And though Technicolor was incorporated in 1915, it wasn't until after World War II that full-color films began to be accepted by audiences as more than just a passing fad. Technicolor turns 100 this year, a milestone being celebrated by George Eastman House with a centennial website, a special exhibition, and a book. (See also: Quentin Tarantino, Alfred Hitchcock, and Sofia Coppola.) All of which highlights the extent to which color schemes help establish the feel of a director's work. The same teals and reds pop up in The Life Aquatic and The Darjeeling Limited, mustards and caramels repeat themselves in The Royal Tenenbaums and Fantastic Mr. There you'll find the Wes Anderson canon deconstructed into bright swatches. There’s Movies in Color, a wonderful Tumblr devoted to extracting individual color tones from scenes of classic films. (It contains some graphic footage from films like The Shining.) A supercut of Stanley Kubrick's use of supersaturated reds to ratchet up tension recently made the rounds on the Internet. We realize that color is violent and for that reason we restrained it.” Today, we’re accustomed to seeing color choices set the tone for a scene, a film-even an entire body of work. “We have tried to get a sort of satin gloss on the scenes and have consistently avoided striving for prismatic effects. “The color must never dominate the narrative,” Parker told the Times. Even those who were excited about color filmmaking felt trepidation. As with sound, adding color to motion pictures represented a revolutionary shift in onscreen storytelling-and not everyone was convinced that change was worthwhile. Parker’s lipstick-on-the-Venus de Milo line wasn’t originally his-it was the same comparison famously used by silent film star Mary Pickford to lament the rise of talkies. And that's how the legendary director Albert Parker referred to the process of colorizing motion pictures in 1926, according to The New York Times that year. In the dawn of the age of cinema, adding color to black-and-white films was something like "putting lip rouge on Venus de Milo." That is to say, it had the potential for disastrous, garish results.
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