Passion andalouse (Harlequin Azur) (French Edition)

The metal ribbon dips into a small trough containing the colouring solution, and its speed can so be altered as to pick up the exact quantity of colouring matter required for the film ; this varies greatly, according to the size of the surface to be coloured. The reel to be coloured is made up of all the positive sections that have to undergo the processes, all these being printed on the continuous system and on the same reel of positive stock. The stencil is placed on the machine in a continuous loop, so that, after passing over the drum it goes back to the top rollers, the number of which varies with the length of the stencil.

The finished film falls into a basket or is passed through a drying cabinet I in order to hasten the drying operation. To allow the machine to work in a continuous manner it is necessary that the length of each section of the positive print to be coloured be exactly the same as that of the stencil, now joined in a loop. To arrive at this we have sometimes to use spacing in the stencil to make up for the leads that are always to be found on positive copies. These leads on the positive print repeat themselves in exactly the same length, as the positive copies have also been printed on the continuous machine, and from the very same negative from which the stencil was obtained.

The nature of the colouring solution implied by the velvet can easily be pressed. As the body to be coloured is gelatine, we have to get an aqueous solution. The strength of this solution varies according to the depth of tint we wish to obtain. The colouring must be perfectly even.

And as the solution is being applied by velvet it will be readily realized that this velvet has a tendency to become poorer on the very spaces covering the stencil holes, and richer everywhere else. It is, therefore, necessary to spread the solution in a more even manner, and to get this result the worker should continuously rub the top of the velvet whilst it is passing over the film.

This spreading operation will be noticed when the film showing you the working of the machine is projected. Having spoken of colouring matter, it is essential to add that these colours must be light-resisting and transparent. With colours specially tested and proven to have these qualities the worker can obtain all the desired tints. Deciding on tints is not always an easy task.

We soon found that with a slight alteration in the lighting of the room trouble occurred in matching colours. For reason we decided to install a permanent system of lighting, which is also, as near as possible, that of daylight. To obtain this result, we had, as we did with the cutting machines, to use blue-tinted lamps. There mains the registering.

We have seen that for the colouring operations the width of the teeth is adjustable, the drum being made of two half-sections, each carrying a line of teeth. These two sections being adjustable, it will be realized that the stencil and the positive print are always perfectly taut one over the other. Lateral registering between the positive print to be coloured and the stencil openings will depend for mutual register on the perforations.

This trouble is avoided, as we have already seen, by taking the precaution of printing from the same negative, not only the positive prints to be coloured, but also the films used as stencils. The diameter of the drum has been carefully calculated, so that three full images are always resting on the face of the drum ; thus each image is, therefore, coloured by several different sections of the velvet. In this way the tint is more regular. It must not be concluded that colouring operations are always perfect and never need touching up. This we have sometimes to do.

A worker is always liable to make a mistake, and we can usually save the film and avoid reprints by merely washing the colour off. It only remains to add that this method of colouring—which you appreciate in England for the actual value of the work it represents—by stencil will always present the following interest. It can be applied to any film whatsoever without its having been prepared for that purpose.

Given a good negative, the colouring operation can be performed on any film. Ruot for the very lucid manner in which he had laid the subject before them and explained a very intricate mechanism. The vote of thanks having been heartily accorded, M. RUOT briefly expressed his appreciation of the kind remarks that had been made. A stencil is made from a celluloid strip, one strip for each color, on a pantograph device which has a vibrating, electrically driven needle that cuts the celluloid away completely in the stencil film.

Stencil film is carried under the electric needle while a companion picture film is carried in synchronism with it and projected up to about lantern size, over which the long end of the pantograph swings. Each picture in a series is done in this manner for each of the colors that are to be applied.

The matrix film is then a series of openings through which a color is applied to the finished print. Celluloid to be cut for the stencil is a positive print from which the emulsion is later removed and the film cleaned. Show prints are on a registering printer in which the feeding pins, in a step movement, draw both the negative and positive forward one frame at a time. About midway of the stroke, one of the feeding pins spreads sideways from the other, thus adjusting the films laterally.

Prints are sometimes toned to produce one of the shades to be used. In both cases, each frame is worked by hand, for in the Handschiegl all parts not wanted are blocked out with color, by hand. Stencil and positive to be colored are brought into contact over a sprocket wheel while a velvet ribbon wipes a color through the stencil to the positive.

This color ribbon is a loop of about one foot in diameter. A series of brushes feeds the dye to the ribbon, so that it does not receive too of the colored liquid. Film passes through this machine at the rate of about 60 feet per minute, one strip for each color, on a pantograph device which has a vibrating, electrically driven needle that cuts the celluloid away completely in the stencil film.

The stencil film is carried under the electric needle while a companion picture film is carried in synchronism with it and projected up to about lantern size, over which the long end of the pantograph arm swings. An object to be traced is followed over the enlarged picture and the needle at the opposite end cuts away the celluloid in the normal picture.

The celluloid to be cut for the stencil is a positive print from which the emulsion is later removed and the film cleaned. The show prints are made on a registering printer in which the feeding pins, in a step movement, draw both the negative and positive forward one frame at a time.

The prints are sometimes toned to produce one of the shades to be used. Kelley, William Van Doren Journal of the Society of Motion Picture Engineers, 18,2, , pp. Although tinting and toning were used more frequently throughout silent cinema, the process of stenciling was adapted for film in the early s and used through the late s; it garnered more attention by far, especially during the first decade of its use. With this technique, each color had its own stencil that was made by cutting out holes into a positive, black-and-white print of a film, frame by frame, in the spots where color was to be added to the film.

Once all these cuts were made in each frame of the film section to be colored, the emulsion was washed off, leaving a clear, perforated stencil that could be placed in alignment over the image of a new, positive print of the film. Typically between three and five separate stencils would be used on a film or segments of a film , and though the preparation of the stencils was laborious, once produced they provided an automated means of reproducing the colors on multiple prints. Early Film, Mass Culture, Modernism. New Brunswick et al.: Rutgers University Press, pp.

The caterpillar dissolves into a white cocoon, out of which a multicolored butterfly wing then emerges directly toward the camera. There is a cut to the butterfly fully exposed, and its fluttering wings shimmer in various colors orange, greenish-blue, yellow. Next, a physical transformation takes place in which the butterfly leans forward to reveal that it is actually a woman in a butterfly costume her full body now visible , and she continues to flutter and pirouette color plate The black background serves a dual purpose here: The coloring adds a sense of depth to the image, yet it does not construct a deep space that beckons one to enter.

Various articles from the period discuss color in relation to stereoscopy. This association was strong with natural color systems, which were in fact often marketed as being stereoscopic; however, even from the earliest reviews of applied color films, there was a sense in which colored bodies especially female ones in film seemed to leap from the screen.

In the earliest years this was primarily to make the characters stand out against a monochrome background by tinting them in bright colors, i. The stereoscope creates a three-dimensional image that is in sunken relief. With this movement, it pulls into the emulsified image beneath it, bringing it sensually within reach. From the early s to World War I, the company was the leading producer of colored films around the world.

Five weeks later, on May 2, he reported again that experiments were still ongoing, and he was confident that the process could soon be adopted industrially for coloring films. The earliest film stencils were hand cut with scalpels from positive reels of a film one stencil for each color to be applied.

For instance, in a film with three stencil colors—red, green, and blue—at least four film print reels would be needed: After these holes were cut in the stencil reel, the emulsion was stripped from it so that it would be left clear and smooth for the coloring process. This prepared stencil-reel was then lined up in registration with the emulsion side of the corresponding frames in the final, uncut print reel, and the colors were applied by brush through the stencil cuts to the print.

The coloring process was then repeated with the next stencil-reel onto the same final print, and so in succession until all the stencil colors were applied. Early stenciled materials, particularly pre samples, are often difficult to distinguish from hand coloring. Even in the discourse about color films at the time, hand coloring is not systematically distinguished from stenciling. The earliest stenciled prints at times contain more fringing across contiguous frames than the best hand-colored examples. There are at least two visual means of identifying stenciled films from the early s. The first is that stenciled prints will at times show uniform coloring lines on the otherwise clear edges of a print, lines that were created when dye seeped through the sprocket holes or over the edges of the stencil during the coloring process color plate 4.

When these dye marks are present to the inspecting eye though they do not show up in projections , they are a sure indication of stenciling. The other means of identifying stenciling is through a comparative analysis of multiple prints of a film. Stenciled variations should be relatively minimal across the prints, whereas hand coloring introduces more discrepancies and, often, visible brushstrokes.

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Of note, Joan M. On October 9, , the minutes note that colored films turn the most profit for the company, but its coloring lab in the outlying Parisian neighborhood of Vincennes was too small to keep up with the demand, so the management proposed renting land nearby to expand the facility. Accordingly, the management approved at this time , francs for the expansion of the lab so that it could employ upward of three hundred colorists. During , the company more than doubled the number of its female colorists from approximately 65 to between and With the cutting of the stencils, the aim was to replace the hand incisions with a manually controlled sheer, which at first was similar to a sewing machine needle but was later modified with a sharp, vibrating point powered by an electromagnet.

Under license from M. The Council is pleased with the results achievable with our coloring machine. A series of machines is being manufactured, of which six will be ready by January 15, and the rest will follow. With one machine, one can color meters per day of a single color. Currently, hand coloring progresses with workers and produces 3, meters per day. The cost per hand-colored meter has been lowered from 0. Seeking to industrialize its methods, it both refined existing coloring technologies for film stenciling and increased its workforce in order to drive down production costs by 30 percent and increase profits.

Patented on February 28, , this new device kept the sprocket holes of the stencil see 23 on diagram in figure 18 and composite print 24 aligned in registration stencil on top and wound them against a looped velvet ribbon 21 that was saturated with dye from a reservoir 30 by another ribbon 27 and brush By separating the dyeing ribbon from direct contact with the dye reservoir, the machine offered a greater degree of control over the dyeing process in that the amount of dye absorbed by the ribbon and transferred to the final print could be precisely adjusted.

Once the dye was dry, the process was repeated with the next stencil and so forth until all the stencils colors were applied. If necessary, the final print could be corrected with hand coloring. This makes it certain that I shall purchase more heavily than ever before from your house. In other words, 23 percent of the titles released in the two weeks were stenciled or approximately 22 percent of the footage released.

Instead the stencil coloring creates the illusion of an image in relief emerging from the two-dimensional screen. This is an effect that in part aims to provide viewers with an uncannily realistic image that haptically moves toward one. However, these genres in general employ a much more flexible approach to such codes of color representation.

One recognizes that their hues could conceivably correlate to a reality, but their brightness and fluidity suggest that it is a reality more spectacular than the everyday we inhabit. Indeed, the realism of these images has less to do with the representation of the everyday than with their correspondence to the popular fairy plays of the nineteenth-century stage.

Color realism is thus tied to the context of reference. Wolfgang Schivelbusch has discussed the impact that the industrialization of lighting in the nineteenth century had upon the dramatic stage. This created a shallow space in which the brightest part of the stage was at the front, near the footlights, whereas the background was relatively dim. With the development of gas, lime, and electric lights in the nineteenth century, a greater articulation of depth was possible on the stage as the more powerful lights not only provided better general illumination but could also be focused for spotlighting areas of the stage to sculpt the space in relief.

Additionally, the new lights could be adapted for special trick effects: It begins with an oriental magician in a white headscarf and yellow robe bowing to the camera, or possibly to Mecca, after which he spots a yellow beetle crawling up the black and white wall behind him. Sneaking up, he seizes it, carries it to the middle of the stage where he makes a magic urn appear through a substitution splice. As he throws the beetle in, orange flames immediately consume it. The fire rises higher until the creature, to the delight of the magician, has been transmuted into a golden winged woman hovering at the top of the frame the urn has disappeared.

In a flash of orange smoke, a large and ornate golden fountain appears below the woman; while the magician mimes his licentious intentions to the camera, she descends into the fountain to his dismay. Suddenly, the streams erupt into fireworks pink, red, and yellow smoke and sparks while the magician rises and dances in panic color plate A climactic transformation takes place: She pirouettes as a wheel within a wheel as the vibrant orb shoots around her, throwing sparks upon the magician and seemingly ending any power he may have had over her.

The circle then disappears, and the woman—once again with golden wings and body but now flanked by two other wingless women in pink—floats to the floor. At the command of the winged woman, the two new women exit to the right, and the magician, now defeated, cowers as the woman chases him around the stage. The two women reenter with the urn from earlier, place it in the center foreground, and cast the magician in.

Fire consumes him, and the winged woman, now framed directly behind the flames, walks forward. The fire dies down and she steps onto the urn, and in direct address she flutters her golden wings for the camera. Similar to countless other trick and fairy films, the plot of The Golden Beetle is skeletal; nonetheless, in its brevity it presents an orientalist fantasy in which a domineering male magician is usurped by his feminine creation. At a basic level and related to the spectacular lighting effects on the fairy stage, the colors function as a means of illumination: More complexly, the application of the color corresponds to the structure of the plot: Central to this structure, and as is the case in numerous other stenciled trick and fairy films, the coloring is focused on the female body of the fairy creature: The only point at which she is not gold-colored is during the sequence in which she pirouettes in the spinning sphere, but in this climactic sequence, the colors of the trick work to center attention upon her winged body.

They form something akin to a transmutation circle, or reflexively a color wheel, or more figuratively a birth canal through which she passes from air to earth. Notably, the magician does not look at her during this sequence. Though gazing at her during the preceding tricks, now he averts his eyes as he dances to and fro in fright. To turn to the climactic transformation of The Golden Beetle , the sphere recolors the fairy woman as if its dazzling appearance saturates her body, transmuting it to gold.

The middle of this circle will appear bright, colorless, or somewhat yellow, but the border will at the same moment appear red. When the vibrant sphere disappears, it is as if the screen has been inverted into an afterimage: Her physical movement toward the camera at the end is enhanced through the colorful transformations: Although locomotives and color have quite distinct associations in the early s, they do share one related and particularly modern connotation: This sensational effect is found in various popular and avant-garde films of the s and s, and even still today in the resurgence of 3D cinema, colored objects continue to stretch the limits of the screen toward the viewer.

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Charles Musser Frederick, Md.: University Publications of America, , A University of California Press, , Jonathan Crary, Techniques of the Observer: MIT Press, , Archaeology of the Cinema, trans. University of Exeter Press, , Jackson Lears, No Place of Grace: Antimodernism and the Transformation of American Culture: French Cinema, , updated and expanded ed. Also see Joan M. The Cinema of Fascination Barcelona: Editions Centre Georges Pompidou, , That the business minutes on October 12 note both the problems with Thuillier and the licensing of M.

Florimond because of the contract with her husband. Projection et fabrication des Films Paris: Biblical tales are one exception; however, these films are often generic hybrids that incorporate elements from trick and fairy genres, but to different effect. See for instance L. Wolfgang Schivelbusch, Disenchanted Night: The Industrialization of Light in the Nineteenth Century, trans.

La vie et la passion de Jésus Christ () | Timeline of Historical Film Colors

Johann Wolfgang von Goethe, Theory of Colors , trans. Charles Lock Eastlake Cambridge, Mass.: Duke University Press, Through the use of stencils, one cut 12 for each color to be applied, the application of tints was speeded up to an acceptable level see Appendix A. A maximum of six stencils w a s used in certain scenes to provide a wide variety of colors and hues to be projected upon the screen.

In recently examined prints of the process, one finds much mono-color tinting with occasional splashes of color. One scene in a typical print shows the appearance of a demon. Up to this time, the film has been tinted only blue. As a puff of smoke announces the demon, we see the smoke tinted in orange. Brussel and Brussel, Inc. The Way of all Flesh Tones. In order to stencil a cinema film a separate stencil will be needed for each colour on each frame. In manual stencilling the worker holds the stencil in the left hand exactly superimposed on the film and, with the right hand, dips a paintbrush into the colour usually an acid tint dye, but dyes of all sorts were used , partially dries it on a pad, and places it on the stencil.

A light stroke is used to transfer the colour through the cut-out and onto the emulsion side of the film image. The result was very precise provided the stencil had been cut well , but the colouring process was extremely slow and therefore expensive. The machine for cutting the stencils was extremely precise. Each frame was projected onto a piece of glass.

The outline of the image that was to be cut out was traced on the glass by the operator using a pointer attached to a pantograph, which guided the device not unlike a sewing machine with an oscillating needle which cut the stencil. The resulting stencils, one for each colour, were a length of film of the same length as the final print.

The emulsion on the stencil film was then washed off. The machine for colouring the positive copies used a sprocket wheel which allowed a stencil and a positive copy to be pulled along together in contact. A velvet ribbon loop, continuously replenished with dye solution from a tank, acted as the brush, transferring the dye through the stencil to the print. The procedure had to be repeated for each colour. This information is described in the patent literature of the time, which also reports that it was possible to stencil a film with up to seven different colours at a time in a single pass through the machine.

The process was used, with minor differences, by such other companies as Gaumont in France and Ambrosio and Cines in Italy. It seems that the continuous stencilling machinery was considerably more complex than film processing machinery at that time. The first required cutting a different stencil for each color. These stencils were then used in a machine that automatically applied the color to the positive print.

Typically, a film required three to six stencils. At first, the cutting was done manually, using a cutting edge or a sharp needle on each frame. It was a difficult and time-consuming operation, but its advantage was that it needed to be done only once for each color to be applied. The stencils were then immersed in hypochlorite, which functioned as a degelatinizing agent. This treatment permitted the color to be applied more easily, without scratching the final print, or shrinking or embrittling the stencil. Manual cutting rapidly became obsolete in favor of a semiautomatic device similar to a sewing machine, with the cutting needle operated by an A.

At least two patents for this system are known. In a further stage of development, the technician no longer cut the matrix directly but worked instead on a parallel bench with a reference print. The area to be stenciled was traced with a stylus connected through a pantograph to a cutting needle that followed the identical contours on a strip of raw film stock. To ensure that the stencil cut precisely matched the actual shape of the area to be colored, the cutting needle worked only when the stylus was touching the film. A late development of this technique, relatively common around the mids, involved the use of a series of enlarged images instead of a reference print.

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These methods were widely used until the end of the silent period. Such a complex system required the employment of highly specialized personnel. Several weeks of training were necessary to make sure that the technician could prepare the stencils in the most precise and effective way. Even then, the most skilled worker could not cut more than 3 feet of stencil an hour. Despite the fact that a stylus and a pantograph allowed for the use of raw stock, thus avoiding the degelatinizing process, it was periodically necessary to stop and verify the result.

Moreover, when substantial portions of the frame were to be cut, manual cutting was still preferred. In such cases, alternate frames were cut from two separate stencils, because a single stencil would have been too fragile for repeated use. In most coloring machines, a sprocket system matched the matrix to the black-and-white print. All the copies of a particular scene were joined and matched with the stencil, which rotated in a continuous loop. The aniline dye was then spread on the film by a loop of velvet moving in a direction opposite that of the advancing film.

This band was fed past a rotating brush immersed in a tank of dye; the amount of dye transferred from the rotating brush to the velvet band was adjustable depending on the depth of the brush in the tank. In order to ensure uniformity, the velvet band colored three frames at a time. If a mistake was made, the color could be washed out, leaving the base ready for another treatment. This system- was used throughout the s 10 and survived until the dawn of the sound era. Less than 2 years after the invention of the stencil system, however, this method was combined with other techniques of film coloring, nowadays summarized under the terms tinting and toning.

The earliest example I have found of this use of combined techniques is a nitrate fragment from a Gaumont film presumably made around , tentatively identified as Roi Midas. The source of the tentative title is the catalog of the Josef Joye Collection in Zurich, where the material was found. It is reproduced in Paolo Cherchi Usai, Una passione inflammabile. Guida allo studio del cinema muto Turin: Cherchi Usai, Paolo The Color of Nitrate. She died some months later. When were you born and when did you start working?

I began working August 26, She was in the Colour Division. It was the director, Mr. Fourel, who oversaw everything. He was in charge of colour, which included the women and the other managers. How many workers were there in his employ? We were rather numerous — colourists and cutting machine operators, which are two distinct types of work. There were also the technicians who applied ink.

Were you adept at both? No, it was necessary to be technically trained. I personally did cutting because I had excellent eyesight and eyeglasses were not permissible. When we arrived at the studio, we were promoted quicker than the average employee because of our drawing knowledge. Had we not been skilled draughtswomen, and had we not been skilled at colour application, we would have lagged behind in our career — applying ink only. How were you trained and instructed at work? They never officially trained us — they never taught us anything, really, ever…except for the strict technique taught us by experienced workers.

When they would see that we finally got the feel for a colour, they let us work solely on that colour for a long time. Yes, only one colour. So, we had to stencil around trees in order to discern whether a part of the tree was incorporated into the sky or remained green. Thus, the longer they left us with a solitary colour, the more expert we would become. I learned how to apply colour via a hand technique. However, I did work on a few machines which produced colour, but they were scarce. What were the working conditions? They were strict with us and did not encourage chattering and socializing.

We had all we needed in that room. For lunch, one could either eat outside or in the workshop. It was all very supervised. Photographs of the workshop were prohibited. Why were there only women? It was too finely detailed a job for men, something I understood only as I grew older. Today, it makes me chuckle when I see men actually doing film editing.

Yes, the one at the factory, not at the colour workshop. The siren is still there but no longer in use. It sounded at 7: When you stopped working in , feature-length movies were already in vogue. Do you have any particular reminiscences of feature-length films that you personally had a hand in tinting?

Yes, I had hand coloured many films by then. Moreover, they needed to be re-coloured on an annual basis. Every year, for example, The Life of Christ, which was very popular, had to be retinted. Sometimes, entire films were shredded due to overuse. Dana, Jorge; Kolaitis, Niki The method was too slow and costly. Accordingly a stencil process was evolved, and is in use to-day, giving many of the beautiful effects seen in the moving picture theatres. A mechanical method of tinting the films by means of these stencils was next taken in hand, and finally, after prolonged experiment, was perfected.

This Parisian firm has made the colour film a prominent feature of its business, and laid down an extensive and well-equipped establishment especially for colouring operations. Probably everyone knows what a stencil is. It is a pattern cut out of a solid thin flat surface, which is afterwards laid upon the subject to be treated, and paint applied by means of a brush or some other medium. The colouring only can reach the surface beneath the cut spaces in the plate, and consequently is applied just where it is desired.

The process is practised freely in the printing of wall-papers, and in applying designs to other surfaces, as it is both cheap, rapid, and highly effective. Cutting the stencils for a moving picture film is a long and exacting task. Three stencils have to be prepared for each subject. In the first the spaces corresponding to the red tones in the picture have to be cut; in the second, those for the yellow; and in the third stencil, those for the blue. By putting one over the other the various mixtures and tones are obtained.

The process may be likened to the preparation of the three process blocks for heliochromic illustrations in letterpress printing. It follows that unless a film is likely to have a large demand, colouring is not attempted. In one case which I have in mind, the firm will not attempt colouring unless they are certain of the sale of copies of the subject.

The colours—aniline dyes—are applied successively by means of rollers, the film to be coloured being passed through special machines contrived for the purpose. But pigment coloring is of course vastly more expensive than toning and the latter suffices in most cases. Tinting is sometimes used as a cloak for poor photography but the photograph must be perfect if it is to be toned. Toning and tinting as an adjunct to the picture. Moving Picture World , 8, The examination centers on the following questions: Given that film-colour techniques at the time were more advanced and more widely used in Europe than in the United States, how did such techniques differentiate European films on the US film market for promotional purposes?

The examination centers on references to film colour in articles, film reviews, and advertisements in the American and British film-trade press between and The focus evolves through a comparative analysis that juxtaposes film-colour discussion in the American publication Moving Picture World with analogous discussion in The Bioscope , the important London-based film-trade weekly.

Frank Kessler and Nanna Verhoeff eds. Early Film Distribution Firstly, the colours are artistic and decorative; secondly the colours are a reliable copy of nature. Its reputation was based, amongst other things, on the beauty of such colours. A Dutch newspaper reported:. Although much can be said about the beauty and attraction of such colours, 3 this article will focus on that second quality of the pictures: The stencil method was already used in the postcard and wallpaper industries.

In the film industry, stencils were made from positive prints of the subject to be coloured. For every colour, a different print was used. That is, if a film was to be coloured in blue, red and yellow, three prints were cut to form stencils: The areas of the image that were to be coloured blue, for example, would be cut out of the blue-stencil print.

Subsequently, this cut-out print was placed on top of the final projection copy to be coloured, and the blue colouring applied by brush through the stencil. Therefore, only those parts of the image where the stencil was cut out would be coloured blue. The same procedure would be carried out for the application of the reds, and then the yellows. Both operations were still done by hand, however, which was common practice in the film industry of the period.

Henri Fourel, head of the colouring studio, initiated the mechanisation of the process. A colouring machine was patented on 22 October This system allowed for a very precise working method. The image to be cut was enlarged on a screen, providing the women who had to cut the parts with a far better view of it, Through the pantograph arrangement, the movements traced over sections of the enlarged image were reduced in magnitude, The end of the pantograph arm in which this reduced movement was induced was fitted with a needle, which cut the corresponding area out of the stencil film copy.

Naturally, such inventions cost a great amount of money and energy. The reason for expending this effort and investment was clear: Note that the colouring studio in Vincennes continues to progress and soon we will be able to put to work all of our ingenious and perfect colouring machines, allowing us to produce a considerable amount of footage every day.

These views had to be shown in black and white previously, because the movement within the image, from frame to frame, was too rapid for the colourist to follow. The new technique with the pantograph which allowed dynamic scenes to be coloured thus made it possible to offer a greater variety of coloured non-fiction material. The foliage possesses all the tones of green; the skies are rendered with an amazing accuracy; the sunsets are aflame as in absolute reality.

For each period, each moment in time, there exist specific norms and rules on what can and cannot be considered realistic and true-to-nature. Hence we need to return to period sources that give descriptions of how to use colour in a realistic way. Unfortunately, there seem to be no manuals extant for the colouring of black and white films. The hand-colouring technique had been in use for many years to colour photographs, postcards and lanternslides.

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I have found sources describing the rules practised in the colouring of lanternslides: Besides these handbooks for the lantern-slide amateur, I have also examined books on painting that give instructions on the efficient use of colour. The first comparison between the slide colouring handbooks and film concerns the colouring of water. J W Neville tells the amateur colourist:. Everyone who has used his eyes will have seen that water has no colour of its own, and that all the colours seen in the water are reflected tints of other objects.

If a smooth lake, having no shadows on its surface, appears in a picture, the colour would be derived from the sky reflected in it, and coloured accordingly; but if shadows appear on the surface then the colours of the shadows would be the same as the objects making them, but a little less intense. For instance, a reflection of a mountain in a lake would be very near to the colour of the mountain itself. Illustration 12 , the green of the trees is reflected in the water. In the third shot of Au bords de la Creuse , we see a similar effect. At a certain moment, the camera shows a small bridge.

The bridge and its mirroring in the blue water are both pink. There is also the white colour water show when it is streaming or shaken up. This we see in the films where the parts with streaming or foaming water — which appear white on the black and white image — are left uncoloured and thus white. An example is the second shot in Au bords de la Creuse , where a mother and son pose next to a white waterfall Because the water falls and is thus moving, it is shown white.

Gaudreault and Sirois-Trahan have written that they are surprised by coloured and stencilled films often being praised for their natural and realistic effect. It is not always necessary to color every part of the slide. Very frequently the slide in some portions presents the natural appearance of the object, and color would only detract from the general effect. Apparently, this is something that could be considered realistic then, but not now.

To my eyes, at least, these uncoloured parts of the image, although uncoloured, still appear realistic. Concerning the colouring of human skin, and leaving parts of the image black and white, different assumptions have been made. So one could say that colouring the skin would make the image less realistic, because the flesh tones were too difficult to match with nature. This would be another example were parts of the image were left black and white to keep the overall effect realistic. There are indeed films in which the skin is left uncoloured, which confirms this assumption. The difficulty of colouring flesh is also proven by the following quotation on the colouring of lantem-slides:.

Flesh needs most careful treatment, and careful and repeated application of very dilute colors, until the desired effect is gained, is the best method. But this quotation also demonstrates that even if it was considered natural to leave parts of the image black and white, they did colour the skin for lantern-slides. The first examples are films with people from exotic countries, where their skin has been stencilled brown.

There are many films where this has been done, including Culture de manioc et fabrication du tapioca , India c. The fingers are stencilled pink. Also the farmer and his wife who appear in Les Ennemies du Pouhiller, les Renards Illustration 16 have pink faces and hands. I agree that colour was used to highlight parts of the image, and I am of the opinion that the skin was probably left black and white at the moments where it was considered unnecessary for it to be highlighted.

Both colouring the skin and leaving it uncoloured were considered a realistic use of colour: They tried everything to enhance the productions, to improve the quality of the image, to make the colours as natural as possible, and to develop the ability to colour different sorts of images. But there would always be one unresolvable problem: This was the time, however, in which indexical colours really broke through onto the market. The interest of academics is something that began between ten and fifteen years ago. The reason has to be that it had not been common practice, for various reasons, to make colour preservations of these early coloured films.

Following the FIAF Brighton Conference in — where early films were shown that had not been seen for decades — film history writing took a turn, as did archive practice. From that moment, archives changed their preservation priorities. Because new prints of films became available, old myths — which originated in the fact that people wrote about films which they could not view, or did not write about certain films because they could not see them — were dismissed.

Coloured nitrates were taken from the vaults and made available for new preservation prints on 35mm colour film stock. These films were shown in film museums, but also at film festivals such as Pordenone and Bologna. The Nederlands Filmmuseum has established a very good reputation for the preservation of coloured films. And today many foreign archives still have colour preservations made at Haghefilm, the laboratory that developed colour preservation techniques with the Nederlands Filmmuseum.

As the archives started to show preservations of these films in colour, so academic research in the subject was initiated. Of course there is still much work to be done on early colour. Colour is biological, if I may say so. Colour is alive, it is the only thing that makes things [a]live. University of California Press: Rutgers University Press, Paolo Cherchi Usai, Silent Cinema: British Film Institute, The only sources I was able to trace were meant for amateurs.

Colouring lantern-slides and paintings involved far more detail than colouring film allowed. Furthermore, many more images had to be coloured, which forced a certain economical use of colours, in order to save time. For example, in colouring a film, it was impossible to use different green tones when depicting foliage. This was one of the recommendations given to a lantern-slide amateur: A Manual for the Use of Amateurs Birmingham: B W Tylar, This has to do with the fact that attention has to be drawn to certain objects in the image.

La couleur est biologique, si je puis dire. La couleur est vivante, rend seule ies choses vivantes. Armand Colin Editeur, With this process selected portions of frames were tinted using a stencil to precisely and rapidly apply the dye. Single or multiple colors could be used provided that a separate stencil was cut for each color. Several silent features and short subjects were released in this process. The stencil was prepared using a positive print as the stencil material and a second print as a guide. The operator cutting the stencil sat before a screen and followed the outline of the projected picture with the arm of a pantograph.

A vibrating electronically driven needle at the opposite end of the arm cut away the film base on the stencil film. Each frame was individually traced in this manner until a stencil was obtained for the entire scene. After the stencil was cut, the remaining emulsion was removed from the film base and the base was cleaned, leaving a clear film with cutouts of the proper shape where the color was to be applied.

To insure proper registration the release prints were made on a step registering printer. These were normal black and white prints processed in the normal manner. The color was applied after processing by bringing the stencil and the positive to be colored into contact over a sprocket wheel while a ribbon wiped the color through the stencil onto the positive.

The ribbon, a loop approximately 12 inches in diameter, was fed the dye by a series of brushes so that it did not receive too much dye. The machine used for this purpose operated at a speed of 60 feet per minute. The choice of this overall color was governed by the scene to be toned. The circus was slow, elastic, and like the rhythm of a waltz, the cinematograph is restless and jittery.

The circus was dream-like and the cinematograph is an anecdotic, almost pedagogic, lesson on reality. The circus was something for poets: Perhaps it was in response to this perception by members of the artistic and cultural elite of the dominance of grayness in films, of the absence of life, that the fledgling cinematographic industry soon added a supplementary device to offer the spectator colored films. Golden Apple Island by Jane Arbor. Wife to Christopher by Mary Burchell.

Grotto of Jade by Margery Hilton. The Shadow and the Sun by Amanda Doyle. Hideaway Heart by Roumelia Lane. Miss Miranda's Walk by Betty Beaty. Dear Barbarian by Janice Gray. Paradise Island by Linda Lael Miller. Wild crocus by Kathryn Blair. Tender Is the Tyrant by Violet Winspear. Backveld Hospital by Jean Dunbar. I and My Heart by Joyce Dingwell. When Love is Blind by Mary Burchell. The Bolambo Affair by Rosalind Brett. Winter is Past by Anne Weale. A Cluster of Palms by Wynne May. Nurse Smith, Cook by Joyce Dingwell. Beloved Castaway by Violet Winspear. South from Sounion by Anne Weale. The Last of the Mallorys by Kay Thorpe.

Desert Gold by Pamela Kent. House of the Winds by Roumelia Lane. Mask of Gold by Rachel Lindsay. Summer Island by Jean S. Alien Corn by Rachel Lindsay. Mountain of Dreams by Barbara Rowan. Laura's by Elizabeth Gilzean. The Court of the Veils by Violet Winspear. The Isle of Song by Hilary Wilde. Pretence by Roberta Leigh.

Meaning of "andalouse" in the French dictionary

The Wild Land by Isobel Chace. Wild Sonata by Susan Barrie. Devon Interlude by Kay Thorpe. Venice Affair by Joyce Dingwell. Hotel By the Loch by Iris Danbury. Dutch Uncle by Margery Hilton. Strange as a Dream by Flora Kidd. The Garden of Persephone by Nan Asquith. Queen's Counsel by Alex Stuart. Stranger's Trespass by Jane Arbor. Hotel Southerly by Joyce Dingwell. The Bay of Moonlight by Rose Burghley. Beloved Sparrow by Henrietta Reid. The Master of Normanhurst by Margaret Malcolm. The Shining Star by Hilary Wilde. Dearly Beloved by Mary Burchell.

The Dream and the Dancer by Eleanor Farnes. The Hospital in Buwambo by Nico Rosso. The Man in Command by Anne Weale. Rosalind Comes Home by Essie Summers. Teacher's Must Learn by Nerina Hilliard. Still Waters by Marguerite Lees. Doctor Luke by Lilian Chisholm. Wish on a Star by Patricia Fenwick. Whispering Palms by Rosalind Brett. A Summer to Love by Roumelia Lane. Wind So Gay by Flora Kidd.

The Truant Bride by Sara Seale. Hospital in Sudan by Anne Vinton. Above the Clouds by Esther Wyndham. Meet on My Ground by Essie Summers. A Kiss in a Gondola by Katrina Britt. Love's Prisoner by Violet Winspear. One Coin in the Fountain by Anita Charles. The Dangerous Delight by Violet Winspear. Falcon's Keep by Henrietta Reid. Tawny are the Leaves by Wynne May. Crown of Content by Janice Gray. The Blue Rose by Esther Wyndham. Revolt - and Virginia by Essie Summers.

Dragon Bay by Violet Winspear. The Walled Garden by Margaret Malcolm. Spanish Lace by Joyce Dingwell. Peppercorn Harvest by Ivy Ferrari. The Hills of Maketu by Gloria Bevan. Tangle in Sunshine by Rosalind Brett. Afraid to Dream by Lilian Chisholm. Nurse Atholl Returns by Jane Arbor. Magic Symphony by Eleanor Farnes. Cruise to Curacao by Belinda Dell.

Demi-Semi Nurse by Joyce Dingwell. Palace of the Peacocks by Violet Winspear. Wind Through the Vineyards by Juliet Armstrong. The Song and the Sea by Isobel Chace. The Silent Valley by Jean S. The Young Amanda by Sara Seale. Girl Crusoe by Margery Hilton. The Kindled Fire by Essie Summers. Keeper of the Heart Harlequin Romance Ser.

Dear Doctor Marcus by Barbara Perkins. The Cypress Garden by Jane Arbor. Dark Inheritance by Roberta Leigh. Hope for Tomorrow by Anne Weale. Witchery Island by Ruth Clemence. Tamboti Moon by Wynne May. Sea of Zanj by Roumelia Lane. Such Is Love by Mary Burchell. Come Back, Elizabeth by Esther Wyndham. The Drummer and the Song by Joyce Dingwell. Chateau of Pines by Iris Danbury. Dangerous Enchantment by Anne Mather. Dark Star by Nerina Hilliard. Love in the afternoon by Rose Burghley.

The Curtain Rises by Mary Burchell. Eternal Summer by Anne Hampson. The Girl for Gillgong by Amanda Doyle. Towards the Dawn by Jane Arbor. Second Chance by Joyce Dingwell. Nobody Asked Me by Mary Burchell. Caprice in Hospital Blue by Anne Vinton. A Man Apart by Jane Donnelly. Except My Love by Mary Burchell. Night Sister at St. Aubyn's by Anne Vinton. The Green Parakeets by Hilary Wilde. Unwary Heart by Anne Hampson. The Man at Marralomeda by Hilary Wilde. Rising Star by Kay Thorpe. Whisper of Doubt by Anne Weale.

Home to White Wings by Jean Dunbar. Design for Loving by Margaret Baumann.

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Shadows from the Sea by Jane Donnelly. The Ross inheritance by Lucy Gillen. The Imperfect Secretary by Marjorie Lewty. Vengeful Heart by Roberta Leigh. Interlude in Arcady by Margery Hilton. Whispering Ones by Jane Donnelly. Whisper to the Stars by Hettie Grimstead. Love Alters Not by Flora Kidd. A Fine Romance by Katrina Britt.

Crown of Flowers by Joyce Dingwell. Pilgrim's Castle by Violet Winspear. The Legend of Lexandros by Anne Mather. Green leaves by Rosalind Brett. Dancing on My Heart by Belinda Dell. Cloud Castle by Sara Seale. The Only Charity by Sara Seale. A Nightingale in the Sycamore by Jane Beaufort.

Isle of Pomegranates by Iris Danbury. The Doctor's Delusion by Marion Collin. Enchanted Autumn by Mary Whistler. Flight to the Stars by Pamela Kent. Island of Secrets by Henrietta Reid. That Young Person by Sara Seale. Blue Jasmine by Violet Winspear. A Wife for Andrew by Lucy Gillen. Reluctant Masquerade by Henrietta Reid. Cindy, Tread Lightly by Karin Mutch. Bright Wilderness by Gwen Westwood. The Unwilling Bride by Violet Winspear. Admiral's House by Nan Asquith. September Street by Joyce Dingwell. Stranger in the Dark by Jane Donnelly. Tangled Tapestry by Anne Mather. The Silver Fishes by Lucy Gillen.

Rustle of Bamboo by Celine Conway. Imitation Marriage by Phyllis Matthewman. The Joshua Tree by Jean S. Walk into the Wind by Jane Arbor. Healer of Hearts by Katrina Britt. The Distant Trap by Gloria Bevan. Terminus Tehran by Roumelia Lane. The Autocrat of Melhurst by Anne Hampson. Love Made the Choice by Mary Burchell. Valley of Flowers by Kathryn Blair. Where Breezes Falter by Wynne May. Victoria by Joyce Dingwell. Beyond the Sweet Waters by Anne Hampson. Next Stop Gretna by Belinda Dell.

Lord of Zaracus by Anne Mather. Frail Sanctuary by Margery Hilton. The Man in Authority by Jean S. Bird of Paradis by Margaret Rome. The Hawk and the Dove by Anne Hampson. Summer in December by Essie Summers. Sullivan's Reef by Anne Weale. My Beautiful Heathen by Lucy Gillen. The Rosewood Box by Mary Burchell. The Family Face by Bethea Creese. Now and Always by Anne Weale. Hunter's Moon by Henrietta Reid. The Inshine Girl by Margery Hilton. The House in the Foothills by Mons Daveson. Turn the Page by Nan Asquith.

Doctor Toby by Lucy Gillen. Little Sister by Mary Burchell. The Romantic Heart by Norrey Ford. Sweet Revenge by Anne Mather. Serenade at Santa Rosa by Danbury. Heir to Glen Ghyll by Lucy Gillen. Night of the Singing Birds by Susan Barrie. Parisian Adventure by Elizabeth Ashton. Beloved Ballerina by Roberta Leigh. Time of Curtainfall by Margery Hilton. The Chateau of St. Avrell by Violet Winspear. When the Bough Breaks by Anne Hampson. Bitter Masquerade by Margery Hilton. The Time of the Jacaranda by Margaret Way.

West of the River by Joyce Dingwell. The Silver Sty by Sara Seale. Fair Horizon by Rosalind Brett. The Cazalet Bride by Violet Winspear. The Story of Jody by Karin Mutch. The Black Delaney by Henrietta Reid. The Feathered Shaft by Jane Arbor. The Masculine Touch by Katrina Britt. Gates of Steel by Anne Hampson. Destiny is a Flower by Stella Frances Nel. Call and I'll Come by Mary Burchell. The Bay of the Nightingales by Essie Summers. Moon Witch by Anne Mather. Dare I Be Happy? By Fountains Wild by Anne Hampson. The Year at Yattabilla by Amanda Doyle.

The Arrogant Duke by Anne Mather. To Win a Paradise by Elizabeth Hoy. Tawny Sands by Violet Winspear. King Country by Margaret Way. Sally in the Sunshine by Elizabeth Hoy. Beyond the Ranges by Gloria Bevan. Master of Falcon's Head by Anne Mather. Love Hath an Island by Anne Hampson. The Doctor's Circle by Eleanor Farnes.

Dear Professor by Sara Seale. Dear Doctor Everett by Jean S. The Widening Stream by Rachel Lindsay. In Name Only by Roberta Leigh. The Flower of Eternity by Margery Hilton. Yesterday, Today and Tomorrow by Jean Dunbar. Isle of the Rainbows by Anne Hampson. Emerald Cuckoo by Gwen Westwood. Man of Fire by Margaret Rome. Charlotte's Hurricane by Anne Mather. Island of Mermaids by Iris Danbury. Beyond the Mountain by Nan Asquith. Blaze of Silk by Margaret Way. Pool of the Pink Lilies by Joyce Dingwell. My Heart's a Dancer by Roberta Leigh. Caroline by Anne Mather. The Constant Heart by Eleanor Farnes.

The House of the Amulet by Margery Hilton. The Fabulous Island by Katrina Britt. Wife by Arrangement by Mary Burchell. Never Turn Back by Jane Donnelly. The Scented Hills by Roumelia Lane. The Linden Leaf by Jane Arbor. Eve's Own Eden by Karin Mutch. Who Rides the Tiger by Anne Mather. The Lonely Shore by Anne Weale. Winds in the Wilderness by Rosalind Brett. Stars of Spring by Anne Hampson.

Nickel Wife by Joyce Dingwell. An Eagle Swooped by Anne Hampson. The Valley of Illusion by Ivy Ferrari.

Marriage by Request by Lucy Gillen. House of Glass by Sara Seale. The Wings of the Morning by Susan Barrie. Child of Music by Mary Burchell. Dark Enemy by Anne Mather. Orange Blossom Island by Juliet Armstrong. Flamingoes on the Lake by Isobel Chace. The Tide at Full by Wynne May. The Whispering Grove by Margery Hilton. Wings of Night by Anne Hampson. The Pleasure and the Pain by Anne Mather. Return to Dragonshill by Essie Summers. Yet Love Remains by Mary Burchell. My Heart Remembers by Flora Kidd.

Wild Pastures by Celine Conway. Queen of Hearts by Sara Seale. Curtain Call by Kay Thorpe. House of Clouds by Ivy Ferrari. Summer Magic by Margaret Way. Nurse Wayne in the Tropics by Anne Vinton. Storm in a Rain Barrel by Anne Mather. Gold is the Sunrise by Anne Hampson. A Thousand Candles by Joyce Dingwell. But Not for Me by Mary Burchell. Summer Comes to Albarosa by Iris Danbury. Into a Golden Land by Fiona Brand. Sweet Kate by Lucy Gillen.

Bride of Lucifer by Violet Winspear. Memory of Love by Janey Scott. Castle in the Trees by Rachel Lindsay. Moon at the Full by Susan Barrie. Bride in Waiting by Susan Barrie. The Tall Pines by Celine Conway. Waves of Fire by Anne Hampson. Summer Season by Lucy Gillen. A Serpent in Eden by Eleanor Farnes. The Unknown Quest by Katrina Britt. Dilemma at Dulloora by Amanda Doyle. Castle of the Unicorn by Gwen Westwood. The Dazzle on the Sea by Flora Kidd. The Sanchez Tradition by Anne Mather.

Cousin Mark by Elizabeth Ashton. Red Feather Love by Suzanna Lynne. A Time Remembered by Lucy Gillen. Cameron of Gare by Jean S. Precious Waif by Anne Hampson. Return to Belle Amber by Margaret Way. Halfway to the Stars by Jane Donnelly. Carnival at San Cristobal by Nan Asquith. The Keys of the Castle by Barbara Rowan. One Man's Heart by Mary Burchell.

Love and Doctor Forrest by Rachel Lindsay. Sandflower by Jane Arbor. If this is Love by Anne Weale. African Dream by Elizabeth Hoy. All the Fire by Anne Mather. Petals Drifting by Anne Hampson. The Enchanted Ring by Lucy Gillen. Dear Puritan by Violet Winspear. Pagan Heart by Rebecca Caine. Love Is Fire by Flora Kidd. South Island Stowaway by Essie Summers. Sister Pussycat by Joyce Dingwell. Dark Hills Rising by Anne Hampson. This Moment in Time by Lilian Peake. Home is Goodbye by Isobel Chace.

Other Turner Girl by Ruth Clemence. The Reluctant Governess by Anne Mather. The Rebel Bride by Anne Hampson. The Inn by the Lake by Dorothy Quentin. Jasmine Harvest by Jane Arbor. Raintree Valley by Violet Winspear. Kookaburra Dawn by Amanda Doyle. The Pretty Witch by Lucy Gillen.

Bauhinia Junction by Margaret Way. The High Valley by Anne Mather. A Castle in Spain by Eleanor Farnes. Man of Granite by Lilian Peake. Follow a Shadow by Anne Hampson. Black Douglas by Violet Winspear. Legend of Roscano by Iris Danbury. The Gentle Flame by Katrina Britt. Portrait of Susan by Rosalind Brett.

Immortal Flower by Elizabeth Hoy. Wife to Sim by Joyce Dingwell. A Girl Alone by Lilian Peake. Dear Conquistador by Margery Hilton. Red Ginger Blossom by Joyce Dingwell. Remedy for Love by Flora Kidd. Forbidden Island by Sara Seale. The Valley of the Eagles by Eleanor Farnes. Friday's Laughter by Joyce Dingwell. The Taming of Lisa by Flora Kidd. Nile Dusk by Pamela Kent. The One and Only by Doris E. Night on the Mountain by Flora Kidd. The Shrouded Web by Anne Mather. Golden Harvest by Stella Frances Nel. Beyond the Sunset by Flora Kidd.

The Mutual Look by Joyce Dingwell. Beloved Enemy by Mary Wibberley. The Lordly One by Sara Seale. City of Palms by Pamela Kent. The Guarded Gates by Katrina Britt. Laird of Gaela by Mary Wibberley. The Legend of the Swans by Flora Kidd. Penny Plain by Sara Seale. Rachel Trevellyan by Anne Mather. The Habit of Love by Joyce Dingwell. Dark Moonless Night by Anne Mather. Time Suspended by Jean S. The Cattleman by Joyce Dingwell. Love in High Places by Jane Beaufort. Flamingo Flying South by Joyce Dingwell. The Paper Marriage by Flora Kidd.

Kyle's Kingdom by Mary Wibberley. Love and Lucy Brown by Joyce Dingwell. That Summer of Surrender by Rebecca Caine. Heaven is Gentle by Betty Neels. Dark Viking by Mary Wibberley. Charity Child by Sara Seale. Desert Doorway by Pamela Kent. Proud Citadel by Elizabeth Hoy. Love in Disguise by Rachel Lindsay. The Kissing Gate by Joyce Dingwell. Westhampton Royal by Sheila Douglas. Storm Flower by Margaret Way. The Cruiser in the Bay by Katrina Britt. Autumn Wedding by Anita Charles. The Reluctant Landlord by Sara Seale. Dangerous Lover by Jane Beaufort.

The Fire and the Fury by Rebecca Stratton. Enchantment in blue by Flora Kidd. Whistle and I'll Come by Flora Kidd. Tomorrow's Flower by Margaret Malcolm. Cane Music by Joyce Dingwell. Wheels of Conflict by Sue Peters. Pathway of Roses by Mary Whistler. Harbour of Deceit by Roumelia Lane. Wandalilli Princess by Dorothy Cork. That Man Bryce by Mary Wibberley. Moon Tide by Rebecca Stratton.

Dark Intruder by Nerina Hilliard. Corporation Boss by Joyce Dingwell. The Sycamore Song by Elizabeth Hunter. The Garden of Dreams by Sara Craven. Ross of Silver Ridge by Gwen Westwood. For the Love of Sara by Anne Mather. Something Extra by Janet Dailey. Escape to Happiness by Mary Whistler. No Just Cause by Susan Barrie. Autumn Twilight by Anne Hampson. The Wilderness Hut by Mary Wibberley. White Rose of Love by Anita Charles. The Dance of Courtship by Flora Kidd. Spread Your Wings by Sara Seale. Dark Pursuer by Jane Donnelly. The Whispering Gate by Mary Wibberley. The Summer Wife by Flora Kidd.

The Windmill of Kalakos by Iris Danbury. Esmeralda by Betty Neels. Sherringdon Hall by Sheila Douglas. Chateau D'Armor by Rebecca Stratton. Tabitha in Moonlight by Betty Neels. Valley of the Vapours by Janet Dailey. Accidental Bride by Susan Barrie. One Special Rose by Sue Peters. Lord of the Island by Mary Wibberley. The Edge of Winter by Betty Neels. The Moon Dancers by Mary Wibberley. Cupboard Love by Roberta Leigh. The Gated Road by Jean S. Stranger in Their Midst by Jean S. Tinsel Star by Rachel Lindsay. The Bargain Bride by Flora Kidd.

A Gem of a Girl by Betty Neels. Child of Tahiti by Rebecca Caine. The Black Knight by Flora Kidd. Laird of Doorn by Sue Peters. The Intruder by Jane Donnelly. The Valley of Palms by Jean S. Aegean Quest by Elizabeth Ashton. Fiesta San Antonio by Janet Dailey. Six White Horses by Janet Dailey. Bride of Bonamour by Gwen Westwood. Master of Ben Ross by Lucy Gillen. Dark Venturer by Mary Wibberley. Jungle of Desire by Flora Kidd. Dear Caliban by Jane Donnelly.

Where Seagulls Cry by Yvonne Whittal. Yesterday's Magic by Jane Arbor. The Velvet Glove by Rebecca Stratton. Dangerous Pretence by Flora Kidd. Four Weeks in Winter by Jane Donnelly. Outback Rainbow by Dorothy Cork. Every Wise Man by Jacqueline Gilbert. Reilly's Woman by Janet Dailey. The Time and the Loving by Marjorie Lewty. The Silver Tree by Katrina Britt. Lure of the Falcon by Sue Peters. To Play with Fire by Flora Kidd. Lion of Venice by Margaret Rome. Plantation Moon by Gloria Bevan.

Hawk in a Blue Sky by Charlotte Lamb. Dream of Winter by Rebecca Stratton. Handful of Stardust by Yvonne Whittal. Lord of La Pampa by Kay Thorpe. Sunflower Summer by Sue Peters. Night of the Yellow Moon by Flora Kidd. Golden Apples by Rose Elver. The Brightest Star by Roumelia Lane. Ring of Fire by Margaret Way. Heart of the Eagle by Elizabeth Graham. Britannia All at Sea by Betty Neels. The Enchanted Woods by Katrina Britt. Loren's Baby by Anne Mather.

Unwanted Wife by Rachel Lindsay. The Broken Link by Yvonne Whittal. The Devil at Archangel by Sara Craven. Desert Barbarian by Charlotte Lamb. Rendezvous in Venice by Elizabeth Ashton. The Awakening Flame by Margaret Way. Adam's Bride by Rosemary Carter. The Jewelled Caftan by Margaret Pargeter. Philomena's Miracle by Betty Neels. The Savage Aristocrat by Roberta Leigh.

The Taming of Tamsin by Mary Wibberley. Dilemma in Paradise by Robyn Donald. Sonora Sundown by Janet Dailey. Full Circle by Kay Thorpe. Castle of Temptation by Flora Kidd. Surgery By the Sea by Sheila Douglas. The Devil's Arms by Charlotte Lamb. Man of the Wild by Rosemary Carter. Wake the Sleeping Tiger by Margaret Way. Isle of Calypso by Margaret Rome. Walk in the Shadows by Jayne Bauling. The Awakening by Rosemary Carter. Summer Rainfall by Kerry Allyne. Only You by Margaret Pargeter. Canadian Affair by Flora Kidd. Scorpio Summer by Jacqueline Gilbert. The Joyous Adventure by Elizabeth Ashton.

Walkabout Wife by Dorothy Cork. Passionate Encounter by Flora Kidd.