Guide Technicolor

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Throughout the s, 40s, and into the postwar era, theater owners associated color with big box office and begged for more. Kalmus led the color consultant program, which mirrored programs in the automobile and consumer manufacturing industries.

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Three-strip cameras were retired in the mids because they were incompatible with increasingly popular widescreen systems. Even without its famous three-strip camera, Technicolor continued to create color films through its core technology, a lithography-inspired process called dye-imbibition, or dye transfer. Because each layer was applied individually it was possible to adjust the look of the final print in very precise ways. Engineers could compensate for errors in filming or exercise creativity, boosting or subduing hues as desired.

Technicolor also continued to promote its services.


In the mids, Technicolor began to offer studios a choice between two credits. An overwhelming majority of productions opted for the latter. It was impossible to perfectly align each pressing with the others, and dyes inevitably bled. Variations between prints became a problem.

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  7. Dye-transfer was retired mid-decade. The Godfather , celebrated for a desaturated look that called back to some of the earliest Technicolor features, was, perhaps fittingly, one of the last Technicolor films to screen in American theaters.

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    Technicolor remained in operation as an elite laboratory, providing service rather than tech. Motion picture color had become ubiquitous but Technicolor would be remembered for defining the vibrant look of an era.


    Haines, Richard. Higgins, Scott.

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    The cultural impact of new information and communication technologies has been a constant topic of debate, but questions of race and ethnicity remain a critical absence. TechniColor fills this gap by exploring the relationship between race and technology. From Indian H-1B Workers and Detroit techno music to karaoke and the Chicano interneta, TechniColor 's specific case studies document the ways in which people of color actually use technology.

    The results rupture such racial stereotypes as Asian whiz-kids and Black and Latino techno-phobes, while fundamentally challenging many widely-held theoretical and political assumptions. Incorporating a broader definition of technology and technological practices--to include not only those technologies thought to create "revolutions" computer hardware and software but also cars, cellular phones, and other everyday technologies-- TechniColor reflects the larger history of technology use by people of color.

    Alondra Nelson is a Ph.