Abstract
| Original language | English |
|---|---|
| Title of host publication | The Colour Fantastic |
| Subtitle of host publication | Chromatic Worlds of Silent Colour |
| Editors | Giovanna Fossati, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakçi, Sarah Street, Joshua Yumibe |
| Place of Publication | Amsterdam |
| Publisher | Amsterdam University Press |
| Chapter | 7 |
| Pages | 145-159 |
| Number of pages | 15 |
| ISBN (Electronic) | 9789048532988 |
| ISBN (Print) | 9789462983014 |
| DOIs | |
| Publication status | Published - 18 Apr 2018 |
Publication series
| Name | Framing Film |
|---|
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Keywords
- film
- additive colour
- subtractive colour
- Kinemacolor
- Eastman Colour
- George Albert Smith
- Kenneth Mees
Cite this
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Kinemacolor and Kodak : The Enterprise of Colour. / Gray, William.
The Colour Fantastic: Chromatic Worlds of Silent Colour. ed. / Giovanna Fossati; Victoria Jackson; Bregt Lameris; Elif Rongen-Kaynakçi; Sarah Street; Joshua Yumibe. Amsterdam : Amsterdam University Press, 2018. p. 145-159 (Framing Film).Research output: Chapter in Book/Conference proceeding with ISSN or ISBN › Chapter › Research › peer-review
TY - CHAP
T1 - Kinemacolor and Kodak
T2 - The Enterprise of Colour
AU - Gray, William
PY - 2018/4/18
Y1 - 2018/4/18
N2 - This chapter considers two distinctive elements within colour film history: the additive colour system known as Kinemacolor, and the development of subtractive colour film processes by Kodak. By understanding these two film enterprises in terms of their shared vision – to bring colour to the motion picture screen – and their very different approaches to the technical solution and its business development, it establishes the nature of these respective histories and their interrelationship. Kinemacolor, with its concentration on the optical and the mechanical, relied on George Albert Smith’s ingenuity as a lay scientist working with mechanical engineers. Dr Kenneth Mees of Eastman Kodak was the polar opposite, as his colour work represented the professional, scientific approach funded and supported by a global corporation.
AB - This chapter considers two distinctive elements within colour film history: the additive colour system known as Kinemacolor, and the development of subtractive colour film processes by Kodak. By understanding these two film enterprises in terms of their shared vision – to bring colour to the motion picture screen – and their very different approaches to the technical solution and its business development, it establishes the nature of these respective histories and their interrelationship. Kinemacolor, with its concentration on the optical and the mechanical, relied on George Albert Smith’s ingenuity as a lay scientist working with mechanical engineers. Dr Kenneth Mees of Eastman Kodak was the polar opposite, as his colour work represented the professional, scientific approach funded and supported by a global corporation.
KW - film
KW - additive colour
KW - subtractive colour
KW - Kinemacolor
KW - Eastman Colour
KW - George Albert Smith
KW - Kenneth Mees
U2 - 10.5117/9789462983014
DO - 10.5117/9789462983014
M3 - Chapter
SN - 9789462983014
T3 - Framing Film
SP - 145
EP - 159
BT - The Colour Fantastic
A2 - Fossati, Giovanna
A2 - Jackson, Victoria
A2 - Lameris, Bregt
A2 - Rongen-Kaynakçi, Elif
A2 - Street, Sarah
A2 - Yumibe, Joshua
PB - Amsterdam University Press
CY - Amsterdam
ER -