The Germans Wore Gray, You Wore Blue”
Frank Capra, Casablanca , and the Colorization Controversy of the 1980s
Bibliographic Data
| ID | 11353046 |
|---|---|
| Authors | Gary Edgerton (0000-0001-5671-0456, corresponding author), Gary R Edgerton |
| Year | 2000 |
| Volume | 27 |
| Issue | 4 |
| Pages | 24-32 |
| Publication date | 2000-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Popular Film and Television (JOURNAL) |
| Journal identifiers | ISSN: 0195-6051 • E-ISSN: 1930-6458 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/01956050009602812 |
| OpenAlex | W1973005583 |
| Language | EN |
| Citations received | 3 |
| References cited | 1 |
Converting Casablanca to color was undoubtedly the last straw for most anti-colorizers. The colorization controversy began in the spring of 1985 when Frank Capra went public with his apparently strong objections over the colorizing of It's a Wonderful Life (1946) by Colorization, Inc., of Toronto, Canada. The roots of the impending hostilities actually reach back to early 1981 when the executive board of the Directors Guild of America (DGA) began actively campaigning for a “creative rights” clause in their ongoing contract negotiations with the Motion Picture Association (MPAA), the major film producers' and distributors' trade association. This inter-industry squabble eventually surfaced, more prominently between 1985 and 1988, and became the subject of Senate hearings, print and electronic news coverage and editorializing, Additional informationNotes on contributorsGary R. Edgerton GARY R. EDGERTON is a professor and chair of the Communication and Theatre Arts Department at Old Dominion University
Art · Art history · Dominion · Film industry · Gray (unit · KISS (TNC · Media studies · Political science · Sociology · Art, Politics, and Modernism · Law · Medicine · Visual Culture and Art Theory
| Citations per year | 3 |
|---|---|
| Citation span | 2025 - 2025 (1) |
| Highly cited | No |