Film Forms
Colour
Derek Jarman Blue
http://www.youtube.com/watch?v
=6xOd3Wh0bSo
Last Scene
http://www.youtube.com/watch?v=7_-B1klXl3U
Francois Truffaut (Director of The 400 Blows,
Jules and Jim etc- Leading member of the New
Wave)
“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... From the moment that a film is in
colour, that is shot in the street today, with the sun
and the shade and the dialogue covered by the
sound of motorbikes, it's not cinema any more...
When all films were in black and white, very few
were ugly even when they were lacking in artistic
ambition. Now ugliness dominates."
Colour or Black and
White?
Colour is a key element in which Directors can influence mood,
create effects, emphasise a sense of space, differentiate characters
and effect the storyline/plot.
1. Color as a filter:
Color is used to tint the entire film or specific key scenes. This
can be to establish a mood or to create a subconscious
difference between places. This color is usually added after the
fact through processing or filtering and affects everything in the
shot equally.
Three Colours Blue (1993 Krzysztof Kieslowski) http://www.youtube.com/watch?v
=PZB5jZJfSy0
Three Colors: Blue is the first part of Kieslowski's trilogy on France's national motto: Liberty, Equality,
and Fraternity. Blue is the story of Julie who loses her husband, an acclaimed European composer and
her young daughter in a car accident. The film's theme of liberty is manifested in Julie's attempt to start
life anew free of personal commitments, belongings grief and love. She intends to spiritually commit
suicide by withdrawing from the world and live completely independently, anonymously and in solitude in
the Parisian metropolis. Despite her intentions, people from her former and present life intrude with their
own needs. However, the reality created by the people who need and care about her, a surprising
discovery and the music around which the film revolves heals Julie and irresistably draws her back to the
land of the living.
2. Environmental color:
Color is used in the props or scenery to create an atmosphere of heightened color.
Objects (mis-en-scene) are selected to create a specific and recognizable color
scheme
or palette. Usually the characters are not aware of this occurring.
Amelie (Jean-Pierre Jeunet- director, Bruno Delbonnel- cinematographer, 2001)
Jeunet collected stories—some of his own; some told to him by other people—for 25
years. These stories were brought together to create the script for Amélie. Amélie is
Jeunet's first film shot on-location, so it is interesting The film intertwines destiny and
chance. Jeunet sees destiny and chance playing key roles even in the making of the
film.
Amélie sees things in a very childlike manner. Adult themes (like sexuality) are
presented almost in a childlike way. This is demonstrated in the way the film was
made.
Look for how this is conveyed through color. The characters each have an object that
is associated with them
Jeunet states, “I believe that every shot should be a painting.” He uses a lot of green
and red and the occasional blue and yellow. What do these colors represent?
http://www.youtube.com/watch?v=d7xYD4f1sO0
3. Color through costume:
The filmmaker like the painter, can also exploit the principle of colour
contrast to shape our sense of screen space.
Bright colours set against a subdued background are likely to draw the
eye (Contrasting Colours) Schindlers List/The Red Balloon
Warm colours attract attention
cool colours are less prominent
Limited Palette – a few noncontrasting colours
monochromatic colour design Black and white films also rely on our
sensitivity to change in tonalities. The colour of setting, costumes,
lighting, and figures register on the film in shades of black, white, and
gray.
THX – 1138 George Lucas 1971
http://www.youtube.com/watch?v=K6Z2ag8FMZw
6. Colour and Depth