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World's first colour film footage viewed for first time

"'It's very significant indeed, it's the world's first natural colour film and the fact that it's a Brit who invented it is fantastic.'

Bryony Dixon, curator of silent film at the British Film Institute (BFI) National Archives, said the 1902 footage was of international significance for the cinema world.

The films were made by Edward Raymond Turner from London who patented his colour process on 22 March, 1899. Some of the footage features Mr Turner's children in the garden of their home in Hounslow."

(12 September 2012, BBC News)

The world's first colour moving pictures dating from 1902 have been found by the National Media Museum in Bradford after lying forgotten in a tin for 110 years.



1902BFIBFI National ArchiveBritish Film Institute • Charles Urban • cinema • cinema apparatus • colour • colour effect • colour filmcolour process • colour reproduction • cultural history • Edward Raymond Turner • George Albert Smith • historical importancehistory of cinema • international significance • invention • invention of cinema • Kinemacolour • mechanical deviceNational Media Museumnatural colour • natural colour film • non-standard size • pioneeringprojectorsilent cinemasilent filmTechnicolortechnology innovationUK


Simon Perkins
29 JUNE 2011

The Island: Stephen Walter's London Series

"London is one of the great living palimpsests of our time. Its layers of history and its constant energy to re–invent itself fuels this vast grey magnet. I was spurd on by the great Map Makers of London's past – John Roque, Greenwood and Phyllis Pearsall (the originator of the A–Z). Informed by my own insights and knowledge, I combined further research on the Internet and through writers such as Peter Ackroyd and Ian Sinclair.

The resulting map, a spoof of the historical ones of old, would challenge the first impressions of its viewer; touching on the Capital's vastness, its secrets and its undercurrents. With this process in mind, I began to edit the information, keeping what I felt were historically important, interesting, relevant and amusing. These fantastical additions and epithets are purposefully innocent and acidic, trivial and serious. The Map is as much about the personality of its viewer than it is about of my own. In other words it acts as a mirror.

Britain is a collection of islands and it undoubtedly forms part of our identity. This provincialism; the centre of many industries and in particular the London Centric Art world and its rise again to a world city status add to its identity as an icon, separated from the rest of the country. I wanted to perceive London as another one of these 'islands', and so when mapping the coastline around its Borough edges I was happy to discover Carshalton Beaches coinciding with this border."

(Stephen Walter)

Fig.1&2 Stephen Walter, "The Island"




ancestral domainsancestral domainsborders • Carshalton Beaches • cartographycity mapscultural identitydrawing • epithets • everyday • fantastical additions • graphic representation • Greenwood • hand-drawn mapshistorical importancehistorical map • Ian Sinclair • icon • islands • John Roque • layers of history • London • London Centric Art • map makers • map of Londonmapmakingmapspalimpsest • Peter Ackroyd • Phyllis Pearsall • provincial • provincialism • secretspatial narrative • Stephen Walter • streetsubversion • The Island • UKundercurrentsurban centrevisual communicationvisualisationworld view


Simon Perkins

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