What made Hammer's colorful gothic movies look different from old black-and-white monster movies?

"credited its use of Technicolor, sexuality and graphic horror with distinguishing it from earlier screen adaptations of the character."

"Shot in Eastmancolor , the first batch of Hammer Horror movies"

"Its combination of Gothic settings, colour photography and explicit bloodshed helped establish the visual style subsequently identified with Hammer horror."

"this one, made in Britain and photographed in Technicolor, tops them all."

"Production designer Bernard Robinson and cinematographer Jack Asher were instrumental in creating the lavish look of the early Hammer films, usually on a very restricted budget."

"Professor Patricia MacCormack called The Curse of Frankenstein the "first really gory horror film, showing blood and guts in colour"."

"It's chillingly realistic in detail (and at times as gory as the law allows)."

"the solid sets drenched in a soft brilliance of shadows, of greys, reds and blues"

"The British Film Institute has described it as the first of Hammer's major Gothic horror films, beginning a cycle that would become closely associated with the studio for more than a decade."

"the Jack Asher photography full of foreboding atmosphere."

"The BFI has also characterised the film as helping to revive Gothic horror at a time when the genre had increasingly been dominated by science-fiction and atomic-age monsters."

"meaning the camera was noticeably tilted to give an unreal, off-kilter effect: a time-honored method in film of representing either a flashback or a dream."

"Surprisingly tasteful for a Hammer film, the production is also quite imaginative (The Phantom's rocky, water-lapped lair, complete with organ and double-bed) and careful."

"Through the affordability and convenience of the Eastmancolor process, colour was opened up to studios working within genres, such as horror, which were more commonly associated with black-and-white during the Technicolor era."

"but its Gothic elements are rich enough to defy time"

"As Peter Hutchings suggests, Hammer’s biggest generic transgression for the horror film wasn’t the ‘controversial representation of sexuality or violence but was simply the fact that it was in colour while the majority of earlier horrors had been in black and white.’"

"the colour was less stylized, making Eastmancolor more suited to everyday stories than the more historic or fantastic films where Technicolor found a home."

"the comparison of its colour schematic to that devised by Natalie Kalmus for Technicolor convincingly shows that the British studio brought more than just red blood to the screen, but presented a carefully constructed psychological colour landscape."