Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Color was used in film well before The Wizard of Oz. Thomas Edison, for example, projected two-colored films at his first public screening in New York City on April 23, 1896. These first colors of early cinema were not photographic; they were applied manually through a variety of laborious processes-most commonly by the hand-coloring and stenciling of prints frame by frame, and the tinting and toning of films in vats of chemical dyes. The results were remarkably beautiful.; Moving Color is the first book-length study of the beginnings of color cinema. Looking backward, Joshua Yumibe traces

Hauptmann, Bruno Richard, -- 1899-1936. --- Kidnapping -- New Jersey -- Hopewell. --- Lindbergh, Charles A. -- (Charles Augustus), -- 1902-1974. --- Lindbergh, Charles Augustus, -- 1930-1932 -- Kidnapping, 1932. --- Colors in motion pictures. --- Silent films --- Colorization of motion pictures --- Color cinematography --- Motion pictures --- Coloring of motion pictures, Computer --- Computer coloring of motion pictures --- Cinematography --- History and criticism. --- History. --- Colorization --- Kidnapping --- Abduction of children --- Child abduction --- Child snatching --- Kidnaping --- Offenses against the person --- Lindbergh, Charles Augustus, --- Lindbergh, Charles A. --- Hauptmann, Bruno Richard, --- Hauptmann, Richard, --- Kidnapping, 1932.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Global Film Color: The Monopack Revolution at Midcentury explores color filmmaking in a variety of countries and regions including India, China, Japan, and Russia, and across Europe and Africa. Most previous accounts of color film have concentrated on early 20th century color processes and Technicolor. Far less is known about the introduction and application of color technologies in the period from the mid-1940s to the 1980s, when photochemical, "monopack" color stocks came to dominate global film markets. As Eastmancolor, Agfacolor, Fujicolor and other film stocks became broadly available and affordable, national film industries increasingly converted to color, transforming the look and feel of global cinema. Covering a broad range of perspectives, the chapters explore themes such as transnational flows, knowledge exchange and transfer, the cyclical and asymmetrical circulation of technology in a global context, as well as the accompanying transformation of color film aesthetics in the postwar decades"--

Color cinematography --- Color motion pictures --- PERFORMING ARTS / Film / History & Criticism --- SOCIAL SCIENCE / Media Studies --- History --- History

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"We normally think of early film as being black and white, but the first color cinematography appeared as early as the first decade of the twentieth century. In this book, the editors present a treasure trove of early color film images from the archives of EYE Film Institute Netherlands, bringing to life their rich hues and forgotten splendor. Carefully selecting and reproducing frames from movies made before World War I, Fossati, Gunning, and Yumibe share the images here in a full range of tones and colors. Accompanying essays discuss the history of early film and the technical processes that filmmakers employed to capture these fascinating images, while other contributions explore preservation techniques and describe the visual delights that early film has offered audiences, then and now."--

Film --- Colors in motion pictures --- 798.4 --- film --- cinema --- filmgeschiedenis --- stille film --- stomme film --- color grading --- kleur --- kleurenfotografie --- postproductie --- negentiende eeuw --- 798.75 --- Motion pictures --- film, geschiedenis der filmkunst --- film, filmtechniek

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Sparked by a groundbreaking Amsterdam workshop titled "Disorderly Order: Colours in Silent Film," scholarly and archival interest in colour as a crucial aspect of film form, technology and aesthetics has enjoyed a resurgence in the past twenty years. In the spirit of the workshop, this anthology brings together international experts to explore a diverse range of themes that they hope will inspire the next twenty years of research on colour in silent film. Taking an interdisciplinary approach, the book explores archival restoration, colour film technology, colour theory, and experimental film alongside beautifully saturated images of silent cinema.

Film --- Color motion pictures --- Silent films --- Color motion pictures. --- Silent films. --- Farbe --- Farbfilm --- Stummfilm --- History and criticism. --- Color moving-pictures --- Colored motion pictures --- Technicolor pictures --- Motion pictures --- Silent film, colour, cinema, archive, intermediality.