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TIMELINE OF HISTORICAL FILM COLORS



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 * Film Colors
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   HOME
   
   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.

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 * Color Mania Book
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   COLOR MANIA BOOK
   
   Out now:
   
   Barbara Flueckiger, Eva Hielscher, Nadine Wietlisbach (eds.)
   
   
   COLOR MANIA. THE MATERIAL OF COLOR IN PHOTOGRAPHY AND FILM
   
   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
   
   16 × 24 cm, 6 ¼ × 9 ½ in
   240 pages, 122 illustrations
   paperback
   2020, 978-3-03778-607-9, English
 * About
   ×
   
   
   ABOUT THIS PROJECT
   
   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.
   
    

 * News and Blog
   ×
   
   
   NEWS AND BLOG
   
   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).

 * Acknowledgements
   ×
   
   
   ACKNOWLEDGEMENTS
   
   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
   
   
   EXPERTS, SCHOLARS, INSTITUTIONS
   
    * Prof. Dr. David Rodowick, Chair, Harvard University, Department of Visual
      and Environmental Studies
    * Prof. Dr. Margrit Tröhler, Department of Film Studies, University of
      Zurich
    * Prof. Dr. Jörg Schweinitz, Department of Film Studies, University of
      Zurich
    * Prof. Dr. Christine N. Brinckmann, Department of Film Studies, University
      of Zurich
    * PD Dr. Franziska Heller, Department of Film Studies, University of Zurich
    * Dr. Claudy Op den Kamp, Department of Film Studies, University of Zurich
    * Prof. Anton Rey, Institute for the Performing Arts and Film, Zurich
      University of the Arts
    * Dr. Haden Guest, Director, Harvard Film Archive
    * Liz Coffey, Film Conservator, Harvard Film Archive
    * Mark Johnson, Loan Officer, Harvard Film Archive
    * Brittany Gravely, Publicist, Harvard Film Archive
    * Clayton Scoble, Manager of the Digital Imaging Lab & Photography Studio,
      Harvard University
    * Stephen Jennings, Photographer, Harvard University, Fine Arts Library
    * Dr. Paolo Cherchi Usai, Senior Curator, George Eastman Museum, Motion
      Picture Department
    * Jared Case, Head of Cataloging and Access, George Eastman Museum, Motion
      Picture Department
    * Nancy Kauffman, Archivist – Stills, Posters and Paper Collections, George
      Eastman Museum, Motion Picture Department
    * Deborah Stoiber, Collection Manager, George Eastman Museum, Motion Picture
      Department
    * Barbara Puorro Galasso, Photographer, George Eastman House, International
      Museum of Photography and Film
    * Daniela Currò, Preservation Officer, George Eastman House, Motion Picture
      Department
    * James Layton, Manager, Celeste Bartos Film Preservation Center, Department
      of Film, The Museum of Modern Art
    * Mike Pogorzelski, Archive Director, Academy Film Archive
    * Josef Lindner, Preservation Officer, Academy Film Archive
    * Cassie Blake, Public Access Coordinator, Academy Film Archive
    * Melissa Levesque, Nitrate Curator, Academy Film Archive
    * Prof. Dr. Giovanna Fossati, Head Curator, EYE Film Institute, Amsterdam,
      and Professor at the University of Amsterdam
    * Annike Kross, Film Restorer, EYE Film Institute, Amsterdam
    * Elif Rongen-Kaynakçi, Curator Silent Film, EYE Film Institute, Amsterdam
    * Catherine Cormon, EYE Film Institute, Amsterdam
    * Anke Wilkening, Friedrich Wilhelm Murnau Foundation, Wiesbaden, Germany
    * Marianna De Sanctis, L’Immagine Ritrovata, Bologna
    * Paola Ferrari, L’Immagine Ritrovata, Bologna
    * Gert and Ingrid Koshofer, Gert Koshofer Collection, Bergisch Gladbach,
      Germany
    * Memoriav, Verein zur Erhaltung des audiovisuellen Kulturgutes der Schweiz
    * Claudius Kelterborn, Collector
    * David Landolf, Director, Lichtspiel / Kinemathek Bern
    * Brigitte Paulowitz, Head Archivist and Restorer, Lichtspiel / Kinemathek
      Bern
    * Margaret Bodde, Executive Director, The Film Foundation
    * Maria Paleologos, The Film Foundation
    * Jessica Bursi, The Film Foundation
    * Michael Champlin, DeBergerac Productions, Inc. Rochester, NY
    * Joakim Reuteler, Digital Humanities Lab, University of Basel
    * Prof. Dr. Rudolf Gschwind, Director, Imaging and Media Lab, University of
      Basel
    * Erwin Zbinden, Researcher, University of Basel
    * Klaus Martin Boese
    * Mike Mashon, Head of the Moving Image Section, Library of Congress
    * George Willeman, Nitrate Film Vault Manager, Library of Congress
    * Lynanne Schweighofer, Safety Film Vault Manager, Library of Congress
    * David Pierce, Library of Congress, Assistant Chief, Library of Congress
    * Kieron Webb, Technical Projects Officer, British Film Institute
    * Bryony Dixon, Silent Film Curator, British Film Institute
    * Prof. Dr. Ulrich Ruedel, HTW Berlin
    * Dr. Jan-Christopher Horak, Director, UCLA Film & Television Archive
    * Todd Wiener, Motion Picture Archivist, UCLA Film & Television Archive
    * Ross Lipman, Film Restorer and Filmmaker
    * Dr. Céline Ruivo, Director Film Collections, Cinémathèque Française
    * Dr. Iris Deniozou, Archivist, Cinémathèque Française
    * Paul Read, Film Conservator
    * Roger Smither, Film Historian
    * Nicola Mazzanti, Associate Director, Royal Film Archive of Belgium
    * Laurent Mannoni, Directeur scientifique du patrimoine et du Conservatoire
      des techniques, Cinémathèque française
    * François Ede, Researcher and Film Restorer
    * Andrea Meneghelli, Cineteca di Bologna, Archivio Film
    * Alessandra Bani, Cineteca di Bologna, Archivio Fotografico
    * Hege Stensrud Høsøien, Director, National Library of Norway
    * Dr. Eirik Frisvold Hanssen, Head of Film and Broadcasting Section,
      National Library of Norway
    * Tina Anckarmann, Film Archivist, National Library of Norway
    * Jeanpaul Goergen, Film Scholar
    * Prof. Martin Koerber, Leiter der Abteilung Film, Deutsche Kinemathek
    * Reto Kromer, reto.ch
    * Brian Pritchard, Motion Picture and Film Archive Consultant
    * Bertrand Lavédrine, Centre de Recherche sur la Conservation des
      Collections Paris
    * Mikko Kuutti, Deputy Director, Kansallinen audiovisuaalinen arkisto /
      National Audiovisual Archive, Finland
    * Juha Kindberg, Film Collection, Kansallinen audiovisuaalinen arkisto /
      National Audiovisual Archive, Finland
    * Dr Kelley Wilder, Senior Research Fellow, De Montfort University
    * Michael Harvey, Curator of Cinematography, National Media Museum, Bradford
    * Ruth Kitchin, Collections Assistant, National Media Museum, Bradford
    * Kathryn Gronsbell, Moving Image Archiving & Preservation, NYU
    * Gisela Harich-Hamburger, Photo Conservator
    * Dr Luke McKernan, Lead Curator, Moving Image, The British Library
    * Dr Michael Pritchard FRPS, FBIPP, Director-General, The Royal Photographic
      Society
    * John Falconer, Lead Curator Visual Arts, Curator of Photographs, The
      British Library
    * Cindy Keefer, Director, Center for Visual Music
    * Dr. Anna Batistová, Národní filmový archiv / National Film Archive, Prague
    * Lenka Šťastná, Národní filmový archiv / National Film Archive, Prague
    * Mark Jacobs
    * Toni Booth, Curator, National Science and Media Museum, Bradford
    * Sylvie Pénichon, Conservator of Photographs, Amon Carter Museum of
      American Art
    * Gawain Weaver, Photograph Conservator, Gawain Weaver Art Conservation, San
      Anselmo, CA
    * Phil Rutter, Hon Treasurer & Secretary, British Kinematograph, Sound &
      Television Society
    * Ben Letzler, editorial assistance
    * Beda Künzle, support website programming
    * Manuel Joller, coordinator data management
    * Barbara Fritzsche, support data management
    * Andreas Bühlmann, support data management
    * Michelle Beutler, support data management
    * Diana Arenas R., support data management
    * Sabrina Züger, coordinator data management
    * Jamie Lee Moser, support data management
    * Valentina Romero, support data management
    * Meredith Stadler, support data management
   
   
   SPONSORS, SUPPORTERS, PATRONS OF THE CROWDFUNDING CAMPAIGN
   
   April 23 to July 21, 2012, $11,175 raised
   
    * reto.ch
    * Hannes and Esther Bernhardt, grand supporters
    * Marianne Flückiger Bösch and Bernhard Bösch, major supporters
    * Daniel Flückiger, major supporter
    * Hanna Gubler Ursin
    * Louis Krähenbühl
    * Prof. Heinz B. Heller
    * Dariush Daftarian and Viola Lutz, supporters
    * Annette Schüren, supporter
    * Peter A. Huber, supporter
    * Kurt Horlacher, supporter
    * Thomas Haegele, supporter
    * Brigitte Frizzoni
    * Stina Werenfels, supporter
    * Gabriela Schmidt, supporter
    * Esther Flückiger, supporter
    * Dorothee Schön
    * Stefanos Domalis
    * Charlotte Flückiger, supporter
    * Andreas Koch, supporter
    * Nina Scheu, supporter
    * Filmspur audiovisuelle Quellen
    * Reinhard Zschoche, supporter
    * William Hungerbuehler, supporter
    * Franziska Heller, supporter
    * Silvana Konermann, supporter
    * Eirik Hanssen, supporter
    * Thomas Elsaesser
    * Tonio Seiler and Nora Cista
    * Anne Gjelsvik
    * Veronika Ronchin
    * Ulrich Ruedel
    * Dennis Atkinson
    * Britta Hartmann
    * Cynthia Freeland, sponsor
    * Dominik Schrey, sponsor
    * Guido Kirsten, sponsor
    * Daniela Casanova, sponsor
    * Alice Christoffel, sponsor
    * Martin Koerber
    * Silvia Müller
    * Simon Spiegel, sponsor
    * Yvonne Zimmermann, sponsor
    * Elias Savada
    * Lars Gaustad
    * Alexandra Navratil, sponsor
    * Christian Gosvig Olesen, sponsor
    * Joanne Bernardi, Associate Professor, University of Rochester
    * Laura Major, sponsor
    * Dan Binns, sponsor
    * Fred Truniger, sponsor
    * Margrethe Bruun Vaage, sponsor
    * Samuel Flückiger, sponsor
    * Ulrike Bergermann, sponsor
    * Ursula McCormack, sponsor
    * Tereza Smid, sponsor
    * Barbara Fritzsche, sponsor
    * Marco Brazerol, sponsor
    * Susie Trenka, sponsor
    * Jan Sahli, sponsor
    * Thomas Binder, sponsor
    * Anne Kelly, sponsor
    * Brigitte Gloor, sponsor
    * Sean Kelly
    * Lynanne Schweighofer
    * Mattia Lento
    * Philip Frederic Grütter, campaigner
    * Hitomi Matsuyama
   
   *Note: Several donors prefer to remain anonymous.
   
   
   ERC ADVANCED GRANT FILMCOLORS
   
   Project Leader and Principal Investigator:
   
   Prof. Dr. Barbara Flueckiger, baflueckiger@gmail.com
   
   Team:
   
    * Dr. Bregt Lameris, PostDoc Film Studies bregt.lameris@fiwi.uzh.ch
    * Dr. Giorgio Trumpy, Research Scientist giorgio@trumpy.eu
    * Dr. David Pfluger, Senior Researcher david.pfluger@uzh.ch
    * Martin Weiss, Technician, Film Restorer and Senior Researcher
      martin.weiss2@uzh.ch
    * MA Joëlle Kost, PhD Candidate joelle.kost@uzh.ch
    * MA Michelle Beutler, PhD Candidate michelle.beutler@uzh.ch
    * MA Olivia Stutz, PhD Candidate oliviakristina.stutz@uzh.ch
   
   Research Management:
   
   Dr. Evelyn Echle, Scientific Research Manager evelyn.echle@uzh.ch
   
   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
   
   
   FILM COLORS. TECHNOLOGIES, CULTURES, INSTITUTIONS
   
   Project Leader:
   
   
   Prof. Dr. Barbara Flueckiger, baflueckiger@gmail.com
   
   Team:
   
   
   MA Noemi Daugaard, PhD Candidate, noemi_daugaard@access.uzh.ch
   MA Josephine Diecke, PhD Candidate, josephine.diecke@uzh.ch
   
   Data Management Timeline of Historical Film Colors:
   
   MA Sabrina Züger, BA Manuel Joller, BA Jamie-Lee Moser, MA Meredith
   Stalder, MA Valentina Romero

 * Budget / Sponsors
   ×
   
   
   BUDGET / SPONSORS
   
   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!

 * Copyright Notice
   ×
   
   
   IMPORTANT COPYRIGHT NOTICE
   
   > 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.
   
    

 * Contact
   ×
   
   
   CONTACT
   
   E-mail to Barbara Flueckiger, founder and project leader of Timeline of
   Historical Film Colors

 * Timeline
   ×
   
   
   TIMELINE OF HISTORICAL FILM COLORS

 * Donate
   ×
   
   
   DONATE
   
   Thank you very much for your financial contribution! Each sponsor receives a
   credit on the acknowledgement page:
   http://zauberklang.ch/acknowledgements.html
   
   
   [WP-LEGACY-STRIPE]
   
    

Save
Previous


THE TIMELINE OF HISTORICAL FILM COLORS

is a comprehensive resource for the investigation of film color technology and
aesthetics, analysis and restoration, developed and curated by Barbara
Flueckiger since 2012.

Check out our recent publication Color Mania. The Material of Color in
Photography and Film.


MICROSCOPY PROJECT HTW BERLIN AND UNIVERSITY OF ZURICH

In a joint research project between HTW Berlin and the University of Zurich
(UZH), historical film color samples stemming from the Koshofer Collection, now
at UZH, have been microscopically investigated in transmission and in
cross-sections at the conservation-scientific facilities of HTW Berlin. The
intriguing and often stunning photomicrographs showcase the relationship between
the photographic image, their material and chemical composition and the
three-dimensional structure unique to the analog moving image heritage in color,
while exhibiting their own peculiar beauty.

View galleries with photomicrographs.


CINÉMATHÈQUE FRANÇAISE

“The Cinémathèque for me is a place that must be a kind of home where people
come as they are and then come out different,” said once Henri Langlois. Since
it was founded in 1936, the Cinémathèque française has given as much importance
to films as to everything related to them (archives, books, devices, costumes,
models, etc.). Thanks to this visionary spirit, the institution has, over the
years, assembled an impressive collection of films, archives and devices. Link

View entries


MUSEUM OF MODERN ART MOMA

Opened in 1935, The Museum of Modern Art’s Department of Film has one of the
strongest international collections of motion pictures in the world, totaling
more than 30,000 films between the permanent and study collections.

View entries


UCLA FILM & TELEVISION ARCHIVE

UCLA Film & Television Archive stands among the great world institutions for the
conservation, exhibition and interpretation of moving images.  The Archive
constitutes the largest collection of media materials of any university in the
world.

View entries


FILMMUSEUM POTSDAM

Founded in 1981 as „Filmmuseum der DDR” (Filmmuseum of the GDR), the Filmmuseum
Potsdam holds a large collection of films, as well as film-related materials and
film apparatus, focusing mainly on the history of the Babelsberg Film Studio
from the origin in 1917 until today. Since 2012, amateur filmmaking in the GDR
has become a second important focus of the Filmmuseum.

View entries


DEFA FOUNDATION

Established in 1998 as an incorporated non-profit foundation, it is the mission
of the DEFA Foundation to preserve the 12,000 films made at the East German DEFA
studios, to use them for the public good and in general to support and sponsor
German film culture and art.

View entries


NATIONAL SCIENCE AND MEDIA MUSEUM

The National Science and Media Museum in Bradford explores the science and
culture of light and sound technologies and their impact on our lives.  The
Museum’s collections trace the history of the technical developments of both
professional and amateur motion pictures.

View entries


LICHTSPIEL / KINEMATHEK BERN

The Lichtspiel / cinémathèque Berne was founded in 2000 to collect and preserve
anything related to the production and reproduction of moving images. It is a
unique cinematographic collection with an open cinema in the heart of the hall,
an archive, a workshop and a storehouse, a mélange of cinema, museum, service
station for cinematographic material and network for film aficionados.

View entries


DFF DEUTSCHES FILMINSTITUT & FILMMUSEUM

The DFF Deutsches Filminstitut & Filmmuseum in Frankfurt am Main is dedicated to
the medium of film, showcasing its history and present, its aesthetics and
influence. It pursues its mission to provide access to film heritage through
museum exhibitions, daily film screenings, publishing activities, film
education, film festivals and extensive archival collections. The film archive
department conserves and makes accessible over 20 000 film elements: Vintage
prints, pre-print elements, original negatives and outtakes, analogue
preservation elements, dedicated rental prints and the outcomes of recent
digitization projects and digital restoration efforts. A wide range of moving
images is represented – dating from the birth of cinema up to the present.

View entries


CINETECA DI BOLOGNA

Fondazione Cineteca di Bologna is an internationally distinguished film archive
founded in the 1960s. Cineteca’s activities include: film restoration, film
collection, teaching programs, daily theatrical screenings, publishing (books
and DVDs), a globally known restoration festival (Il Cinema Ritrovato), a
library, non-film collections. Cineteca’s L’Immagine Ritrovata laboratory has
established its reputation in the world of film archives thanks to the
restoration of many masterpieces.

View entries


BFI NATIONAL ARCHIVE

Established in 1935, the BFI National Archive holds one of the largest film and
television collections in the world containing nearly a million titles. Using
the latest preservation methods, we care for a variety of obsolete formats so
that future generations can enjoy the UK’s film heritage.

View entries


DEUTSCHE KINEMATHEK – MUSEUM FÜR FILM UND FERNSEHEN

Founded in 1963, the Deutsche Kinemathek holds a large collection of films, as
well as film-related materials such as advertisement material and scripts,
photography, scenography, and of film apparatus from the 1900s to the present,
and a library. Since 2000, the collections are also shown in a museum for film
and television in Berlin.

View entries


ACADEMY FILM ARCHIVE

The Academy Film Archive was founded 25 years ago to collect and preserve
significant contributions to both the art and science of the motion picture. The
archive contains nearly 200,000 items and has preserved over 1,000 films.

View entries


GEORGE EASTMAN MUSEUM

Founded in 1949, the George Eastman Museum is a world leader in the areas of
photography, motion pictures, and their associated technologies. The Moving
Image Department holds more than 28,000 films from the entire history of cinema
and other materials related to the history, production, and exhibition of moving
images.

View entries


NÁRODNÍ FILMOVÝ ARCHIV / NATIONAL FILM ARCHIVE, PRAGUE

The Národní filmový archiv / National Film Archive in Prague is one of the ten
oldest and largest film archives in the world. It was set up in 1943 and in 1946
it became a member of the International Federation of Film Archives – FIAF. In
1997 it became a founding member of the Association of European Film Archives
and Cinematheques, ACE.

View entries


EYE FILMMUSEUM AMSTERDAM

EYE Filmmuseum is the Dutch centre for cinematography, with a collection of more
than 40.000 films, from silent early cinema to contemporary digital productions.

View entries


LIBRARY OF CONGRESS

The Library of Congress National Audio-Visual Conservation Center acquires,
describes, stores, preserves and provides access to the world’s largest and most
comprehensive collection of motion pictures, television programs, radio
broadcasts and sound recordings.

View entries


THE TIMELINE OF HISTORICAL FILM COLORS

is a comprehensive resource for the investigation of film color technology and
aesthetics, analysis and restoration, developed and curated by Barbara
Flueckiger since 2012.

Check out our recent publication Color Mania. The Material of Color in
Photography and Film.


MICROSCOPY PROJECT HTW BERLIN AND UNIVERSITY OF ZURICH

In a joint research project between HTW Berlin and the University of Zurich
(UZH), historical film color samples stemming from the Koshofer Collection, now
at UZH, have been microscopically investigated in transmission and in
cross-sections at the conservation-scientific facilities of HTW Berlin. The
intriguing and often stunning photomicrographs showcase the relationship between
the photographic image, their material and chemical composition and the
three-dimensional structure unique to the analog moving image heritage in color,
while exhibiting their own peculiar beauty.

View galleries with photomicrographs.

Next

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.


TIMELINE GRAPH

18961900190419081912191619201924192819321936194019441948195219561960196419681972197619801984198819921996200020042008Dye
Imbibition Process 1875 Hydrotypie / Hydrotype / dye transfer 1880 Silver
dye-bleach 1889 Hand coloring 1895 Chromogenic development 1895 Toning /
metallic toning (French: virage, German: Tonung) 1896 Tinting (French: teintage,
German: Virage) 1896 Joly 1896 Lenticular Screen 1896 Isensee 1897 Friese-Greene
1898 Lascelles Davidson 1898 Chromolithography 1898 Lee and Turner 1899 Krayn
1901 Bi-pack 1901 Pathécolor / Pathéchrome / stencil coloring 1903
Jumeaux/Davidson 1903 Pinatype / Pinatypie 1903 Monopack stripping 1903 Tinting
by application of varnish 1905 Prism 1905 Katachromie 1905 Predecessor of
Kinemacolor 1906 Traube / Diachromie 1906 Autochrome 1907 Dye coupling 1907
Caille 1907 Kinemacolor 1908 Procédé Colombier 1908 Dufay / Dioptichrome Plate
(sometimes incorrectly referenced as Dioptochrome) 1908 Berthon 1908 Ulysse 1908
Mordant toning / dye toning 1909 Bassani 1910 Audibert 1911 Biocolour 1911
Chromogenic film stock 1911 Colorgraph / Cinecolorgraph 1912 Gaumont
Chronochrome 1912 Colcin 1913 Procédé Tetrachrome 1913 Donisthorpe 1913
Cinechrome 1914 Biochrom 1914 Brewster 1915 Kodachrome Two-color 1915, after
1930 renamed Fox Nature Color 1915 Urban-Joy Process, improvement of
Kinemacolor, later called Kinekrom 1916 Handschiegl / DeMille-Wyckoff / Wyckoff
Process 1916 Douglass Color No. 1 1916 Technicolor No. I 1916 Agfacolor Screen
Plate 1916 Prizma I 1916 Panchromotion 1917 Versicolor-Dufay 1917 Talkicolor
1917 Kesdacolor 1918 Polychromide 1918 Gilmore Color 1918 Prizma II 1919
Douglass Color No. 2 1919 Cinekrome 1919 Zoechrome 1920 Gorsky Process 1921
Technicolor No. II 1922 Traube / Uvachrome 1922 Colorcraft 1922 Keller-Dorian
1922 Kelleycolor 1923 Chromo-Film 1923 Warner-Powrie 1924 Horst 1924 Szczepanik
1924 Thornton 1924 Wolff-Heide 1924 Cinecolor additive 2 color / Cinecolour 1925
Spicer-Dufay 1925 Auto Natural Color / Bernardi 1925 Gevaert Positif Color 1925
Technic-Colour 1925 Busch Farbenfilm 1926 Hérault Trichrome 1926 Cox Multicolor
1926 Technicolor No. III 1927 Color Cinema Corporation 1927 Lignose
Naturfarbenfilm 1927 Kodacolor / Keller-Dorian Color 1928 Multicolor 1928
Splendicolor 1928 Tinted film base / Kodak Sonochrome 1928 Mroz Farbenfilm 1928
Autochrome film / Cinécolor 1928 Harriscolor 1929 Raycol 1929 Sirius 1929 Agfa
bipack films 1929 Finlay 1929 Photocolor 1930 Sennett Color 1930 Kislyn color
1930 Brewster 1930 Audibert 1930 Allfarbenfilm 1930 DuPont Vitacolor 1930
Gualtierotti or Cicona e Gualtierotti 1930 Magnachrome 1931 Coloratura 1931
Ufacolor 1931 Chimicolor 1931 Magnacolor 1931 Rotocolor 1931 Rota Farbenfilm
1931 Russian two-color system 1931 DuChrome 1931 Chemicolor / Ufacolor in GB
1932 Spectracolor (= British version of Ufacolor) 1932 Agfacolor lenticular /
Agfacolor Linsenrasterfilm 1932 Rouxcolor 2 color / Cineoptichrome 1932
Cinecolor (subtractive 2 color) 1932 Technicolor No. IV: Three-strip 1932
Roncarolo 1932 Dufaycolor 1933 Hillman Process 1933 Morgana Process 1933
Gasparcolor OR Gaspar Color 1933 Vericolor 1933 Bocca-Rudatis 1933 Cinemacolor
1934 Thomascolor 1934 Sistema Cristiani-Mascarini 1934 Cosmocolor 1935 Dascolour
1935 Francita-Reality / Francita / Opticolor / Realita 1935 Harmonicolor 1935
Kodachrome 1935 Crosene Process 1935 Telco Color, additive 2 color 1936
Agfacolor Neu / Agfacolor 1936 Hirlicolor 1936 Berthon-Siemens / Siemens-Berthon
/ Siemens-Perutz-Verfahren / Opticolor 1936 Russian three-color process 1936
Dunning Color 1937 Telco color subtractive 2 color 1938 Dufaycolor reversal 1938
Pantachrom 1938 Kodachrome Color Reversal Film Type 5262 1938 Technicolor
Monopack / Kodachrome Professional Type 5267 / Eastman Monopack 7267 1940
Agfacolor Negative type B 1940 Agfacolor Negative type G 1940 Iriscolor 1940
Kodachrome Color Reversal Film 5265 1940 Gaspar Color subtractive 2 color 1941
Agfacolor Negative type B2 1941 Agfacolor Negative type G2 1941 Fullcolor 1942
Kodachrome Professional Film Type 5267 1942 Ansco Color Printon 1943 Sovcolor
negative film type B 1945 Sovcolor negative type G 1945 British Tricolour /
Dufaychrome 1946 Sakuracolor 1946 Ansco Colorpak / Ansco Color, type 735 1946
Svema LN-1 1946 Kodachrome Commercial Type 5268 1946 Ansco Color Duplicating
Film, type 132 1946 Ansco Color Release Film, type 732 1946 Thomson Color 1947
Americolor 1947 Trucolor 2 color 1947 Svema DS-1 1947 Rouxcolor 4 color 1948
Cinefotocolor 1948 Pinchart 1948 Technichrome 1948 Gevacolor Negative 1948
Gevacolor T 6 51 1948 Ansco One-Strip Color-Separation Film, type 155 1948
Trucolor 3 color 1949 DuPont Color Film Type 275 1949 Ferrania color /
Ferraniacolor / 3M color 1949 Fujicolor 1949 Chromart Simplex 1950 Alfacolour /
Alfacolor 1950 Chromart Tricolor 1950 Colorvision 1950 Eastman Multilayer
Stripping Film / Kodak Stripping Film 1950 Eastman Color 1950 Eastman Color
Negative, type 5247 1950 Ansco Color negative / positive process 1950 Opticolor
1950 Eastman Color Print Film 5381 (1950) 1950 Eastman Color Print Film 5281 /
7281 1950 Supercinecolor / Natural Color 1951 Eastman Lenticular Print Film Type
5306 1951 Agfacolor Negative 1951 Agfacolor L 1951 Dugromacolor 1952 Agfacolor
Negative, type 2 1952 Ansco Color Negative, type 843 1952 Eastman Color
Internegative Film 5243 1952 Eastman Color Print Film 7282 1952 Eastman Color
Negative, type 5248 1953 Ansco Color Negative, type 844 1953 Eastman Color
Internegative Film 5245 1953 Eastman Color Print Film 5382 / 7382 1953 Agfacolor
Negative, type B 333 1954 Agfacolor Negative, type G 334 1954 Technicolor No. V:
Dye transfer prints from chromogenic negative 1954 Agfacolor Positiv Typ 5 1954
Ferraniacolor, type 54 1954 Gevacolor T 6 52 1954 Mondiacolor 1955 Anscochrome
1955 Agfacolor Negative, type 3 (CN3) 1955 Eastman Television Recording Film
5374 / 7374 1955 Fujicolor Negative, type 8511 1955 Eastman Embossed Kinescope
Recording Film 1956 Eastman Reversal Color Print Film Type 5269 / 7387 1956
Eastman Color Internegative Film 5270 / 7270 1956 Eastman Color Intermedeate
Film 5253 1956 Svema DS-2 1956 Svema LN-2 1956 Ansco Color Dupe Negative, type
846 1956 Ansco Color Print Film, type 848 1956 Ansco Color Reversal Duplicating
Film, type 538 1956 Fomacolor 1957 Ansco Color Negative, type 845 1957 Super
Anscochrome Daylight, type 225 1957 Ektachrome Commercial Type 7255 1958
Columbiacolor 1958 Gevacolor T 6 53 1958 Fujicolor Negative, type 8512 1958
Eastman Ektachrome Commercial, type 7255 1958 Super Anscochrome Tungsten, type
226 1958 Gevacolor Positive Film T 9 53 1958 Dynachrome 1959 Moviechrome 1959
Eastman Color Negative, type 5250 1959 Eastman Color Reversal Film SO-260 1959
Eastman Color Reversal Film SO-260 1959 Eastman Color Print Film 7383 1959
Ektachrome ER 1960 Eastman Ektachrome ER, type 5257 1960 Eastman Ektachrome ER,
type B, type 5258 1960 Agfacolor Negative, type 4 (CN4) 1960 Svema DS-3 1960
Svema LN-3 1960 Kodachrome II 1961 Agfachrome 1962 Eastman Color Negative, type
5251 1962 Agfacolor Negative, type G 432 1962 Eastman Color Print Film 5385 /
7385 1962 Ferraniacolor Cine Universal 1962 Svema DS-4 1962 Ektachrome MS 1963
Eastman Ektachrome MS, type 5256 1963 Eastman RP Negative Film 7229 1963 Svema
DS-5M 1963 Svema LN-5M 1963 Polacolor Instant Photography 1963 Orwocolor 1964
Agfacolor Negative, type 5 (CN5) 1964 Anscochrome, type 5240 1964 Anscochrome,
type 5210 1964 Anscochrome, type 5230 1964 Eastman Reversal Print Film 7387 1964
Gevacolor T 6 54 1964 Orwocolor NC 1 1964 Agfa-Gevaert 1964 Ektachrome EF 1965
Eastman Ektachrome EF, type 5242 / 7242, type B 1965 Eastman Ektachrome EF, type
5241 / 7241 1965 Fujicolor Negative, type 8513 1965 Fujicolor Negative, type
8514 1965 Gevachrome 1966 Ektachrome R Print 1966 Fotoncolor OR Fotonkolor 1966
Eastman Color Negative, type 5254 / 7254 1966 Fujicolor Positive, type 8818 1966
Indu Colour 1967 Anscochrome, type 5550 1967 Eastman Color Print Film 5744 1967
Eastman Color Print Film 7380 1967 Eastman Color Negative, type 3251 1967
Anscochrome, type 5311 1968 Ferrania Type HS Color Release Positive 1968 Eastman
Direct MP Film 5360 / 7360 1968 Eastman Color Reversal Intermedeate Film 5249 /
7249 1968 Eastman Color Intermediate Film 5253 / 7253 1968 Eastman Color
Internegative Film 5271 / 7271 1968 Gevacolor T 6 55 1968 Fujicolor Positive,
type 8819 1968 Gevacolor Positive Film T 9 54 1968 Fujicolor Negative, type 8515
1969 3M Color Positive Film 1970 3M Color Positive, type 650 1970 Eastman
Ektachrome Commercial Film 7252 1970 Eastman Ektachrome R Print Film 7389 1970
Eastman Color Print Film 5381 / 7381 (1970) 1970 Svema LN-6M 1970 Eastman
Ektachrome, type A 1971 Gevacolor Print Film T 9 85 1971 Fujicolor Negative,
type 8516 1972 Svema CO-T-90 L 1972 Orwocolor NC 3 1972 Dymat Process 1973
Eastman Ektachrome Reversal Print Film 7390 (SO-390) 1973 Eastman Color II
Negative, type 5247 / 7247 1974 3M Color Positive, type 651 1974 Eastman Color
SP Print Film 5383 / 7383 1974 Gevacolor T 6 80 1974 Svema CO-T-22 D 1974 Svema
LN-7 1974 Gevacolor Print Film T 9 86 1974 Ektachrome Video News 1975 Orwochrom
1975 Eastman Ektachrome, type 5239 1975 Eastman Ektachrome, type 5240 (VNF) 1975
Eastman Ektachrome Video News Film 7240 1975 Svema LN-8 1975 Eastman Ektachrome
SM, type 7244 1975 Eastman Ektachrome Video News Film 7239 1976 Polavision 1977
Eastman Ektachrome High Speed Video News Film 7250 1977 Eastman Ektachrome VN
Print Film 7399 1977 Eastman Color SP Low Contrast (minus 25%) Print Film 5738 /
7738 1977 Polachrome 1977 Gevacolor T 6 82 1978 Eastman Color LF Print Film 7378
1979 Eastman Color LFSP Film 7379 1979 Eastman Color II Negative, type 5247 /
7247 F 1980 Eastman Color II Internegative Film 5272 / 7272 S 1980 Fujicolor
Negative A 250, type 8518 1980 Taihang Color 1980 Eastman Color High Speed
Negative, type 5293 1981 Eastman Ektachrome 7251 1981 Eastman Color Print Film
5384 / 7384 1981 Fujicolor Negative A, type 8517 1981 Eastman Color Negative,
ASA 125, type 5247 1983 Eastman Color High Speed Negative, type 5294 1983
Eastman Color Negative Film 7291 1983 Eastman Color LC Print Film 5380 / 7380
1983 Fujicolor Negative A, type 8511 1983 Fujicolor Negative High Speed AX, type
8512 1983 Fujicolor Negative AX, type 8514 1984 Agfa negative XT 125 1985 Agfa
negative XT 320 1985 Eastman Color High Speed Negative Film 7292 1985 Eastman
Color High Speed Negative, type 5295 / 7295 1987 Eastman Color High Speed
Negative, type 5297 1987 Eastman Fine Grain Release Positive Film 5302 / 7302
1988 Fuji F-Series 8510 / 8610 F64T 1988 Fuji F-Series 8520 / 8620 F64D 1988
Fuji F-Series 8530 / 8630 125T 1988 Fuji F-Series 8550 / 8650 F250T 1988 Fuji
F-Series 8560 / 8660 F-250D 1988 Fuji F-Series 8570 / 8670 F-500T 1988 Eastman
EXR 100T Color Negative Film 7248 1989 Eastman EXR 50D Color Negative Film 5245
/ 7245 1989 Eastman EXR 500T Color Negative Film 5296 1989 Eastman EXR 100T
Color Negative Film 5248 1990 Eastman EXR 500T Color Negative Film 7296 1990
Eastman EXR Color Intermediate Film 5244 / 7244 1992 Eastman EXR 200T Color
Negative Film 5293 / 7293 1992 Experimental Eastman Separation Film (5238) 1992
Eastman Color Intermediate Film 2244 1992 Eastman EXR Color Print Film 5386 /
7386 1993 Eastman Color LC Print Film 5385 / 7385 1993 Eastman EXR 500T 5298 /
7298 (T) 1994 Eastman EXR 200T 5287 / 7287 Ultra Latitude (W) 1994 Eastman EXR
Color Print Film 2386 / 3386 1994 Eastman EXR Primetime 640T Teleproduction Film
5600 (P) 1995 Kodak Vision 320T Color Negative Film 5277 / 7277 (Q) 1996 Kodak
Vision 500T Color Negative Film 5279 / 7279 (U) 1996 Fujicolor Positive Film
F-CP 3519 1996 Technicolor No. VI: Dye-transfer prints from enhanced process
1997 Kodak Vision 250D Color Negative Film 5246 / 7246 1997 Kodak Vision 200T
Color Negative Film 5274 / 7274 1997 Eastman Special Order Print Film SO-886
1997 Kodak Vision Color Print Film 2383 1997 Kodak Vision Premiere Color Print
Film 2393 1997 Kodak EXR Primetime 640T Teleproduction Film 5620 / 7620 1997
Kodak Vision 800T Color Negative Film 5289 1998 Kodak Vision Color Intermediate
Film 2242 / 3242 1998 Kodak Vision Color Intermediate Film 5242 / 7242 1998
Kodak SFX 200T Color Negative Film 1998 Kodak Vision 800T Color Negative Film
7289 1999 Kodak Vision Color Teleprint Film 2395 1999 Eastman Ektachrome, type
5285 / 7285 1999 Fujicolor Positive Film F-CP 3519D 1999 Kodak Vision
"Expression" 500T Color Negative Film 5284 / 7284 2001 Fuji Reala 500D 8592 /
8692 2001 Fujicolor Positive Film Super F-CP 3510 / 3610 2001 Kodak Vision 500T
Color Negative Film 5263 / 7263 2002 Kodak Vision2 500T Color Negative Film 5218
/ 7218 2002 Fujicolor Positive Film Super F-CP 3510 / 3610 2002 Fujicolor
Positive Film Eterna-CP 3513DI / 3613DI 2002 Kodak Vision2 "Expression" 500T
Color Negative Film 5229 / 7229 2003 Kodak Vision2 250D Color Negative Film 5205
/ 7205 2004 Kodak Vision2 100T Color Negative Film 5212 / 7212 2004 Kodak
Vision2 200T Color Negative Film 5217 / 7217 2004 Fuji Eterna 500T 8573 / 8673
2004 Kodak Vision2 50D Color Negative Film 5201 / 7201 2005 Kodak Vision2 "HD
Color Scan Film" 500T Color Negative Film 5299 / 7299 2005 Fuji Eterna 400T 8583
/ 8683 2005 Fuji Eterna 250D 8563 / 8663 2006 Fuji Eterna 250T 8553 / 8653 2006
Kodak Vision3 500T Color Negative Film 5219 / 7219 2007 Fuji Eterna Vivid 160T
8543 / 8643 2007 Fujicolor Positive Film Eterna-CP 3521XD 2007 Kodak Vision2
500T Color Negative Film 5260 2009 Kodak Vision3 250D Color Negative Film 5207 /
7207 2009 Kodak Vision3 Color Digital Intermediate Film 5254 / 2254 2009 Fuji
Eterna Vivid 500T 8547 / 8647 2009 Fuji Eterna Vivid 250D 8546 / 8646 2010
Fujicolor Positive Film Eterna-CP 3514DI / 3614DI 2010 Fujicolor Positive Film
Eterna-CP 3523XD 2010 Fujicolor Positive Film Eterna-CP 3512 / 3612 2010 Kodak
Vision3 50D Color Negative Film 5203 / 7203 2011 Kodak Color Asset Protection
Film 2332 2012
 * Applied Colors
 * Chromogenic monopack
 * Chromolytic multilayer
 * Color separation
 * Double-coated / bi-pack
 * Printing / dye-transfer
 * Screen processes
 * Spatial synthesis (multiple lenses, beam splitter)
 * Temporal synthesis (rotary filters)


AUTONOMOUS COLORS (APPLIED COLORS)




STENCIL COLORING (POCHOIR, PATHÉCOLOR)

Stencils were cut out from a positive print to color selected areas of the film
frames by the use of brushes or velvet strips.

HAND COLORING

Before the introduction of film, hand coloring had long been applied to lantern
slides. Colors were applied with tiny brushes to each individual frame of the
film.

TONING

Toning, like tinting, was one of the earliest film color techniques. It required
a complex chemical procedure to replace the silver with colored compounds or
dyes for each individual exhibition print.

TINTING

Tinting was one of the earliest and most widespread techniques to apply colors
to film. Each individual black-and-white film positive had to be submerged in
dye baths.




MIMETIC PROCESSES (NATURAL COLORS)


ADDITIVE COLORS




SCREEN PROCESSES

Regular or irregular patterns of colored stripes or dots in red, blue and green
provide a color sensation by additive mixture. Many of the screen processes were
introduced in still photography before their redevelopment for film
applications.

Line screen
Mosaic screen
Lenticular screen

SPATIAL SYNTHESIS (MULTIPLE LENSES, PRISM)

Two or three images were captured simultaneously through multiple lenses or
beam-splitter prisms. The images were either dyed or projected through colored
filters.

TEMPORAL SYNTHESIS (ROTARY FILTERS)

Two or three images were exposed through colored filters in succession. In
projection, the black and white images were filtered again accordingly. The
processes required double or triple frame rates.





SUBTRACTIVE COLORS




CHROMOLYTIC MULTILAYER

In chromolytic multilayer films the dyes in the emulsion are destroyed at the
locus of exposure of the silver halide. The colors are very brilliant and
stable.

The most famous chromolytic process was Gasparcolor.

CHROMOGENIC MONOPACK

In chromogenic monopacks the color-forming substances are either present in
several layers in the emulsion or added during film developing later. The basic
principle was discovered in 1911 by Rudolf Fischer. Unfortunately the dyes used
in these processes proved to be unstable, thus leading to color-fading of the
films.

Agfacolor

Eastman Color

Ferraniacolor

 

DOUBLE-COATED / BI-PACK

For many two color and a few three color processes emulsion was applied to both
sides of the film and colored independently. The technique was widespread in the
early days of subtractive color films from the mid-1910s to the mid-1940s. Often
the negatives were bi-packs, two strips of black-and-white film sensitized for
different spectra.

PRINTING / DYE-TRANSFER

Printing processes add one to three layers of colors onto the emulsion of a
film, most famously in the Technicolor dye-transfer process. The principle had
been introduced in photography before the advent of motion pictures.

Direct links to the most famous dye-transfer processes:

Technicolor No. III

Technicolor No. IV

Technicolor No. V




OTHER




EDGE CODES AND IDENTIFICATION

The FilmColors research teams collect information about edge codes and
identification of color films continuously and post them in this section.

BIBLIOGRAPHY

You will find here bibliographical information to a variety of topics related to
film colors, such as color theory, analysis, aesthetics, narration, culture etc.

Contributions are very welcome.

Currently it contains bibliographies about color and animation, color perception
and cinematography, and the cultural history of color.

THEORY

Theoretical writings about color photography and color motion pictures.

OTHER

Very few processes do not fit into the above classification system.




COLOR SEARCH



Display the Timeline of Historical Film Colors in chronological order ›


TESTIMONIALS

Celebrating the 10th Anniversary of the Timeline of Historical Film Colors:

Leading film scholars, curators, restorers, and archivists produced videos for
the 10th anniversary to explain the significance of the Timeline of Historical
Film Colors and how they use it for their professional activities.




TIMELINE ANNIVERSARY



PROFESSOR SARAH STREET



KIERON WEBB



PROFESSOR KIRSTEN MOANA THOMPSON



DR. ROSSELLA CATANESE



SREYA CHATTERJEE, MA, HTW BERLIN



PROFESSOR JOSHUA YUMIBE



DR. BREGT LAMERIS



PROFESSOR ERIC HOYT



PROFESSOR JOHN BELTON



PROFESSOR FUMIKO TSUNEISHI



ROSIE TAYLOR



PROF. DR. RER. NAT. ULRICH RUEDEL



GEORGE WILLEMAN



PROF. DR. GIOVANNA FOSSATI



DR. CLAUDY OP DEN KAMP AND THE DIASTOR TEAM





TAGS

 * edge codes and identification
 * blue
 * splice
 * 1920s
 * red
 * 1950s
 * 1900s
 * musical
 * BFI National Archive
 * cold–warm contrast
 * monochrome
 * tinting and toning
 * EYE Filmmuseum Amsterdam
 * Natalie Kalmus
 * ships
 * beam-splitter
 * silhouette
 * melodrama
 * Academy Film Archive
 * travelogue
 * fashion
 * Alfred Hitchcock
 * decay
 * exoticism
 * Cecil B. DeMille
 * science fiction
 * Ray Rennahan
 * glamour shot
 * Len Lye
 * avantgarde
 * Leon Shamroy
 * Powell / Pressburger
 * Deborah Kerr
 * Michael Curtiz
 * colorimetry
 * Edith Head
 * femme fatale

Save

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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