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#Films made using technicolor process 3 skin#
The deeply rooted conflation of race and skin tone promotes the assumption that.
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1 What Dootson calls the ‘intimate connections between the politics of colour-as-hue and the politics of colour-as-race’ have not been lost on film and media scholars, but the connections when schematized can often be automatic and straightforward. As Kirsty Sinclair Dootson notes, ‘Even the briefest survey of landmark films made by American market-leader Technicolor evidences that people of colour were routinely exploited as part of the system’s chromatic appeals: from the Orientalist fantasy used to debut its two-colour system Toll of the Sea (1922), and the “Mexican” musical-short that launched its three-strip process La Cucaracha (1934), to the notoriously racist feature that secured the firm’s market dominance in classical Hollywood (that has come under renewed scrutiny of late) – Gone with the Wind (1939)’. The history of colour cinematography is entangled with representation of racial difference.