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Absolute Film, 18, 125–128, 139, 162–170, 178–180; Der Absolute Film screening, 165–169, 165; color in, 168, 203; French film and, 183–185; Rudolf Kurtz and, 158, 178; useful abstraction and, 151–152
abstraction, 150–151, 168–169, 180; Ballet mécanique, 185–186, 194; Einfühlung and, 150, 302n31; L’inhumaine, 194; useful, 151–169, 189; new paints and, 25; Thomas Wilfred and, 120
Adrian, Gilbert, 83; Fig Leaves, 98
advertising, 7–8, 27, 65, 66–103, 130–131, 149, 189; chromatic experimentation in, 274; clothing, 84; color-conscious, 74; consumer culture, 66, 186; electrical advertising signs, 130; film tie-ins, 100; interwar period, 189; media, 67; lighting and, 17, 22, 108, 109, 111, 130, 134, 219; posters and, 22; Sonochrome, 263; sponsored films, 179, 226, 273; theory, 106, 126, 130–131, 143, 163, 168; trends, 74–80; window displays, 187, 272
aesthetics: Arts and Crafts and, 199; Bauhaus and, 154–158; Pierre Bourdieu and, 105; color and, 5, 23, 148, 236, 264, 303n46; Einfühlung and, 150–152, 156, 197; film preservation and, 3; knowledge transfer and, 36, 47, 57, 148; Fernand Léger and, 189–190; Marcel L’Herbier and, 192, 194; sensory perception and, 161, 164, 262; theories of, 5, 118, 168–169, 276; of realism, 4, 274; of technology, 154, 158, 205, 226, 228; ornamentation and, 15, 26; total-art, 70; Vienna Secession and, 175–178
American twentieth century, 6, 23
American Venus, The (1926), 98–99
Anémic cinéma (1926), 186, 187
aniline, 21–26, 31, 32, 33, 35, 36, 38, 58, 63; color cinema, 33; synthesis of, 24
Apolinère Enameled (Duchamp), 187–188
applied color techniques, 3–4, 19, 33, 144, 206, 222, 226; color cinema and, 4; photographic color compared with, 229–230, 251; repurposing of, 251; sound and, 144, 206, 219, 251–269. See also film tinting and toning; hand coloring; Handschiegl coloring process; stenciling
Art Deco, 23, 34, 190, 199; Albatros and, 93–94; Cecil B. DeMille and, 89; The Death Kiss, 255; L’Elegance, 85; Elstree Calling, 261; in France, 190; Gribiche, 94; Le home moderne, 68–69; L’Inhumaine, 18, 190, 194; King of Jazz, 245; Redskin, 243; theater design and, 13–14, 141. See also, International Exposition of Modern Industrial and Decorative Arts in Paris.
Aufsteig, Der (The Ascent, 1926), 127
avant-garde art, 6, 9, 105, 147–203, 270, 274; absolute art and, 114, 125–128; Pierre Bourdieu and, 16, 105; European, 14, 125–128; 1920s, color in, 147
avant-garde film, 8, 16, 18, 106, 262, 273; Absolute Art and, 125–128, 150–151, 164–171; narrative, 171, 183–195
Badische Anilin-und Sodafabrik (BASF), 24
Ballet mécanique (1924), 127, 165–167, 183–187, 184, 199, 201–202, 273; abstract color in, 188–189; criticism, 202; hand coloring, 206, 306n114; L’inhumaine and, 193–194, 202
Barcarole, Die (1924), 167
Bauhaus, 13, 18, 25, 127, 140, 151–169, 175, 189, 199; aesthetics of technology, 154, 158; art and technology, 158; curriculum, 154–156, 155; film and, 152–153, 158; Kinogestaltung cinema design, 153–154, 202; Moholy-Nagy and, 154, 158–165, 169, 303n50; mural workshop, 152; Ostwald and, 153–154, 160
Belles of the Bath, 81–82
black-and-white film, 15, 19; French, 185–186; psychological realism of, 206
Bourdieu, Pierre, 9–11, 16, 67, 99, 105, 151, 226, 273; color music experiments, 114–115; cultural production theory, 23, 105; literary innovation theory, 233
British International Pictures, 261–262
Brock, Gustav, 206–207, 209, 222, 251–254, 252; on color in film, 253; hand-colored films, 253–256, 254, 306n114
Cabinet des Dr. Caligari, Das (1920), 18, 172, 180–183, 273; critics, 183, 185, 202; film tinting, 181–182; posters, 181–182
Cahiers des Ingénieurs Pathé Frères (Pathé), 48–53, 284n65
Centre national du cinéma et de l’image animée (CNC), 192–193
Changing Hues (1922), 84–85
chromatic hybridity, 18–19, 137, 204, 224; colorists, 206–209; color techniques and, 205–206; in French historical cinema, 216; in Lonesome, 219–220; in 1920s, 205; The Phantom of the Opera and, 212
chromatic networks, 61–65
Classical Hollywood cinema, 4, 6, 13, 16, 33, 35, 145, 205, 272; realism and 274–275; tinting and, 264
Clothes Make the Woman (1926), 88
clothing, 77, 80, 88–89; advertisements, 84; costumes, 90, 91, 288n47; personal preference and, 74, 87; racial reference, 96, 243
color absorption technique, 108–109
colorant industry, 16–17; by-products of, 22; development of, 21–22; film tinting and toning guidebooks and, 34–36; in Germany, 23–24, 36–37, 49, 282n38, 301n23; globally, 23–24, 36–37; history of, 23; interwar period, 32; knowledge transfer and, 36–38; paint and, 149–150; patents, 45; in U.S., 23–24, 282n45; World War I and, 31–32
color cinema: aniline dye in, 33; applied color and, 4; archival issues, 3; avant-garde, 18; chromatic practice in, 16–17; colorant production, 5–6; color culture and, 13; demand for, 226–227, 238; in Depression, 19, 226; early, 4; emotional meaning of color, 11–12; fashion and, 80; inconsistency in, 100–101; intermediality of, 9; modernity and, 2; Napoléon, 1–2; natural color, 4; 1920s, 2–8, 14; pre-World War I, 33; role of, 3; silent film and, 3–4; uniform color and, 175, 181; vernacular, 18
color consciousness, 11–12, 66, 73, 104, 113–114, 163, 225, 251, 253; advertising and, 74; cross-media experiments and, 106; in film industry, 236–237; Natalie Kalmus on, 275; lighting and, 108; media applications, 114; Multicolor and, 237; sound cinema transition and, 233; TCCA and, 76; Technicolor, 11
color consultancy services, 75
color methodology, 3–4, 204; The Affairs of Anatol, 92–93; chromatic hybridity and, 205–206. See also specific methods
color music, 18, 104–105, 111; abstract, 14; Bourdieu and, 114–115; color-organ technology, 106, 113, 118–123; Colour-Music: The Art of Light, 114; experiments, 45, 46, 123; in film, 115–125; Jones, 45, 46, 113; Klein, 143; lighting and, 106, 136; Moholy-Nagy and, 163; movie palaces and, 137; in narrative cinema, 139; Ostwald, 160; Prizmacolor, 123–124; psychology and, 117; sound cinema and, 144–145; Spectrophone, 124, 125; Townsend and, 45, 46
color nomenclature, 26, 76–77, 293n160; Alice blue, 101, 222; film tie-ins and, 100–103; midnight sun yellow, 102; Phantom red, 101–102, 210, 212, 271; racialized color terms, 77–78; Rhapsody blue, 102–103; standardization of, 77; Sutter’s gold, 103
color-organ technology, 106, 113, 138, 139, 159–160, 163, 165; Alexander László, 126–127; Clavilux, 117, 118–120, 199; Luxorgan, 123; Sarabet, 120–122, 121
color perception, 11, 27, 29–30, 45, 55, 57, 111, 156, 162–163, 185, 188, 262
color standards, 21–65; colorant guidebooks and, 27; color chart, 24–30; international, 58; Munsell Color System, 29–30; nomenclature and, 77; research boards, 30; Technicolor and, 58
color vision, theories of, 283n56
Colour-Music: The Art of Light (Klein), 114
consumer: advertising, 66; color and, 17; culture, color in, 22–23; Hollywood and, 100
Container Corporation of America, 301n20
Cosmopolitan London (1924), 223–224
costumes: The Affairs of Anatol, 90, 91; color and, 288n47
cross-media experiments, 6, 9; color consciousness and, 106
Crystal Chain Letters group, 149
cultural production, 6, 16, 23, 66–67, 105, 114, 151, 183, 272–273; chromatic expansion, 25; color in, 8–13; fields of, 10
décor: fashion and, 70; International Exposition of Modern Industrial and Decorative Arts, 71–72. See also interior design
DeMille, Cecil B., 15; The Affairs of Anatol, 89–92, 90, 210; fashion in films of, 89, 90; King of Kings, 206; The Ten Commandments, 19, 205; use of color, 34–35, 89, 92–93
Depression, 19, 143, 228, 272, 275; color cinema in, 226, 238, 249, 272, 276
Deutschland (submarine), 31
Dictionary of Color, 77–78
Duo-Phantom color lighting system, 134
duotone color schemes, 172
DuPont (E. I. du Pont de Nemours and Company), 37, 56, 232
DuPont-Pathé Film Manufacturing Company, 37, 256–258
education: Bauhaus and, 127–128; 151–169; color consciousness and, 106; Milton Bradley and, 25; Munsell Color System and, 29–30; Prang and, 11; Waldorf system, 155–156
Educational Film Exchanges, 86
Einfühlung, 152, 156–158, 163, 168, 197, 301–302n30, 302n31, 302n32, 302n33, 304n68
Electrical Exhibition in Swansea, 134
European cinema, 5–6, 18. See also specific films
Eve’s Review films, 82–83
Exhibition on the Art and Science of Color, 112–113
Expressionism and Film (Kurtz), 158, 170
fashion, 66–103; The Affairs of Anatol, 89–92, 90; Belles of the Bath, 81–82; Changing Hues, 84–85; chromatic experimentation in, 274; Clothes Make the Woman, 88; color cinema and, 80; copy culture, 103; décor and, 70; in DeMille films, 89, 90; design, 17; L’Elegance, 85; Eve’s Review films, 82–83; Fashion News, 87–88; fiction film and, 88–99; film and, 80–88; film-inspired tie-in, 100–103; film stars and, 86; French, 80, 86–87; Gaumont Graphic newsreels, 82; haute couture, 67, 83, 103; high, 83; Konfektionskomödien, 99; Mademoiselle Y, 86; mass-produced, 67; McCall Fashion News, 86–87; models, 87–88; Orientalist, 95–96; ready-to-wear, 103; The Shoe Show, 82–83; shows, in film, 98–99; Technicolor and, 99; The Toll of the Sea, 96–97. See also clothing
Fashion Forecast films, 274
Fashions in Colour (1925), 83
fiction film, fashion and, 88–99
fields: of cultural production, 10; industrial, of film, 21–65
Film as Art (Arnheim), 15
film stars: color and, 11–13; fashion and, 86; interior design and, 75
film stock: 3, 19, 33–35, 37, 38, 40, 48, 172–175, 230, 232, 256–258; color chart, 34; Kodak production of color, 38–39; pretinted for sound, 264. See also Sonochrome
film tinting and toning, 35, 48–50, 50, 51; blue, 175; Das Cabinet des Dr. Caligari, 181–182; colorists on, 206–209; contrasting, 207; debates about, 207; Expressionist film and, 172–173; Films Albatros, 194–195; guidebooks, 34; Handschiegl, 198; Handschiegl/Wyckoff process, 93; L’inhumaine, 192; Kodak, 265–266; The Lodger: A Story of the London Fog, 215; Napoléon, 217–218; pretinted, 19, 33–35, 38, 40, 61–64, 129, 144, 174, 208, 263–269; psychology and, 175; sound cinema, 63, 262–266
forecasting: color, 8, 27; color trend, 75, 87
France: Art Deco in, 190; black-and-white film, 185–186; Cinéma pur, 183–195; L’Elegance, 85; fashion, 80; International Exposition of Modern Industrial and Decorative Arts, 17, 71–73; interwar period in, 189; narrative avant-garde film, 183–195
French historical cinema: Cirano di Bergerac, 216–217; color hybridity in, 216; Michel Strogoff, 216–217; Napoléon, 217–219
Friese-Greene’s Natural Colour, 18, 38; fringing, 220–221
Gaumont Graphic newsreels, 82
Germany, 7; chemical industry in, 37–38; colorant industry in, 23–24, 36–37, 49, 282n38, 301n23; movie palaces, 131–132; narrative cinema, 170; 1920s, 151–152; U.S. synthetic color production and, 36–37; World War I and, 31–32
Gershwin, George, 58, 246
Gesamtkunstwerk (total art), 14, 104, 131
Gevaert tinting and toning guidebook, 34
Glorious Adventure, The (1922), 141–142, 220; Prizmacolor in, 213
Godkin, Edwin Lawrence, 26
Great Britain, 14, 195–197, 214, 270–271; British Pathé 259–262, 266;colorant industry and, 21–22, 30, 37; colored lighting and, 114, 132–134; color forecasting and, 77–79; German exiles in, 274; International Exposition of Modern Industrial and Decorative Arts and influence on, 73; Technicolor in, 239
Gropius, Alma Mahler, 149, 155
hand coloring, 206–209, 222, 251–256; Ballet mécanique, 206, 306n114; Changing Hues, 84–85; early cinema and, 8–9, 33, 117, 227, 236; experimental cinema and, 262; Mary Hallock Greenewalt and, 122; Lonesome, 219–220; Midnight Sun, 102; Dudley Murphy and, 200–201; realism and, 207; Hans Richter and, 169; Walter Ruttmann and, 178. See also Gustav Brock.
Handschiegl (Wyckoff) coloring process, 89, 92–93, 198, 209–210, 230, 251, 312n15; films using, 210, in The Phantom of the Opera, 137, 209–213, in Salomé, 198
Hitchcock, Alfred: Elstree Calling, 260, 262; The Lodger: A Story of the London Fog, 213–216; Spellbound, 256; Vertigo, 273
Hollywood, 5; American hegemony and, 228; consumer and, 100; Technicolor and, 233, 239, 249
Holophane lighting, 132–134, 133; Duo-Phantom color lighting system, 134
home moderne, Le (1929), 68–69
Illuminating Engineering Society, 65, 286n108
incandescent lighting technology, 14, 115, 117
Indian Citizenship Act of 1924, 242
interior design, 68, 72, 92; Café Aubette, 106–108, 107; Cecil B. DeMille and, 89, film stars and, 75; The Lodger: A Story of the London Fog, 214–215
intermediality, 5, 8–13, 203, 212, 271–272; of color cinema, 9; Arts and Crafts and, 199; Cecil B. DeMille and, 15; Duchamp and, 187–188; Expressionism and, 180–181; L’inhumaine, 190–194; The Lodger: A Story of the London Fog, 213–216; 1920s, 272; Die Nibelungen, 173–177; The Viking, 241; performance and, 105, 108, 117, 139; sound and, 144
International Commission on Illumination (CIE), 30, 39, 41, 58, 64
International Exposition of Modern Industrial and Decorative Arts in Paris (1925), 17, 79, 190; décor, 71–73; L’Herbier exhibit at, 191; influence of, 72–73
International Federation of Film Archives (FIAF), 4
interwar period, 2, 5, 272; advertising in, 189; colorant industry, 32; colorimetry, 30, 41–42; in France, 48, 189, in United States, 23
Jones, Loyd, 16, 35, 41, 106; color music experiments, 45, 46, 113; mobile color experiments, 128–129; on physiological optics, 47; on tinting, 208; Troland and, 285n93
Kalmus, Natalie, 11; codes for color scoring, 145; Color Advisory Service and Color Control Department, 79, 239, 249; color chart, 12–13; on color consciousness, 106, 11, 236, 264, 275
karierte Regenmantel, Der (The Checkered Raincoat, film), 88–89
Keller-Dorian, Albert, 52, 250
King of Kings (1927), 206
knowledge transfer, 24, 65, 151; Absolute Film and, 168, colorant industry and, 36–38; media and, 69; in 1920s, 36–38
Kodak (Eastman Kodak): color film stock production, 38–39; colorimetric standards, 16–17; colorimetry and, 41–42; film tinting and toning, 35, 265–266; Pathé and, 48–53; The Taming of the Shrew and, 61–63; “The Evolution of Film,” 63; tinted film, 63; tinting and toning guidebook, 34. See also Kodachrome; Kodacolor; Loyd Jones, Kenneth Mees, Sonochrome
Kodak Research Laboratories, 38–47, 39, 41; Abridged Scientific Publications, 43, 45; associated research societies, 40–42; founding, 39; Kodachrome, 40, 45; Monthly Abstract Bulletins, 42–45, 44; published journals, 42–45; specific research, 42; staff, 40
Konfektionskomödien (fashion farces), 99
Kurtz, Rudolf, 126, 147, 168, 171, 178, 180, 182; Expressionism and Film, 158, 170
Language of Color, The (Luckiesh), 64–65
Léger, Fernand, 6, 18, 193–194; Ballet mécanique, 127, 149, 165, 183–186, 184, 188–190, 206, 307–308 n. 114; color for, 189–90
L’Herbier, Marcel, 18, 86, 197; L’inhumaine, 190–194; International Exposition of Modern Industrial and Decorative Arts in Paris, 191
Lichtspiele Opus No. 1 (1921), 125–126
lighting, 14, 17–18, 30, 70, 105–106, 175; ambient mood lighting, 106; artificial, 115–117; color consciousness and, 108; color music and, 106, 136; Duo-Phantom color lighting system, 134; Electrical Exhibition in Swansea, 134; Fuller skirt dance and, 115–117, 116; marquee, 108–109, 109; movie palaces and, 47, 136–137, 140–141, 272; neon, 108–109, 130–131; religious analogies, 138; standards, 58; St. Mark’s Church, 138; theater, 110, 132–134, 133. See also incandescent lighting; International Commission on Illumination (CIE); Holophane lighting; Matthew Luckiesh; neon lighting
Lodger, The: A Story of the London Fog (1926), 213–216; color in, 215–216; film tinting and toning, 215; restoration, 214
Lonesome (1928), 144; color hybridity in, 219–220; hand coloring in, 220
Lubitsch, Ernst: One Hour with You, 19, 265; Das Weib des Pharao, 213
Luckiesh, Matthew, 35, 74, 101, 111; color-organ technology, 113, 139; The Language of Color, 64–65; Troland and, 112, 286n108
Luminous and the Grey, The (Batchelor), 204
Mademoiselle Y (1920), 86
Malerei, Photographie, Film (Painting, Photography, Film) (Moholy-Nagy), 150–151, 160–162, 160; moving-image technology, 163, 164
McCall Fashion News, 86–87
media: advertising, 67; color consciousness and, 114; color in, 14, 20, 64; cross-media experiments, 6, 9–10, 14, 106, 130; digital media, 275; knowledge transfer and, 69; synthesis, 139–143; vernacular media, 8
merchandising, trends, 74–80
modernism, 5, 93, 134, 149–151; chromatic, 202; color and, 6, 18, 24, 148, 149, 274; Napoléon and, 2. See also Miriam Hansen
modernity: American, 228, 244; color and, 2, 4, 21, 24, 68, 131, 149; color cinema and, 2; in film, 7, 33; of 1920s, 6–7, 23, 219, 272–273
Moholy-Nagy, László: Bauhaus and, 158–159, 169, 303n50; color music and, 163; color pedagogy, 163–164; on Farblichtspiele, 165; Malerei, Photographie, Film (Painting, Photography, Film), 150–151, 160, 160–168
monotone color schemes, 172
mood: ambient mood lighting, 18, 106; color and, 35, 69, 74, 117, 123, 129, 140, 264
movie palaces: colored lighting, 47; color in, 18; color music and, 137; German, 131–132; Kinogestaltung cinema design, 153–154; lighting and, 136–137, 140–141; Metropole Cinema, 138; 1920s, 272; orchestras, 299n130; Ritz Cinema, 134–136, 135; spectacle of, 14; Tuschinski Theatre, 272
moving-image technology, 163
Multicolor, 229–230; camera attachment, 231; color consciousness and, 237; process, 230; sound and, 236
Munsell Color System, 29–30
Murphy, Dudley, 18, 199–202; Ballet mécanique, 183–186, 184, 188–189, 201–202; color for, 189, 200; racialized color for, 201; Soul of the Cypress, 200; Visual Symphony Productions, 200
National Bureau of Standards, U.S., 30, 40, 41
Nibelungen, Die: Siegfried and Kriemhild’s Rache (1924), 170, 173–180; color in, 176–177; “Dream of the Hawks” sequence, 177, 178; restoration, 305n81
Nickerson, Dorothy, 78–79
occult, 6, 18, 55, 150; Bauhaus and, 149, 152, 154–156, 158; in art education, 155; Paul Scheerbart and, 148; Dudley Murphy and, 199
One Hour with You (1932), 19, 265
One Way Street (Benjamin), 7
Orientalism: racial conventions, 6, 89, 239; The Toll of the Sea, 94–97, 223
patents: colorant industry, 5, 23–24; color process, 250–251; Kodak, 42–45; Pathé, 50, 52; research standards of, 53; Troland and Technicolor, 56–58, 59, 60
Pathé-Cinéma: Le home moderne, 68; newsreels, 258–259; stenciling, 256
Pathé-Review, fashion films, 81
Perkin, William Henry, 22
Phantom of the Opera, The (1925), 17, 19, 64, 79–80, 271; Bal Masqué sequence, 210–211; color hybridity and, 212; color in, 212–213; Handschiegl/Wyckoff chromatic effects in, 209–213; Phantom red, 101–102, 212; Technicolor in, 211
Photoplay (magazine), 74–75
physiological optics, 45, 47
Picasso, Pablo, 6; Violin, Glass, Pipe and Anchor, Souvenir of Le Havre, 25
politicized color terms, 77–78
postmillennial screen productions, 275–276
print ephemera, color in, 22
psychological realism, 206
psychology, 57; color, 111–112; color consciousness, 67; color music and, 117; film tinting and, 175; synthetic color and, 26
psychophysics, 55, 57–58, 111, 150, 153, 158, 168, 187, 262, 302n33
Rainbow Dance (1936), 262
Raumlichtkunst (space light art), 127
ready-to-wear fashion, 103
Reflektorische Farblichtspiele (Schwerdtfeger), 164, 165
restoration and preservation, 3, 276; L’inhumaine, 192–193, 193; The Lodger: A Story of the London Fog, 214; Napoléon, 217; Die Nibelungen: Siegfried, 305n81
Rhapsody in Blue (Gershwin), 246
Runge, Friedlieb Ferdinand, 21
Ruttmann, Walter, 7, 14, 273; Der Aufsteig, 127; color and, 168, 180; Lichtspiele Opus No. 1, 125–126; Opus I, 178, 178–179; Der Sieger: Ein Film in Farben, 179, 179–180
sensory perception, aesthetics and, 303n46
Sieger, Der: Ein Film in Farben (Ruttmann), 179, 179–180
Society of Motion Picture Engineers, 24, 41, 129; Symposium on Color, 225–226, 251; Symposium on Sound Recording, 225–226
Sonochrome, 19, 35, 40, 61–65, 129, 144, 208; advertisement, 263; Dracula, 267–269; Redskin, 242; sound cinema and, 61, 263–264; Verdante tint, 267, 269
Soul of the Cypress (1920), 200
sound cinema, 143–146, 225–269; applied color and, 251–269; color and, 225–269; color consciousness and transition to, 233; color music and, 144–145; film tinting and toning, 63, 262–266; Multicolor process and, 236; Pathéchrome, 258–260; photographic color and, 229–251; printed sound stock, 264; Sonochrome and, 263–264; Technicolor and, 143, 238; tinting and, 63
Standard Color Card, 76–77
stenciling, 68, 100, 101, 216–217, 219–220, 256–262; fashion and, 80–82, 84–85; French dominance through, 186; Gaumont’s Phonoscene and, 227; pochoir, 68–69; postcards, 22; Pathé lab notebooks and, 48; Reflektorische Farblichtspiele and, 165. See also Pathéchrome
stereotypes, aesthetic color, 15
synchronized sound cinema, 19; systems, 226
synthetic coal-tar chemistry, 104
synthetic color, 149; aniline, 24; psychological impairment and, 26; U.S. production of, 36–37
taste cultures, standardization of, 67–68
Technical Camera Department, 229
Technicolor, 3, 4, 6, 14, 18–19, 50, 312n15; ascendency of, 16, 19, 143, 227, 275, 238; The Black Pirate, 222, 239; color consciousness and, 11; colorimetric standards, 16–17; color standards and, 58; experiments, 220–222; fashion and, 99; international expansion of, 239, 248–250; international resistance to, 256, 275; Keller-Dorian process and, 250; King of Jazz, 244–248; Musical Review, 240; The Phantom of the Opera, 210–211, 271; process, 222, 230; Redskin, 242–244; sound films and, 143, 238; technical difficulties, 221–222, 228; The Viking, 239, 241. See also Joseph A. Ball; Herbert Kalmus; Natalie Kalmus; Leonard Troland
Technicolor No. 1 additive process, 38, 221
Technicolor Motion Picture Corporation: lab, 54; research, 53–60; staff, 54, 55
Ten Commandments, The (1923), 19, 205
Textile Color Card Association (TCCA), 17, 27, 35, 289n67; color consciousness and, 76; color consultancy services, 75; color trend forecasting, 75, 87; Phantom red, 212; Standard Color Card, 76–77; Sutter’s gold, 103
Theory of Film (Kracauer), 172
Toll of the Sea, The (1922), 223, 242, 271; fashion, 96–97; Technicolor II subtractive process in, 94–95, 97
Tourneur, Maurice, 18, 199
trends: advertising, 74–80; forecasting color, 75, 87; merchandising, 74–80
trichromatic vision, theory of, 57
Troland, Leonard, 16, 45, 55–58, 112, 230; colorimetry and, 58; on color vision theories, 283n56; Jones and, 285n93; Luckiesh and, 286n108; patent research, 59, 60
tropes: chromatic culture, 235–236; transnational, 6
two-color additive systems, 38
two-color subtractive process, 52
United States (U.S.): Americanism, 228; chemical industry in, 37–38; colorant industry in, 23–24, 282n45; color culture in, 198–199; color innovation in, 228; hegemony, 228, 275; International Exposition of Modern Industrial and Decorative Arts and influence on, 72–73; synthetic color production in, 36–37; twentieth century, 6, 23
Vampire Bat, The (1933), 254, 254
Violin, Glass, Pipe and Anchor, Souvenir of Le Havre (Picasso), 25
Virgin Queen, The (1923), 271
vision: color, theories of, 283n56; color acuity, 78; trichromatic, theory of, 57
Visual Symphony Productions, 200
Weib des Pharao, Das (1921), 213
Wescott, W. Burton, 52, 56
Wiene, Robert, 18, 170; Das Cabinet des Dr. Caligari, 180–183
Wizard of Oz, The (1939), 266
women, color acuity of, 78
World War I: color industry and, 31–32; Germany and, 31–32
yellow, 64; midnight sun yellow, 102