SIMON BROWN is Director of Studies for Film and Television at Kingston University. His work has been published in the journals Film History, Film Studies, Science Fiction Film and Television, Early Popular Visual Culture and Critical Studies in Television. He is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Sarah Street and Liz Watkins) and author of the Technical Appendix in Sarah Street's Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012).SARAH STREET is Professor of Film at the University of Bristol. She is the author of a number of books on British cinema, including Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012), and is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Liz Watkins), publications which, in addition to this volume, resulted from a research project funded by the AHRC. Sarah Street is co-editor of Screen and the Journal of British Cinema and Television.LIZ WATKINS is a lecturer at the University of Leeds. She has been published in a number of film journals, including Parallax, Paragraph and the British Journal of Cinema and Television. She is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Sarah Street).

• Acknowledgments.- Permissions.- About the Authors.- Introduction.- PART I: COLOUR AND THE CAMERA: CINEMATOGRAPHERS.- 1. Introduction.- 2. Interview: Chris Challis.- 3. Interview: Pat Jackson.- 4. Document: Jack Cardiff, 'Shooting Western Approaches', The Cine-Technician, Nov-Dec 1944.- 5. Interview: Ossie Morris.- 6. Interviews: Guy Green, Erwin Hillier, Douglas Slocombe, Paul Beeson, Stan Sayer.- 7. Document: Ronald Neame, 'A Talk on Technicolor', The Cine-Technician, May-June 1944.- PART II: POST-PRODUCTION.- 8. Introduction.- 9. Interview: Syd Wilson.- 10. Interview: Dave Davis.- 11. Interview: Bernard Happé.- 12. Interview: Frank Littlejohn.- 13. Interview: Les Ostinelli.- PART III: ARCHIVING.- 14. Introduction.- 15. Interview: Paul De Burgh.- 16. Document: 'Preservation of Films', Kinematograph Weekly, 13 March 1952.- 17. Interview: Jaoa de Olivera.- 18. Interview: Keiron Webb.- 19. Interview: Sonia Genaitay.- 20. Document: Robert M. Fanstone, 'Experiences with Dufaycolor Film', British Journal of Photography, 7 June 1935.- 21. Document: 'Gasparcolor Explained to the R.P.S.', Kinematograph Weekly 31 January 1935.- 22. Interview: Paolo Cherchi Usai.- 23. Interview: Ulrich Rüdel and Daniela Currò.- 24. Interview: Giovanna Fossati.- PART IV: THEORY.- 25. Introduction.- 26. Document: Adrian Cornwell-Clyne, 'The Future of the Colour Film' in Colour Cinematography (London: Chapman Hall, 1951).- 27. Document: E.S. Tompkins, 'In Defence of 'Glorious' Colour', British Journal of Photography, 3 Mar 1944.- 28. Document: Paul Nash, 'The Colour Film' in Charles Davy (ed.), Footnotes to the Film (London: Lovat Dickson Ltd, Readers' Union Ltd, 1938).- Index.

SIMON BROWN is Director of Studies for Film and Television at Kingston University. His work has been published in the journals Film History, Film Studies, Science Fiction Film and Television, Early Popular Visual Culture and Critical Studies in Television. He is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Sarah Street and Liz Watkins) and author of the Technical Appendix in Sarah Street's Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012).SARAH STREET is Professor of Film at the University of Bristol. She is the author of a number of books on British cinema, including Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012), and is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Liz Watkins), publications which, in addition to this volume, resulted from a research project funded by the AHRC. Sarah Street is co-editor of Screen and the Journal of British Cinema and Television.LIZ WATKINS is a lecturer at the University of Leeds. She has been published in a number of film journals, including Parallax, Paragraph and the British Journal of Cinema and Television. She is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Sarah Street).

• Acknowledgments.- Permissions.- About the Authors.- Introduction.- PART I: COLOUR AND THE CAMERA: CINEMATOGRAPHERS.- 1. Introduction.- 2. Interview: Chris Challis.- 3. Interview: Pat Jackson.- 4. Document: Jack Cardiff, 'Shooting Western Approaches', The Cine-Technician, Nov-Dec 1944.- 5. Interview: Ossie Morris.- 6. Interviews: Guy Green, Erwin Hillier, Douglas Slocombe, Paul Beeson, Stan Sayer.- 7. Document: Ronald Neame, 'A Talk on Technicolor', The Cine-Technician, May-June 1944.- PART II: POST-PRODUCTION.- 8. Introduction.- 9. Interview: Syd Wilson.- 10. Interview: Dave Davis.- 11. Interview: Bernard Happé.- 12. Interview: Frank Littlejohn.- 13. Interview: Les Ostinelli.- PART III: ARCHIVING.- 14. Introduction.- 15. Interview: Paul De Burgh.- 16. Document: 'Preservation of Films', Kinematograph Weekly, 13 March 1952.- 17. Interview: Jaoa de Olivera.- 18. Interview: Keiron Webb.- 19. Interview: Sonia Genaitay.- 20. Document: Robert M. Fanstone, 'Experiences with Dufaycolor Film', British Journal of Photography, 7 June 1935.- 21. Document: 'Gasparcolor Explained to the R.P.S.', Kinematograph Weekly 31 January 1935.- 22. Interview: Paolo Cherchi Usai.- 23. Interview: Ulrich Rüdel and Daniela Currò.- 24. Interview: Giovanna Fossati.- PART IV: THEORY.- 25. Introduction.- 26. Document: Adrian Cornwell-Clyne, 'The Future of the Colour Film' in Colour Cinematography (London: Chapman Hall, 1951).- 27. Document: E.S. Tompkins, 'In Defence of 'Glorious' Colour', British Journal of Photography, 3 Mar 1944.- 28. Document: Paul Nash, 'The Colour Film' in Charles Davy (ed.), Footnotes to the Film (London: Lovat Dickson Ltd, Readers' Union Ltd, 1938).- Index.

SIMON BROWN is Director of Studies for Film and Television at Kingston University. His work has been published in the journals Film History, Film Studies, Science Fiction Film and Television, Early Popular Visual Culture and Critical Studies in Television. He is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Sarah Street and Liz Watkins) and author of the Technical Appendix in Sarah Street's Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012).SARAH STREET is Professor of Film at the University of Bristol. She is the author of a number of books on British cinema, including Colour Films in Britain: The Negotiation of Innovation 1900–55 (2012), and is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Liz Watkins), publications which, in addition to this volume, resulted from a research project funded by the AHRC. Sarah Street is co-editor of Screen and the Journal of British Cinema and Television.LIZ WATKINS is a lecturer at the University of Leeds. She has been published in a number of film journals, including Parallax, Paragraph and the British Journal of Cinema and Television. She is co-editor of Color and the Moving Image: History, Theory, Aesthetics, Archive (2012) (with Simon Brown and Sarah Street).

• Acknowledgments.- Permissions.- About the Authors.- Introduction.- PART I: COLOUR AND THE CAMERA: CINEMATOGRAPHERS.- 1. Introduction.- 2. Interview: Chris Challis.- 3. Interview: Pat Jackson.- 4. Document: Jack Cardiff, 'Shooting Western Approaches', The Cine-Technician, Nov-Dec 1944.- 5. Interview: Ossie Morris.- 6. Interviews: Guy Green, Erwin Hillier, Douglas Slocombe, Paul Beeson, Stan Sayer.- 7. Document: Ronald Neame, 'A Talk on Technicolor', The Cine-Technician, May-June 1944.- PART II: POST-PRODUCTION.- 8. Introduction.- 9. Interview: Syd Wilson.- 10. Interview: Dave Davis.- 11. Interview: Bernard Happé.- 12. Interview: Frank Littlejohn.- 13. Interview: Les Ostinelli.- PART III: ARCHIVING.- 14. Introduction.- 15. Interview: Paul De Burgh.- 16. Document: 'Preservation of Films', Kinematograph Weekly, 13 March 1952.- 17. Interview: Jaoa de Olivera.- 18. Interview: Keiron Webb.- 19. Interview: Sonia Genaitay.- 20. Document: Robert M. Fanstone, 'Experiences with Dufaycolor Film', British Journal of Photography, 7 June 1935.- 21. Document: 'Gasparcolor Explained to the R.P.S.', Kinematograph Weekly 31 January 1935.- 22. Interview: Paolo Cherchi Usai.- 23. Interview: Ulrich Rüdel and Daniela Currò.- 24. Interview: Giovanna Fossati.- PART IV: THEORY.- 25. Introduction.- 26. Document: Adrian Cornwell-Clyne, 'The Future of the Colour Film' in Colour Cinematography (London: Chapman Hall, 1951).- 27. Document: E.S. Tompkins, 'In Defence of 'Glorious' Colour', British Journal of Photography, 3 Mar 1944.- 28. Document: Paul Nash, 'The Colour Film' in Charles Davy (ed.), Footnotes to the Film (London: Lovat Dickson Ltd, Readers' Union Ltd, 1938).- Index.