PLATE CAPTIONS Part 1 (Volume 21 Issue 1 pp )

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1 Unnatural Colours : An introduction to colouring techniques in silent era movies (pp. 9 46) Plate. Sample sheet of tints from an English edition of the Agfa Kinema Handbook. Plate. Frame from the 9 print of Quo Vadis? that has been coloured with Iron Blue tone, Prussian Blue (probably now faded), and a red tint, possibly Amaranth. Plate. Frame from the 9 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 9 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 ) Plates. Film samples found in the Subtractive/Plant Notes notebook. The colour imbalance in () is likely due to fading. Plate () shows a colour restoration of a single frame from the notebook. Note the well-preserved skin tones typical of two-colour Technicolor in (). 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 95 feature His Supreme Moment. [George Eastman House, Motion Picture Collections.] Restoration of Danish silent films in colour (pp. 6 66) Plate. Atlantis, Nordisk Film 9. Blue tint (night). Plate. Atlantis, Nordisk Film 9. Red tint (fire). Plate. Copenhagen By Night (Biorama, 90). Original tinted frames from the nitrate print. Plate 4. Copenhagen By Night (Biorama, 90). Frames from the new restoration polyester print. Colours, audiences, and (dis)continuity in the cinema of the second period (pp. 67 9) Plates and. Maman Poupée (Olympus-Film, 99) as coloured in Italy () and in France (). Plates and 4. Malombra (Cines, 97) as coloured for the domestic Italian market () and for South America (4). Plate 5. Lyda Borelli in Malombra (Cines, 97). Plate 6. Pathécolor in La poule aux oeufs d or (Pathé, 905). Segundo de Chomón and the fascination for colour (pp. 94 0) Plate. L écrin du Rajah (906). [George Willeman/Library of Congress.] Plate. Aladin ou la lampe merveilleuse (906). [George Willeman/Library of Congress.] Plate. Le trobadour (906). [Filmoteca de Catalunya, Barcelona.] Plate 4. Les papillons japonais (908). [Filmoteca de Catalunya, Barcelona.] Plate 5. Les papillons japonais (908). [Filmoteca de Catalunya, Barcelona.] Plate 6. Voyage au planete Jupiter (909). [Filmoteca de Catalunya, Barcelona.] Plate 7. Voyage au planete Jupiter (909). [Filmoteca de Catalunya, Barcelona.] Plate 8. Superstition andalouse (9). [Filmoteca de Catalunya, Barcelona.] PLATE CAPTIONS Part (Volume Issue pp. 04)

2 Symptoms of desire: colour, costume, and commodities in fashion newsreels of the 90s and 90s (pp. 07 ) Plate. Senaste modenytt från Paris (Svenska Biografteatern, 9). [All illustrations courtesy of the Swedish National Archive of Recorded Sound and Moving Images. SF 500 B.] Plate. Damernas strumpor (Pathé, 9). Plate. För sport och högsäsong (Svenska Biografteatern, 9). Plate 4. Senaste modenytt från Paris (Svenska Biografteatern, 9). Plate 5. För sport och högsäsong (Svenska Biografteatern, 9). Plate 6. Damernas strumpor (Pathé, 9). Plate 7. Damernas vårhattar (Pathé, 9). Plate 8. Senaste modenytt från Paris (Svenska Biografteatern, 9). PLATE CAPTIONS Part (Volume Issue pp ) The modern Elixir of Life : Kinemacolor, royalty and the Delhi Durbar (pp. 6) Plate. Cover of the Kinemacolor Delhi Durbar programme, 9. [The Barnes Collection.] Plate. Synthesized image (combining two camera records in video format) of one frame from The Royal Review of 50,000 Troops, the surviving reel of With Our King and Queen Through India (9). [Courtesy of Inkulla Media.] Colouring the nation: spectacle, reality and British natural colour in the silent and early sound era (pp. 9 49) Plate. A Pictorial Vision of Britain: The Open Road (Spectrum Films, 96). Plate. Nostalgia for a bygone age. Humphrey Jennings s Farewell, Topsails (Dufay-Chromex, 97). Plate. Royal Pageantry on Spectacular Display: Our Inheritance (Empire Film Productions, 946). Early 6mm colour by a career amateur (pp. 50 6) Plate. Hand-coloured glass slide from Black s lantern lecture, Miss America (897). [Courtesy of Princeton University Rare Books and Special Collections.] Plate. The Sunday World showcasing the operation of its new colour press (7 March 898). Plate. Front cover of the World magazine section, 6 July 9. Plates 4 6. Transition from black and white stock to Kodachrome using an intertitle to establish continuity. From the Black family collection. Plates 7 8. Two of the six shots of the Empire State Building used in Black s And So to Edinburgh (Kodachrome, 97 9). From the Black family collection. [Courtesy of the Berkeley Art Museum and Pacific Film Archive.] Harmonious sensations of sound by means of colors : vernacular colour abstractions in silent cinema (pp ) Plate. The May Irwin Kiss (Edison, 896). Hand-coloured frame. [Courtesy of the Academy of Motion Picture Arts and Sciences.] Plate. Frame enlargement showing a cut from yellow tint to blue tone when a candle is blown out in Le Chemineau (Albert Capellani, Pathé, 905). [Courtesy of the Netherlands Filmmuseum.] Plate. Frame enlargements from Alfred Machin s masterpiece, Maudite soit la guerre (Pathé, 9), showing a combination of tinting and stenciling (in the first frame), brush-tinting (in the second), and a transition back to tinting and stenciling without a splice (in the third). [Courtesy of the Netherlands Filmmuseum.] Plate 4. Tinted frame enlargement from Walter Ruttmann s Opus IV (95). [Courtesy of the Netherlands Filmmuseum.] Plate 5. Hand-coloured frame from Annabelle Dances, possibly the film Jenkins and Armat projected at the Cotton States Exhibition in Atlanta (W.K.L. Dickson and William Heise, Edison, 895). Plates 6 and 7. Frame enlargement from [Kaleidoscope] (95). [Provided by the Motion Picture Department, George Eastman House.] Plate 8. Eastman Sonochrome advertisement. American Cinematographer, July 99. [Courtesy of Anthony L Abbate, George Eastman House.]

3 Colour Plates FILM HISTORY, Vol. Issues / (009) P Unnatural Colours : An introduction to colouring techniques in silent era movies, by Paul Read, pp. 9 46, Plates The Technicolor Notebooks at the George Eastman House, by Ulrich Ruedel, pp , Plates 4

4 P FILM HISTORY, Vol. Issues / (009) Colour Plates Restoration of Danish silent films in colour, by Thomas C. Christensen, pp. 6 66, Plates 4 4 Colours, audiences, and (dis)continuity in the cinema of the second period, by Nicola Mazzanti, pp. 67 9, Plates

5 Colour Plates FILM HISTORY, Vol. Issues / (009) P 5 Segundo de Chomón and the fascination for colour, by Joan M. Minguet Batllori, pp. 94 0, Plates

6 P4 FILM HISTORY, Vol. Issues / (009) Colour Plates 5 Symptoms of desire: colour, costume, and commodities in fashion newsreels of the 90s and 90s, by Eirik Frisvold Hanssen, pp. 07, Plates

7 Colour Plates FILM HISTORY, Vol. Issues / (009) P5 The modern Elixir of Life : Kinemacolor, royalty and the Delhi Durbar, by Luke McKernan, pp. 6, Plates Colouring the nation: spectacle, reality and British natural colour in the silent and early sound era, by Simon Brown, pp. 9 49, Plates

8 P6 FILM HISTORY, Vol. Issues / (009) Colour Plates 4 Early 6mm colour by a career amateur, by Kaveh Askari, pp. 50 6, Plates

9 Colour Plates FILM HISTORY, Vol. Issues / (009) P7 Harmonious sensations of sound by means of colors : vernacular colour abstractions in silent cinema, by Joshua Yumibe, pp , Plates

9. Plate. 0. Plate. Motion Picture News, July 99.

10 P8 FILM HISTORY, Vol. Issues / (009) Colour Plates Advertising Colour Films to the American Film Industry Illustrations courtesy of David Pierce, Plates 4 Plate. Exhibitors Trade Review, 9 June 90, page 9. Plate. Exhibitors Trade Review, 9 June 90, page 0. Plate. Motion Picture News, July 99. Plate 4. Motion Picture News, 0 July 99. 4

The movie is Straight Shooting, directed by Jack

The movie is Straight Shooting, directed by Jack Colours, audiences, and (dis)continuity in the cinema of the second period Film History, Volume 21, pp. 67 93, 2009. Copyright John Libbey Publishing ISSN: 0892-2160. Printed in United States of America