Film sensitivity to dark tones was driven by commerce, not civil rights

Evidence

Kodak executives in the 1960s and ’70s described the major impetus for making film that was sensitive to a wider range of darker tones as having come not from the civil rights movement but from the furniture and chocolate industries, which complained that film wasn’t properly showing the grains of darker woods, or the difference between milk and dark chocolate. — Brian Christian, The Alignment Problem, 135

Categorization

• XREF: Connects to the Shirley card discussion in 133-139 and to how incentive structures shape technical standards; parallels the pattern of market forces overriding ethical concerns seen throughout the chapter. — connects to: Camera technology itself embeds racial skin-tone biases, not just casting
• SEED: Article angle: how industries accidentally solve moral problems while pursuing profit - the hidden incentives behind ‘neutral’ technical improvements.
• corroborated: 2 independent passages support this claim — Brian Christian, The Alignment Problem, 135

Broader Connections

• Camera technology itself embeds racial skin-tone biases, not just casting #complicates (0.60)