceneggiata
4218:Live action
4196:Independent
4176:Film Ă clef
4144:Docufiction
4112:Compilation
4087:Blockbuster
4055:Traditional
4050:Stop-motion
3986:Chick flick
3844:Slow cinema
3834:Remodernist
3649:Free Cinema
3629:Erra Cinema
3594:Cinema Novo
3472:Revisionist
2981:Gendai-geki
2917:Psychedelic
2905:Apocalyptic
2771:Beach party
2666:Slow cinema
2639:Space opera
2604:Fantastique
2475:Sceneggiata
2465:Musicarello
2338:Fantastique
2217:Fantastique
2160:Educational
2087:Video essay
2042:Documentary
1074:Technicolor
1033:Kinemacolor
995:Film portal
896:Sailor Moon
892:DeLuxe Labs
888:CinemaScope
777:Gasparcolor
766:Becky Sharp
743:Walt Disney
696:) starring
679:Technicolor
634:Ruth Roland
576:(1919) and
490:Kinemacolor
463:. Finally,
254:Pathéchrome
250:Pathé Color
222:Kinetoscope
184:Kinemacolor
168:Technicolor
88:home movies
73:Technicolor
57:Kinemacolor
4433:Categories
4300:Paracinema
4285:Neorealist
4280:Mythopoeia
4265:Mockbuster
4230:Low-budget
4171:Featurette
4004:technique,
4002:By format,
3881:Surrealist
3876:Structural
3754:New German
3744:Neorealist
3739:Mumblecore
3679:Heimatfilm
3639:Film d'art
3604:Cinéma pur
3338:South Seas
3311:Sex report
2577:Paranormal
2540:Propaganda
2440:Mumblecore
2227:Historical
2109:Historical
1998:Remarriage
1988:Mo lei tau
1698:2024-06-14
1673:2024-06-14
1649:2024-06-14
1127:5 February
1080:References
1058:Multicolor
1028:Film stock
944:See also:
840:Kodachrome
719:imbibition
347:Spellbound
323:Sonochrome
258:pantograph
252:, renamed
194:See also:
172:Dufaycolor
80:Kodachrome
4290:No-budget
4255:Meta-film
4223:animation
4181:Film-poem
4117:Composite
4062:Anthology
4025:Animation
4020:Actuality
4006:approach,
3774:New Queer
3694:Indiewood
3644:Film gris
3515:or period
3492:Spaghetti
3415:Submarine
3395:Vigilante
3360:Superhero
3114:Chopsocky
3060:Jidaigeki
2929:Dystopian
2828:Detective
2786:Buddy cop
2776:Body swap
2706:Political
2686:Financial
2649:Tokusatsu
2644:Steampunk
2560:Bromantic
2532:Malayalam
2511:Crossover
2487:Detective
2455:Backstage
2403:Religious
2259:Tech noir
2254:Pulp noir
2244:Film noir
2119:Melodrama
2057:Docudrama
2030:Cyberpunk
2023:Slapstick
2013:Screwball
1973:Gross out
1936:Christian
1914:Adventure
1693:NextShark
1344:1542-4235
1300:1097-3729
1117:Indiewire
1023:Film base
1013:Cinecolor
1008:35mm film
933:process.
930:film base
789:Cinecolor
671:apertures
669:with two
484:, extract
287:mordanted
263:Vincennes
224:viewers.
160:film base
84:Agfacolor
78:In 1935,
4408:Category
4295:One-shot
4159:Abstract
4045:Computer
3729:Lettrist
3624:Dogme 95
3552:Bourekas
3522:Absolute
3462:Northern
3457:Meat pie
3410:Euro War
3405:Anti-war
3271:Rumberas
3192:Mountain
3094:Luchador
3050:Homeland
3038:Shotacon
3011:Suburban
2939:Economic
2900:Disaster
2833:Gangster
2808:Colonial
2798:Cannibal
2759:By theme
2716:Romantic
2671:Thriller
2629:New Wave
2624:Military
2582:Thriller
2550:Romantic
2497:Whodunit
2470:Operetta
2450:Arthouse
2418:Splatter
2313:Cannibal
2303:Arthouse
2286:Suburban
2276:Southern
2249:Neo-noir
2153:Thriller
2047:Animated
2035:Japanese
2003:Romantic
1993:Thriller
1919:Survival
1897:Arthouse
1885:By style
1618:, Kodak.
1612:Archived
1362:BBC News
1098:BBC News
1003:135 film
981:See also
822:monopack
793:Trucolor
727:dichroic
584:(1921),
461:telecine
418:theories
315:(1925).
220:for his
136:Overview
100:negative
96:emulsion
4390:Z movie
4166:Feature
4102:Collage
4072:B movie
4040:Cartoon
3779:No wave
3447:Florida
3442:Fantasy
3422:Western
3365:Surfing
3353:Eurospy
3323:Slavery
3173:Vampire
3153:Monster
3124:Kung fu
3065:Samurai
3033:Lolicon
3001:Romance
2848:Gong'an
2818:Concert
2803:Chicano
2766:Animals
2654:Western
2609:Fantasy
2567:Fantasy
2545:Reality
2482:Mystery
2460:Jukebox
2445:Musical
2423:Satanic
2413:Slasher
2383:Natural
2363:Holiday
2271:Romance
2237:Science
2202:Fantasy
2104:Dramedy
1968:Dramedy
1840:, 1912.
965:T-Grain
600:titled
432:filters
210:aniline
164:filters
61:filters
4418:Portal
4355:Silent
4345:Shinpa
4340:Serial
4325:Satire
4310:Poetry
4240:Masala
3969:ShĹŤnen
3952:Seinen
3467:Ostern
3452:Horror
3385:Travel
3343:Sports
3266:Rubble
3239:Prison
3207:Nature
3178:Zombie
3119:Gun fu
3055:Isekai
3028:Hentai
2996:Gothic
2922:Stoner
2888:Yakuza
2843:GokudĹŤ
2791:Female
2721:Techno
2691:Giallo
2681:Erotic
2676:Comedy
2619:Horror
2614:Gothic
2599:Comedy
2572:Gothic
2555:Comedy
2504:Giallo
2358:Giallo
2328:Comedy
2298:Horror
2266:Gothic
2207:Comedy
2133:Erotic
2124:Korean
2082:Travel
2072:Pseudo
2018:Silent
1983:Parody
1978:Horror
1946:Action
1941:Comedy
1892:Action
1878:genres
1518:
1454:
1414:
1342:
1298:
1255:
1232:
1205:
1172:
1069:Prizma
734:prisms
667:camera
563:Prizma
444:frames
352:snipes
283:toning
92:slides
4454:Color
4370:Sound
4350:Short
4107:Color
4030:Anime
3991:Josei
3981:Women
3974:ShĹŤjo
3942:Anime
3932:Black
3927:Adult
3487:Space
3390:Trial
3333:Snuff
3244:Women
3219:Opera
3168:Mummy
3163:Kaiju
3146:Anime
3141:Mecha
3134:Wuxia
3129:Ninja
3077:LGBTQ
3072:KaitĹŤ
3023:Harem
3006:Space
2986:Ghost
2934:Ecchi
2895:Dance
2868:Mafia
2853:Heist
2823:Crime
2781:Buddy
2750:Trick
2696:Legal
2353:Ghost
2291:Urban
2281:Space
2114:Legal
2094:Drama
2067:Mondo
1951:Black
1726:(PDF)
1719:(PDF)
864:35 mm
535:video
104:print
90:and "
4127:Cult
3964:Teen
3957:Stag
3948:Men
3427:Acid
3261:Road
3251:Race
3087:Yuri
3082:Yaoi
2912:Drug
2863:Hood
2308:Body
2222:High
2192:see
2170:Epic
2143:Pink
2077:Semi
1961:Sexy
1875:Film
1516:ISBN
1452:ISBN
1412:ISBN
1340:ISSN
1296:ISSN
1253:ISBN
1230:ISBN
1203:ISBN
1170:ISBN
1129:2016
791:and
771:1935
761:1934
753:1932
708:1926
694:1922
640:and
290:dyes
4067:Art
4035:Art
3400:War
3348:Spy
2594:Art
2333:Eco
2008:Sex
1926:Art
1836:",
1332:doi
1286:doi
773:).
745:'s
500:'s
446:of
110:'s
4435::
4015:3D
1747:^
1691:.
1666:.
1642:.
1601:^
1469:,
1391:.
1360:.
1338:.
1328:17
1326:.
1322:.
1308:^
1294:.
1282:61
1280:.
1276:.
1264:^
1240:^
1213:^
1180:^
1137:^
1115:.
1096:.
714:.
648:.
354:.
248:.
132:.
63:.
2534:)
2530:(
1867:e
1860:t
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1832:"
1824:.
1701:.
1676:.
1652:.
1420:.
1395:.
1346:.
1334::
1302:.
1288::
1259:.
1131:.
769:(
759:(
751:(
706:(
692:(
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