Summary
This 1922 artifact functions less as a narrative and more as a chromatic revelation—a laboratory-born vision where the physical world is distilled through the experimental subtractive two-color process. Eastman Kodak’s lens captures the luminescent spirits of Mae Murray, Hope Hampton, and Mary Eaton, not as characters, but as celestial bodies orbiting the sun of technological progress. The 'plot' is the very act of seeing: the way a silk scarf catches a specific hue of vermilion, the manner in which a peacock feather’s iridescent sheen survives the translation from light to emulsion, and the delicate, almost spectral rendering of human skin tones. It is a silent choreography of texture and pigment, where the movement of a hand or the flutter of an eyelid serves as a benchmark for the fidelity of a new reality. These test shots represent a pivotal moment of transition, a bridge between the stark chiaroscuro of the silent era and the hyper-pigmented futures yet to come, rendering the Ziegfeld Follies icons as eternal specimens in a beautiful, chemical amber.
Synopsis
Experimental film done by Eastman Kodak to test the abilities of Kodachrome film stock.
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