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  • Color Plate Section

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Plate 1.

Four-projector installation of Sample Frames (Alexandra Navratil, 2011–12), Institute of Contemporary Art, Philadelphia, in January 2012. Courtesy of the artist.


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Plate 2.

Variety theater publicity poster: Argyle Theatre of Varieties, Birkenhead, week commencing January 29, 1912/Kinemacolor pictures. Courtesy of the Bill Douglas Cinema Museum, University of Exeter.


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Plate 3.

Four differently tinted and toned nitrate prints, from left to right: (top) the two South American prints, and (bottom) the blue-toned French print and the tinted BFI print.

Photography by Barbara Flueckiger, “Timeline of Historical Film Colors” (http://zauberklang.ch/filmcolors), Research Project DIASTOR (http://www.diastor.ch/), © Friedrich Wilhelm Murnau Foundation.


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Plate 4.

Splices in the earlier South American positive prints. Print-through of splices in the later copies.

Photography by Barbara Flueckiger, “Timeline of Historical Film Colors” (http://zauberklang.ch/filmcolors), Research Project DIASTOR (http://www.diastor.ch/), © Friedrich Wilhelm Murnau Foundation.


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Plate 4.

Print-through of splices in the later copies.

Photography by Barbara Flueckiger, “Timeline of Historical Film Colors” (http://zauberklang.ch/filmcolors), Research Project DIASTOR (http://www.diastor.ch/), © Friedrich Wilhelm Murnau Foundation.


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Plate 5.

Diffuse light. Collimated light. The Callier effect enhances small-scale contrast. Photography by Giorgio Trumpy, “Timeline of Historical Film Colors” (http://zauberklang.ch/filmcolors), Research Project DIASTOR (http://www.diastor.ch/), © Friedrich Wilhelm Murnau Foundation.


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Plate 5.

Collimated light. The Callier effect enhances small-scale contrast. Photography by Giorgio Trumpy, “Timeline of Historical Film Colors” (http://zauberklang.ch/filmcolors), Research Project DIASTOR (http://www.diastor.ch/), © Friedrich Wilhelm Murnau Foundation.


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Plate 6.

Spectrometry X-Rite, measurement by Marco Hilhorst and Jochen Mohr (blue = orange tinting, green = marine blue toning, red = dark blue toning).


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Plate 7.

Cross section of modern Eastman Color film stock, demonstrating the relative thickness of the emulsion layers and base. Photo courtesy of Image Permanence Institute.


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Plate 8.

A vision in teal. A Single Man, The Weinstein Company, 2009. Courtesy of Photofest.


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Plate 9.

“You know it’s the smog that makes it that color.” A Single Man, The Weinstein Company, 2009. Courtesy of Photofest.


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Plate 10.

Three-color Pathé camera: the inside and the outside of the camera with the three lenses using red, blue, and green filters. Undated prototype, 65mm gauge. Courtesy of Collection d’appareils Cinémathèque Française. Photography by Stéphane Dabrowski.


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Plate 10.

Three-color Pathé camera: the inside and the outside of the camera with the three lenses using red, blue, and green filters. Undated prototype, 65mm gauge. Courtesy of Collection d’appareils Cinémathèque Française. Photography by Stéphane Dabrowski.


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Plate 11.

Still from the nitrate print at EYE Film Institute Netherlands showing one of the Léger paintings in black and white that are particular to this print. Image courtesy of EYE Film Institute Netherlands.


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Plate 12.

Still from the nitrate print at EYE Film Institute Netherlands with hand-painted images. Image courtesy of EYE Film Institute Netherlands.


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Plate 13.

Frames from N:O:T:H:I:N:G (1968). Photo printed with permission of the Paul Sharits Estate.

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