WW II PACIFIC WAR EAGLES — China/Pacific Aerial Conflict in ORIGINAL COLOR —
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Characteristics
| ISBN-13 | 978-0962935930 |
| ISBN-10 | 0-9629359-3-X |
| Book cover finish(es) | Hardcover ( rounded spine binding ) |
| Special Features | Dust Jacket |
| Condition | Excellent |
| Author(s) | Jeffrey L. Ethell, Warren M. Bodie |
| Publisher | Widewing Publications |
| Number of pages | 224 |
| Published date | 1997 |
| Language(s) | English |
| Size | 28.5 x 22.2 x 1.9 cm |
| Categorie(s) | • AVIATION MILITAIRE • SECONDE GUERRE MONDIALE |
Description
The History Channel shows it with a vengeance! Film after film displayed on television for most of the summer in 1995 repeatedly provided emphasis to the subliminal perception and visual observations that most of World War II was really a black & white monochromatic event. It was especially true from the viewpoint of the Japanese and all European Axis persons. Rarely, during the most combative days of the war did the superlative LIFE magazine publish color photographs of even the most disastrous battles or destructive aerial attacks. As a result, billowing smoke and blue-red-yellow flames have much the same appearance page after page. Imagine how you would feel if your eyes only returned views of the real world in the same dull monotones we lived with in most motion pictures and virtually all publications during the first half of this century.
The spectacular events of December 7, 1941, at Pearl Harbor were not filmed in color because virtually every newsworthy event in that era was recorded on black and white film. Perhaps a handful of color images may have been made in Leica cameras during the Nazi invasions of Poland, Belgium, Holland, France, the Balkans or subsequent conflict in North Africa. If so, films would not have been Kodachrome, but even if they had been there would have been no way to have them processed. Other color film lacked the quality and stability of the American film. Heavy concentrations of media personnel in England during the latter half of the Battle of Britain should have managed to take hundreds - possibly thousands - of outstandingly exciting colorful views of the destruction of London's "city area" and the East End docks and warehouses. But by an overwhelming margin, the bulk of the coverage was in those somber monotones. One and a half decades later, LIFE's own pictorial history of the war had but a handful of wartime color pictures to publish. Were the Japanese able to publish even one color picture during WWII - even to exploit the Pearl Harbor attack success? We doubt it.