MY METHODS OF WORKING pt 7

Colour in film is vital. Lighting, colour correction and the organised physical colour schemes within the miss-en scene change the way we view, interpret and feel certain emotions through scenes in cinema. Here are some of my notes on colour based on the colour schemes I’m interested in exploring with before shooting my film;

Source: Krzysztof Kieślowski’s A short film about killing (1988)

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Colours:A Combination of highly saturated warm and cold hues, mainly consisting of blues, greens and yellows, merged together with the addition of high contrast to strengthen the blacks and shadows throughout the overall image. Although the colours present in this film are supposed to reflect a calmness and tranquility, the high contrast counterbalances this to contribute to the images dark and gloomy nature.

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Source: Andrei Tarkovsky’s Nostalghia (1983)

nostalghia Nostalghia_Andrey_Tarkovsky_Electronic_Beats_Magazine_13_01 nostalghia-1

Colours: The utilisation of high Brightness, soft blacks and Desaturation of the overall image contribute to a very murky aesthetic. Additionally theres a certain hazy quality that contributes to a surrealistic feeling or something that suggests impending doom for the characters within their location.

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Source: Gaspar Noe’s Irreversible (2002)

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Colours: High contrasted images help create an emphasis on silhouettes. Rich blacks and colours ,particularly warm hues of reds, obtained from the intense lighting design on production. I consider the best way to describe the aesthetic of this film to be sinister sleaze, which can also reflect the essence of the narrative and entire nature of Irreversible.

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Source: The night time scenes from Albert Dupontel’s Enferme Dehors (2006)

Colours: The visual aesthetics throughout the film’s night time scenes, which remain different from the rest of the film, contains a lot of highly saturated greenish/ yellowish hues that supports the overall high contrast image. I feel as tho these colours have been specifically used to create a contrast between the day and night scenes, as it may reflect the directors own notions of the city streets, at night in France, as a profoundly dark and ominous place.

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