Towards “Natural Colours”

or rather the long journey of technology to translate the colours of reality into cinema.


ImmaginiMontanaro5

From the hand-coloured print (as it had just happened in photography) of Serpentine Dances and of the first movies by Méliés  (L’homme mouche) to the mechanical colours of the pochoir technique (the wonderful feeries made by Segundo de Chomon for Pathé), to the monochrome works obtained through the print toning and/or imbibition (both deriving from photography). Finally, the Kinemacolor, the Chronochrome Gaumont and the first Technicolor “bipack” which offered the first examples of automatic coloring, before the chemical coloring which would soon be replaced by digital.

A special program by Carlo Montanaro

 

 

1894/96 – SERPENTINE and BUTTERFLY’S DANCES – Edison – 3’

1902 – L’HOMME MOUCHE– Méliès –   2’ ca

1902 – LE VOYAGE DE GULLIVER A LILLIPUT ET CHEZ LES GANTS –Méliès – 4’

1906 – DREAM OF A RAREBIT FIEND – Edison –  10’

1907 – PECHEUR DE PERLES – Segundo de Chomon  – Pathe  7’

1906 – 12 How KINEMACOLOR works – 2’

1912 – INAUGURAZIONE DEL CAMPANILE DI SAN MARCO – Urban – kinemacolor 4’

1912 – VENETIAN GLASSESS and VENICE  QUEEN OF THE ADRIATIC  – Gaumont  – 5’

1926  – FASHION NEWS  – excerpt – 3’

1930 –  THE KING OF JAZZ  trailer – 3

1935 – BECKY SHARP trailer – 4’

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