ILLUSTRATIONS
Figure 0.1      Color chart by Natalie Kalmus (1932).
Figure 0.2      Film stars illustrating Kalmus’s color chart (1932).
Figure 1.1      Color sphere from Atlas of the Munsell Color System (1915).
Figure 1.2      A Color Notation (1919).
Figure 1.3      The German submarine Deutschland being unloaded of aniline cargo (1916).
Figure 1.4      The Kodak Research Laboratories (1921).
Figure 1.5      Kenneth Mees’s outline of the areas of photographic inquiry (1917).
Figure 1.6      Kodak’s Abridged Scientific Publications, beginning in 1913.
Figure 1.7      Kodak’s Monthly Abstract Bulletins, beginning in 1916.
Figure 1.8      Loyd Jones and Lewis Townsend’s experiments with projecting color music (1925).
Figure 1.9      Eastman-Kodak emulsions (1908).
Figure 1.10    Tinting formulas by Kodak (1924).
Figure 1.11    Sketches for a rapid tinting machine (1923).
Figure 1.12    Overview of Technicolor’s lab and staff (1924).
Figure 1.13    Leonard Troland’s Technicolor notebook covering patent research.
Figure 1.14    Section 8 on “Coloring” patents from Troland’s Technicolor Notebooks.
Figure 1.15    Screenland feature on Taming of the Shrew (1929).
Figure 2.1      The Octopus Gown (Photoplay Magazine 1921).
Figure 3.1      The ciné-dance-hall of the Café Aubette in Strasbourg (1928).
Figure 3.2      Warners’ Theatre on Broadway advertising Don Juan (ca. 1926).
Figure 3.3      Exterior of the Atrium Theatre in Berlin (1929).
Figure 3.4      Loïe Fuller skirt dances (1896).
Figure 3.5      Thomas Wilfred performing his Clavilux color organ (1924).
Figure 3.6      Thomas Wilfred installation of the Clavilux color organ in in the Bal Tabarin Room, Chicago (1930).
Figure 3.7      Mary Hallock Greenewalt demonstrating the Sarabet color organ.
Figure 3.8      Zdenĕk Pešánek’s “Spectrophone” (ca. 1926).
Figure 3.9      Holophane lighting in cinemas (1929).
Figure 3.10    Holophane lighting at the Ritz Cinema, Birmingham (1929).
Figure 4.1      Bruno Taut’s Glashaus at the Cologne Deutscher Werkbund Exhibition (1914).
Figure 4.2      The mural workshop at the Bauhaus, Dessau (1926).
Figure 4.3      Walter Gropius’s diagram of the curriculum at the Bauhaus (1923).
Figure 4.4      Johannes Itten in front of his Color Sphere (1921).
Figure 4.5      The score for Ludwig Hirschfield-Mack’s version of Farben Licht-Spiele.
Figure 4.6      Kurt Schwerdtfeger’s Reflektorische Farblichtspiele.
Figure 4.7      The program of Der Absolute Film screening, UFA Palast, Berlin (1925).
Figure 4.8      Lotte Reiniger’s sponsored film Die Barcarole (1924).
Figure 4.9      Nosferatu (1922).
Figure 4.10    Walter Ruttmann’s “Dream of the Hawks” in Die Nibelungen: Siegfried (1924).
Figure 4.11    Opus 1 (1921).
Figure 4.12    Further matching motifs Der Sieger: Ein Film in Farben (1922).
Figure 4.13    Dada periodical 391, no. 7 (Francis Picabia, 1917).
Figure 4.14    Marcel L’Herbier’s exhibit at the Exposition internationale des arts décoratifs et industriels modernes in Paris (1925).
Figure 4.15    Original frame slugs with color information for L’Inhumaine (1924).
Figure 4.16    Cottage on Dartmoor (1929).
Figure 5.1      A composite tryptic image in Napoléon (1927).
Figure 6.1      The Technicolor Camera Department (1930).
Figure 6.2      The Multicolor attachment on a Mitchell camera (1930).
Figure 6.3      James Wong Howe and Max DuPont (1929).
Figure 6.4      Max Du Pont and Mary Mabery (1929).
Figure 6.5      Advertisement for Vitaphone’s Technicolor Musical Review (1930).
Figure 6.6      Redskin (1929).
Figure 6.7      Advertisement by Gustav Brock (1935).
Figure 6.8      Advertisement by Gustav Brock for his work on The Vampire Bat (1933).
Figure 6.9      The Pathéchrome dye-applicator device (1931).
Figure 6.10    Kodak Sonochrome advertisement (1930).
Figure 6.11    Dracula (Tod Browning).
Figure 6.12    Frame slug from Dracula (1931).
Color Plates
Color Plate 0.1      Napoléon (1927).
Color Plate 1.1      Color guidebook (1910).
Color Plate 1.2      Eastman Kodak’s tinting guidebook (1927).
Color Plate 1.3      Pathé Frères’ tinting guidebook (ca. 1925).
Color Plate 2.1      Le home moderne (1929).
Color Plate 2.2      Office design by Etienne Kohlmann (1930).
Color Plate 2.3      Lupe Vélez’s bedroom colors (1929).
Color Plate 2.4      The hand-colored title of Changing Hues (1922).
Color Plate 2.5      Stenciling in Changing Hues (1922).
Color Plate 2.6      The final hand-colored and stenciled shots in Changing Hues (1922).
Color Plate 2.7      Raquel Torres in Technicolor’s Fashion News.
Color Plate 2.8      Der karierte Regenmantel (The Checkered Raincoat, 1917).
Color Plate 2.9      A Handschiegled pink cigarette in The Affairs of Anatol (1921).
Color Plate 2.10    An Art Deco–styled room tinted rose in Gribiche (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 (1928; restored 2006).
Color Plate 3.2      [Kaleidoscope] (1925).
Color Plate 3.3      Thomas Wilfred’s Clavilux Junior (1930).
Color Plate 3.4      Thomas Wilfred’s sketch for mounting the Clavilux on top of skyscrapers (1929).
Color Plate 3.5      Mary Hallock Greenewalt’s “first mapping” of a color score (ca. 1906).
Color Plate 3.6      Opus 1 (1921).
Color Plate 3.7      Raumlichtkunst (1926/2012), reconstruction by Center for Visual Music.
Color Plate 3.8      The Theater Tuschinski in Amsterdam (1921).
Color Plate 4.1      Herbert Bayer’s design for a cinema, “Kinogestaltung” (1924–1925).
Color Plate 4.2      Reflektorische Farblichtspiele (Reflecting Colour-Light-Play, 1922; 2016).
Color Plate 4.3      Opus III (1924).
Color Plate 4.4      Carl Otto Czeschka’s illustrations of Die Nibelungen (1909).
Color Plate 4.5      Die Nibelungen: Siegfried (1924).
Color Plate 4.6      Tinted and toned colors, and positive cutting in The Cabinet of Dr. Caligari (1920).
Color Plate 4.7      Hand tinting in Ballet mécanique (1924).
Color Plate 4.8      L’inhumaine (1923).
Color Plate 4.9      Handschiegl in Salomé (1923).
Color Plate 4.10    The execution of Jokaanan in Salomé (1923).
Color Plate 4.11    Tinting and toning in Danse Macabre (1922).
Color Plate 5.1      Amber tinting in Smouldering Fires (1925).
Color Plate 5.2      Violet tinting in Smouldering Fires (1925).
Color Plate 5.3      Tinting and Handschiegl effects in The Fire Brigade (1926).
Color Plate 5.4      Tinting and Handschiegl in Wings (1927).
Color Plate 5.5      Technicolor in The Phantom of the Opera (1925).
Color Plate 5.6      Handschiegl in The Phantom of the Opera (1925).
Color Plate 5.7      The Glorious Adventure (1922).
Color Plate 5.8      Das Weib des Pharao (The Loves of Pharaoh, 1921).
Color Plate 5.9      The Lodger (1926).
Color Plate 5.10    Stenciling in Cirano di Bergerac (1923/1925).
Color Plate 5.11    Stenciling in Michel Strogoff (1926).
Color Plate 5.12    Stenciling in Casanova (1927).
Color Plate 5.13    Blue toning and pink tinting in Napoléon (1927).
Color Plate 5.14    Blue toning in Napoléon (1927).
Color Plate 5.15    Amber tinting in Napoléon (1927).
Color Plate 5.16    Lonesome (1928).
Color Plate 5.17    Fringing in The Open Road (1925).
Color Plate 5.18    Cosmopolitan London (1924).
Color Plate 6.1      Redskin (1929).
Color Plate 6.2      King of Jazz (1930).
Color Plate 6.3      King of Jazz (1930).
Color Plate 6.4      The film bursting into flames in The Death Kiss (1932).
Color Plate 6.5      A stencil-sound film from the Kodak Film Samples Collection.