Special Section: Color Plates

Plate Captions - Part 1 (Volume 21 Issue 1 pp. 1-104)

'Unnatural Colours': An introduction to colouring techniques in silent era movies (pp. 9–46)

Plate 1. Sample sheet of tints from an English edition of the Agfa Kinema Handbook.

Plate 2. Frame from the 1922 print of Quo Vadis? that has been coloured with Iron Blue tone, Prussian Blue (probably now faded), and a red tint, possibly Amaranth.

Plate 3. Frame from the 1922 print of Quo Vadis? that has been coloured by the dye tone process using the toxic dye Malachite Green.

Plate 4. Croceine Scarlet MOO, Cine Scarlet tint used for intertitles in the restored print of the 1922 version of Quo Vadis?

Plate 5. Alfred Hitchcock's The Lodger simulated London fog by colouring all night exteriors with a double effect, Iron Tone, Prussian Blue, and a yellow tint, Wool Yellow.

The Technicolor Notebooks at the George Eastman House (pp. 47–60)

Plates 1–3. Film samples found in the 'Subtractive/Plant Notes' notebook. The colour imbalance in (1) is likely due to fading. Plate (2) shows a colour restoration of a single frame from the notebook. Note the well-preserved skin tones typical of two-colour Technicolor in (3). The images are likely from the lost Technicolor I (originally additive system) film The Gulf Between. [George Eastman House, Motion Picture Collections.]

Plate 4. A green dye test found in a note book titled 'Subtractive/Plant Notes', possibly from one of the Technicolor sequences in the 1925 feature His Supreme Moment. [George Eastman House, Motion Picture Collections.]

Restoration of Danish silent films – in colour (pp. 61–66)

Plate 1. Atlantis, Nordisk Film 1913. Blue tint (night).

Plate 2. Atlantis, Nordisk Film 1913. Red tint (fire).

Plate 3. Copenhagen By Night (Biorama, 1910). Original tinted frames from the nitrate print.

Plate 4. Copenhagen By Night (Biorama, 1910). Frames from the new restoration polyester print.

Colours, audiences, and (dis)continuity in the 'cinema of the second period' (pp. 67–93)

Plates 1 and 2. Maman Poupée (Olympus-Film, 1919) as coloured in Italy (1) and in France (2).

Plates 3 and 4. Malombra (Cines, 1917) as coloured for the domestic Italian market (3) and for South America (4).

Plate 5. Lyda Borelli in Malombra (Cines, 1917).

Plate 6. Pathécolor in La poule aux oeufs d'or (Pathé, 1905).

Segundo de Chomón and the fascination for colour (pp. 94–103)

Plate 1. L'écrin du Rajah (1906). [George Willeman/Library of Congress.]

Plate 2. Aladin ou la lampe merveilleuse (1906). [George Willeman/Library of Congress.]

Plate 3. Le trobadour (1906). [Filmoteca de Catalunya, Barcelona.]

Plate 4. Les papillons japonais (1908). [Filmoteca de Catalunya, Barcelona.]

Plate 5. Les papillons japonais (1908). [Filmoteca de Catalunya, Barcelona.]

Plate 6. Voyage au planete Jupiter (1909). [Filmoteca de Catalunya, Barcelona.]

Plate 7. Voyage au planete Jupiter (1909). [Filmoteca de Catalunya, Barcelona.]

Plate 8. Superstition andalouse (1912). [Filmoteca de Catalunya, Barcelona.]

Plate Captions – Part 2 (Volume 21 Issue 2 pp. 105–184)

Symptoms of desire: colour, costume, and commodities in fashion newsreels of the 1910s and 1920s (pp. 107–121)

Plate...