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Image colour lecture


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lecture on colour theory and cultural meaning of colour in art, photography and film

lecture on colour theory and cultural meaning of colour in art, photography and film

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  • Color is an essential storytelling tool It acts at the subconscious level.
  • Monochromatic colors emphasize form, light and texture. It gives the emotional appearance of 'truth'
  • Color in many current games border on monochromatic, reflecting a need for the emerging medium to break beyond it's stereotype and into mainstream art.
  • Analogous colors don't have much energy, they sit easily together without tension.
  • Pure complimentary colors have extreme chromatic contrast and LOTS of energy.
  • Triadic
  • Red can symbolize power, anxiety, lust Heightened emotional states
  • Power Journey into adulthood for Dorothy
  • Energy
  • Sex
  • Warmest of the three films, red signifies romance.
  • Red eventually ended up being an indicator that a crew member was going to die.
  • Yellow can signify a warning
  • Warning
  • Exuberance and youth Symbolizes Dorothy's journey
  • Exuberance and youth Symbolizes Dorothy's journey
  • Obsession
  • Obsession
  • Idyllic sunlight
  • Supposed to be Gladiator – Maximus' happy place.
  • calm
  • cool
  • Serene
  • Blue is cool and isolating, like the character who tries to isolate herself.
  • Powerlessness in Tootsie compare this with....
  • Powerlessness
  • Powerlessness
  • Powerlessness
  • Powerlessness
  • Illusion – eyes wide shut
  • White represents equality. White can be seen as a balance, a zero point, without tension.
  • While Mr. Zhang and Mr. Doyle insist the choice of colors was aesthetic, not symbolic, the coloration itself becomes the movie's theme. "Part of the beauty of the film is that it is one story colored by different perceptions," Mr. Doyle says. "I think that's the point. Every story is colored by personal perception."
  • The filmmakers decided to stage the climax of the second story on a magnificent lake in the Jiuzhaigou cq region of China, and the color of the water, they say, inspired them to make this section blue.
  • Having decided to shoot a key part of the third tale in a desert near the border with Kazakhstan, the filmmakers picked the white of the desert at noon for the costumes in this section.
  • Storaro says green is the color of knowledge. Well, I've done many films where green was the color of memory, and that's just a personal choice. Actually, in `Hero' we used green for the flashbacks because we ran out of colors. We'd done all the other stuff. So we had the red, we had the blue, we had the white — there was only green left, basically. You're not going to do anything in orange or pink."
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