Speak Up Archive: Dark and Fleshy: The Color of Top Grossing Movies At some point last year I subscribed to e-mail updates from Box Office Mojo , thinking that weekly box office results was information I should be regularly privy too. Needless to say, I was bored after the first few weeks. On one occasion, though, the e-mail had a link for a list of the top grossing NC-17-rated movies of all time. Now was fun information. was at the top of the list — a movie so ridiculed as to become a punch line but not awful enough where people wouldn’t mind sitting through it to see “ Jessie Spano ”, all grown up, do the naughty hoppitty poppitty. Back then I hadn’t realized that right next to the NC-17 top grossing movies were the same lists according to the rest of the MPAA ratings . After all, it’s only 11 posters where black is the predominant color and another 7 where it’s a dark-hued background that dominates.
[ Nostalghia.com | The Topics :: Tarkovsky on Color Cinema ] Maria Chugunova interviews Tarkovsky This is an excerpt of a transcript of an interview with Tarkovsky, conducted by Maria Chugunova for To the Screen, 12 December 1966. In the following excerpt he speaks about color vs. black-and-white film, Andrei Rublov, Antonioni, and Kurosawa. See this page for additional comments on usage of color in cinema. Reference: The first English translation of this interview (in its entirety) appears as an Appendix in Time Within Time: The Diaries 1970-1986, Seagull Books Private Limited, Calcutta, 1991, pp. 356-358. What is your view of colour? At the moment, I don't think colour film is anything more than a commercial gimmick. Colour film as a concept uses the aesthetic principles of painting, or colour photography. What about Antonioni? The Red Desert is the worst of his films after Il Grido. What about colour in your own film? We only used it in Rublov's paintings. What would you say about the transition from black-and-white to colour? No.
Chroma Cinema: Use of Color in Films Chroma-Cinema The Use of Color in Color and Black-and-White Films By Adrienne Reddadredd@journalist. "Red irritates one group, another finds blue objectionable and a third set of people balks at yellow." -- Cecil B. When the movie industry began, its artisans only had the capability to film in black and white. photographing it in color, perhaps it's worth our time to think about how color first came on the cinematic scene, not all at once, like Athena bursting from the head of Zeus, but little by little, trickling into our field of vision and how color has been used, either in predominantly black and white films or has shared the screen, often giving the sense of two worlds. Originally, using color was much more expensive, so if a studio couldn't afford do the entire film in color, they used a little bit. black-and-white and that someplace over the rainbow, that someplace far, far away where there isn't any trouble is the technicolor world of Oz.
Did colour ruin the movies? | Film Fade away... Colour and black and white scenes in A Matter of Life and Death While editing a book of François Truffaut interviews, I came across the following quote from 1978: "I think that colour has done as much damage to cinema as television... It is necessary to fight against too much realism in the cinema, otherwise it's not an art... On reflection, I consider that Truffaut was making a valid point. Truffaut, who fought against "realism" in the cinema, associated colour with reality. This "unreality" benefited both films noirs and horror movies. The classic horror films were in black and white. There is a belief that two genres, the western and the musical, were enriched by colour. There is still the mistaken idea, especially among television companies, that colour is essential, and that few people will watch "some old black-and-white movie".
Color In Film: M. Night Shyamalan by COLOURlovers M. Night Shyamalan is known for, among other things, his use of color symbolism. In his first major hit, The Sixth Sense, the color red was used to indicate a connection to the dead and forewarn that something was about to happen. Below, we take a look at some of the color symbolism used in his films with the help of discussions, interviews and essays on his use of color. The Sixth Sense In his classic The Sixth Sense he intentionally inserted bright red objects as a symbol that something ominous was about to happen. - irregural.com His systematic use of red in The Sixth Sense to indicate some connection with the world of the dead. - Senses of Cinema Unbreakable I have a very monochromatic style of making films and these are plot colours, like the bright neon colours in Unbreakable. - kamera.co.uk He wears green like many heroes (Green Lantern, Green Arrow, The Hulk etc). Signs The Village Question: Our first question is more specifically about the Village, this comes from Andrew.
Color Theory for Cinematographers - Outside Hollywood At this year’s San Antonio Film Academy, I gave two lectures on three Cs of cinematography, composition, contrast, and color. Color is often overlooked by beginning DPs, and it is an extremely powerful tool. I described color in cinematography as “the use of analogous or complimentary color tones to create contrasts between elements in the frame and communicate emotional ideas to the audience.” Not a great description, but good enough for starters. Color can also communicate emotional information. It can be very helpful to depart from the expected if your film requires it. When we first see Scott’s Somalia it looks like this – dirty, grungy, and brown. By contrast, US soldiers live in high-tech steel barracks lit by cool halogen lights and laptop screens. When Task Force Ranger goes into Mogadishu they go into the warm, brown, dangerous sunlight and bad things happen. Even the command center has warmer light in it during the attacks than it did previously.
Surreal and Symbolic: The Use of Color in Film - Nashville Movie Perhaps the biggest change to film since the introduction of sound was the advent of color, which changed what we will see on the screen forever. Sure, there is something romantic about the old black and whites, but color technology has allowed filmmakers to manipulate emotions, show the importance of certain aspects of their films, and not to mention has delighted audiences in our increasingly visual society. Being able to play with color has created fantastic worlds in film as well as been used for symbol and combined with black and white to change our perceptions. Today, we are so used to color in our films that we sometimes overlook its history and impact on film. In early films, such as the ones made by Edison and the Lumiere Brothers, color was painted in frame by frame. Film tinting and toning was later used and produced color effects, but it was detrimental to the quality of the film itself over long periods of time. The girl in the red coat Film poster for Amelie
The Top 25 Film Directors of All Time and Their Best Movies Amidst the glitz and the sheen of the glamorized media spread covering the players in their work, directors are often kept in the background as something of a backstage monarch. In reality though, we know they stand as a different breed and in fact are the pillars of anything related to a movie. So here is a definitive list compiled by me taking into account various sources, from film critics to friends to the odd online list of the 25 greatest movie directors of all time. 25. Clint Eastwood Eastwood is said to have given one final goodbye to the western genre that made him a legend back in the eary 90's. His Five Best Flicks: 1. 24. The man who never really will grow up could have turned into a box office Spielberg if it wasn't for his tendency to stray from anything remotely real which really is the calling card of his films. His Five Best Flicks: 1. 23. Their Five Best Flicks: 1. 22. His Five Best Flicks: 1. 21. His Five Best Flicks: 1. 20. His Five Best Flicks: 1. 19. 18. 17.
The Emotional Significance of Color in Television Presentations Benjamin H. Detenber Nanyang Technological University Robert F. Simons and Jason E. Reiss University of Delaware Contents Abstract A within-subjects experiment was conducted to investigate the emotional effects of color in film and television clips. Introduction Ever since Marshal McLuhan (1964) put forth his provocative aphorism, the medium is the message, media scholars have been interested in the form a message takes as well as its content. While a great deal of scholarship has flowed from McLuhan’s seminal idea, research in recent years has gone beyond simply describing the various formal characteristics and labeling different media as either hot or cool, to investigating the impact of message forms. As media continue to change, their impact on individuals needs to be assessed. Color The perception of color is essential to our visual experience. In terms of emotional reactions, the influence of color versus black and white has also been studied in relation to both still and moving images.