Color Illustrations
Color Plate 0.1
Tinted Polyvision scene at the conclusion of Abel Gance’s
Napoléon
(France, 1927).
Color Plate 1.1
Color guidebook illustrating the application of aniline dye to feathers (Farbenfabriken vorm. Freidr. Bayer & Co, 1910). Item MSS 563 Dyeing Catalog Collection 1893–1960, courtesy of Special Collections, University of Delaware Library, Newark, Delaware.
Color Plate 1.2
Eastman Kodak’s guidebook,
Tinting and Toning of Eastman Positive Motion Picture Film
(1927). Photograph by Martin Weiss, ERC Advanced Grant FilmColors, courtesy of the Timeline of Historical Film Colors.
Color Plate 1.3
Pathé Frères’ guidebook, “Supports teintés Pathé” (ca. 1925). Courtesy of Laurent Mannoni and the Cinémathèque française.
Color Plate 2.1
Le home moderne
(France, 1929). Courtesy of the Gaumont Pathé Archives.
Color Plate 2.2
Office design by Etienne Kohlmann in
Modern French Decorative Art
, 2nd series (1930), 25.
Color Plate 2.3
Lady Pepperell campaign in 1929 feature Lupe Vélez’s bedroom colors,
Photoplay
35, no. 5 (Feb 1929): 80.
Color Plate 2.4
The hand-colored title of
Changing Hues
(UK, 1922).
Color Plate 2.5
The stenciled Twink Shop window in
Changing Hues
(UK, 1922).
Color Plate 2.6
The final hand-colored and stenciled shots in
Changing Hues
(UK, 1922).
Color Plate 2.7
Raquel Torres in Technicolor’s
Fashion News
(U.S., 1928). Courtesy of the Academy Film Archives.
Color Plate 2.8
A tinted exterior in
Der karierte Regenmantel
(
The Checkered Raincoat
, Marx Mack, Germany, 1917).
Color Plate 2.9
A Handschiegled pink cigarette in
The Affairs of Anatol
(Cecil B DeMille, U.S., 1921).
Color Plate 2.10
An Art Deco–styled room tinted rose in
Gribiche
(Jacques Feyder, France, 1926).
Color Plate 2.11
Lotus Flower in green framed against the red flowers of her garden, in
The Toll of the Sea
(Chester M. Franklin, U.S., 1922).
Color Plate 2.12
Lotus Flower and Little Allen, now washed clean of his Eastern colors, in
The Toll of the Sea
(Chester M. Franklin, U.S., 1922).
Color Plate 2.13
Eve’s dress in the fashion show of
Fig Leaves
(Howard Hawks, U.S., 1926). Courtesy of Karl Thiede.
Color Plate 3.1
The ciné-dance-hall of the Café Aubette in Strasbourg designed by Theo van Doesburg with Jean Arp and Sophie Taeuber-Arp (originally completed 1928; restored 2006). Photograph by Jean-Pierre Dalbéra.
Color Plate 3.2
[
Kaleidoscope
] by Loyd Jones (U.S., 1925). Courtesy George Eastman Museum.
Color Plate 3.3
Thomas Wilfred’s “Unit #85,” from the
Clavilux Junior (First Home Clavilux Model)
series (1930; 66 x 25 x 14 in.). Photo courtesy Yale University Art Gallery, Collection of Carol and Eugene Epstein.
Color Plate 3.4
Thomas Wilfred’s sketch for mounting the Clavilux on top of skyscrapers, “The Clavilux Silent Visual Carillon” (1929), Thomas Wilfred Papers (MS 1375), courtesy of Manuscripts and Archives, Yale University Library.
Color Plate 3.5
Mary Hallock Greenewalt’s “first mapping” of the color score (ca. 1906) for Debussy’s “The Moon Descends Upon the Temple That Once Was.” Mary Elizabeth Hallock Greenewalt papers [Coll. 867], courtesy of the Historical Society of Pennsylvania.
Color Plate 3.6
Frame stills from Walter Ruttmann’s
Opus 1
(Germany, 1921).
Color Plate 3.7
Oskar Fischinger,
Raumlichtkunst
(Germany, 1926/2012), reconstruction by Center for Visual Music from 1920s nitrate film originals. Installation view at the Whitney Museum of American Art, 2016, © Center for Visual Music.
Color Plate 3.8
The Theater Tuschinski in Amsterdam (1921), now the Pathé Tuschinski.
Color Plate 4.1
Herbert Bayer’s design for a cinema, “Kinogestaltung” (1924–1925). Gouache, collage elements, black ink, graphite, on paper; 18 x 24 in. Courtesy of Harvard Art Museums/Busch-Reisinger Museum, gift of the artist, BR48.97 © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Photo: Imaging Department © President and Fellows of Harvard College.
Color Plate 4.2
Kurt Schwerdtfeger’s
Reflektorische Farblichtspiele
(
Reflecting Colour-Light-Play
, 1922, reconstructed in 2016 by Daniel Wapner). Courtesy of the Microscope Gallery.
Color Plate 4.3
Walter Ruttmann’s
Opus III
(Germany, 1924). Courtesy of EYE Filmmuseum Netherlands.
Color Plate 4.4
The confrontation of Brunhild (left) and Kriemhild (right) in Carl Otto Czeschka’s illustrations of
Die Nibelungen
(1909).
Color Plate 4.5
Brunhild blocking the way of Kriemhild in
Die Nibelungen: Siegfried
(Fritz Lang, Germany, 1924).
Color Plate 4.6
An example of the variety of tinted and toned colors, as well as the positive cutting found in the print of
The Cabinet of Dr. Caligari
(Robert Wiene, Germany, 1920), from the Archivo Nacional de la Imagen–Sodre, Montevideo/ Cineteca di Bologna. Photograph by Barbara Flueckiger, courtesy of DIASTOR, the Timeline of Historical Film Colors, and Friedrich-Wilhelm-Murnau-Stiftung.
Color Plate 4.7
Hand tinting in the Netherlands Filmliga print of
Ballet mécanique
(Fernand Léger and Dudley Murphy, France, 1924). Courtesy of the EYE Filmmuseum, Netherlands.
Color Plate 4.8
Representative frames from the resurrection scene in
L’inhumaine
(Marcel L’Herbier, France, 1923), nonsequential. Restored by Lobster Films.
Color Plate 4.9
The opening Handschiegl-illustrated sequence in
Salomé
(Charles Bryant and Alla Nazimova, U.S., 1923). Nitrate frame enlargement by Jesse Pierce, courtesy George Eastman Museum.
Color Plate 4.10
The execution of Jokaanan in
Salomé
(Charles Bryant and Alla Nazimova, U.S., 1923). Nitrate frame enlargement by Sophia Lorent, courtesy George Eastman Museum.
Color Plate 4.11
Pictorial shifts in tinting and toning in
Danse Macabre
(Dudley Murphy, U.S., 1922). Nitrate frame enlargement by Sophia Lorent, courtesy George Eastman Museum.
Color Plate 5.1
Amber tinting in
Smouldering Fires
(Clarence Brown, Charles Dorian, U.S., 1925).
Color Plate 5.2
Romantic, violet tinting in
Smouldering Fires
(Clarence Brown, Charles Dorian, U.S., 1925).
Color Plate 5.3
Tinting and Handschiegl effects in the climactic blaze of
The Fire Brigade
(William Nigh, U.S., 1926). Photograph by Barbara Flueckiger, courtesy of the Timeline of Historical Film Colors and Library of Congress National Audio-Visual Conservation Center.
Color Plate 5.4
Tinting and Handschiegl in
Wings
(William A. Wellman, Harry d’Abbadie d’Arrast, U.S., 1927).
Color Plate 5.5
The Phantom in Technicolor in
The Phantom of the Opera
(Rupert Julian, U.S., 1925).
Color Plate 5.6
The Phantom in Handschiegl in
The Phantom of the Opera
(Rupert Julian, U.S., 1925).
Color Plate 5.7
The Golden Swan in
The Glorious Adventure
(James Stuart Blackton, UK, 1922). Courtesy of the BFI National Archive.
Color Plate 5.8
Paul Wegener as Samlak, tinted in purple, in
Das Weib des Pharao
(
The Loves of Pharaoh
, Ernst Lubitsch, Germany, 1921).
Color Plate 5.9
The tinted and toned opening of
The Lodger
(Alfred Hitchcock, UK, 1926).
Color Plate 5.10
Color separations through stenciling between foreground and background, in
Cirano di Bergerac
(Augusto Genina, France/Italy, 1923/1925). Courtesy of EYE Filmmuseum Netherlands.
Color Plate 5.11
Stenciling at the Tartar encampment, just before Strogoff (Ivan Mosjoukine) is blinded, in
Michel Strogoff
(Viktor Tourjansky, France/Germany, 1926).
Color Plate 5.12
Stenciling of Maria, the Duchess de Lardi, and Casanova (Diana Karenne and Ivan Mosjoukine) at Carnival in
Casanova
(Alexandre Volkoff, France, 1927). Photograph by Barbara Flueckiger, courtesy of the Timeline of Historical Film Colors and the Cinémathèque française.
Color Plate 5.13
Blue toning and pink tinting used to convey natural beauty in
Napoléon
(Abel Gance, France, 1927).
Color Plate 5.14
Blue toning at National Assembly Hall in
Napoléon
(Abel Gance, France, 1927).
Color Plate 5.15
Ghosts appear in amber tinting at the National Assembly Hall in
Napoléon
(Abel Gance, France, 1927).
Color Plate 5.16
The colors and lights of Coney Island in
Lonesome
(Paul Fejos, U.S., 1928).
Color Plate 5.17
Fringing effects in
The Open Road
(Claude Friese-Greene, U.K., 1925).
Color Plate 5.18
A woman and child in
Cosmopolitan London
(Harry B. Parkinson and Frank Miller, UK, 1924).
Color Plate 6.1
Wing Foot discovering oil, in
Redskin
(Victor Schertzinger, U.S., 1929). Photograph by Barbara Flueckiger, courtesy of the Timeline of Historical Film Colors and the Library of Congress National Audio-Visual Conservation Center.
Color Plate 6.2
Jacques Cartier performing in blackface in the prelude to
Rhapsody in Blue
in
King of Jazz
(John Murray Anderson, U.S., 1930).
Color Plate 6.3
The Sisters G and Jacques Cartier performing
Rhapsody in Blue
in
King of Jazz
(John Murray Anderson, U.S., 1930).
Color Plate 6.4
The film bursting into flames in
The Death Kiss
(Edwin L. Marin, U.S., 1932).
Color Plate 6.5
A stencil-sound film from the Kodak Film Samples Collection. Photograph by Barbara Flueckiger in collaboration with Noemi Daugaard, courtesy of the Timeline of Historical Film Colors and the National Museum of Science and Media/Science and Society Picture Library.
