Abstract
During the 1930s Alexander Korda played the single most significant role in introducing Technicolor to the British film industry. His company London Film Productions, which traded on its reputation for big-budget, glossy superproductions aimed at the international market, sought the prestige and the extra box-office appeal that the process provided. In this article I shall explore the industry logic that led Korda to embrace Technicolor after a brief but significant association with an earlier process. I shall then consider the nature of his early Technicolor productions, tracing their swift passage from a demonstration mode, in which Technicolor itself enjoyed star status, to an allegorical mode, in which the use of colour was enlisted in the service of a larger propaganda purpose. Responsive to the turbulent times in which he lived, Korda’s achievement was to show that Technicolor was not simply an adjunct of fantasy, spectacle and escapism, but a powerful tool with which to address serious topical issues.
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