We’ve Got Bigger Problems: Preservation during Eastman Color’s Innovation and Early Diffusion
@article{Heckman2015WeveGB,
title={We’ve Got Bigger Problems: Preservation during Eastman Color’s Innovation and Early Diffusion},
author={Heather Heckman},
journal={The Moving Image},
year={2015},
volume={15},
pages={44 - 61}
}
2 Citations
‘The curse of the thing is Technicolor blood: why need vampires be messier feeders than anyone else?’: The BBFC and Hammer’s Colour Films, 1957–1962’
- ArtHistorical Journal of Film, Radio and Television
- 2018
Hammer Film Productions’ move to colour in the 1950s has often been discussed in terms of their application of blood and gore becoming the primary concern for the British Board of Film Censors who…
References
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An Intermediate Positive-Internegative System for Color Motion Picture Photography
- Art
- 1953
A color printing system for motion pictures is outlined employing Eastman Color Negative Safety Film, Type 5247, and some methods of using them and the problems involved in color registration printing are discussed.
Color Negative and Color Positive Film for Motion Picture Use
- Art
- 1952
A color film for use in an ordinary 35mm motion picture camera is described. This film contains colored couplers which, upon development to a negative, lead to three-color negative records which are…
The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures
- Art
- 1993
A comprehensive treatise on the care and preservation of color photographic materials of all types: prints, slides, motion pictures produced by conventional and digital means. The 20 chapters cover…
of Agfa technology, see "U.s. government report on Agfa Color process
- American Cinematographer
Eastman Kodak used the more expensive, more stable cyan dye in the internegative as yet another fail-safe. see ibid
Hollywood’s Conversion of All Production to Color Using Eastman Color Professional Motion Picture Films (newcastle, Maine: Tobey
- 2000