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Film History tells us what are the important structures in film language. Remember? Sound, color...
What is this black-nd-white world? Do we know it?
Do you see b&w dreams?
We crave for color!
Bordwell textbook : ch. 7 : The Shot -- Cinematography
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Color over Shape/Form
Realistic & Symbolic
Color as a Transitional Device
Color and Sound
SummaryI am using this page for film directing, film analysis, aesthetics and even stage directions!
Questions"Colour possesses me. I don't have to pursue it. It will possess me always, I know it. That is the meaning of this happy hour: Colour and I are one. I am a painter." Paul Klee from Kinema
NotesRecommend to read it together with the SOUND page.
Sight, Sound, Motion: Applied Media Aesthetics Developed at San Francisco State University, this textbook isolates the five fundamental image elements of television and film--light and color, 2D space, 3D space, time/motion, and sound--examines their aesthetic characteristics and potentials, and structures them in their respective aesthetic fields. The fourth edition adds sections on inductive shot sequences, electronic cinema, and alternative storytelling techniques. ***
Students MUST write, shoot, direct and edit their first films!Color is Authum of Light, it's goodbye, which gives birth to ...Colors are memories of light, said one wise German -- and I still think about it, about dying light, the trace of light in trasparent matter.I used "Sight, Sound, Motion: Applied Media Aesthetics" by Herbert Zettl (Wodsworth Pub.) in class and recommend the book (Library, on reserve, when I teach the class). There are two good chapters on color (four and five). He talks about color right after the chapter on Lighting and considers both the First Aesthetic Field. Color as an extension of light?
Before discussing the Aesthetics of Color (Ch. 5 Stucturing Color: Function and Composition) Herbert Zettl writes about Physiological and Psychological Aspects of color. We must realize that color comes before space and time, before two-dimensional field! We are still in ONE-DIMENSIONAL WORLD and that is what makes color so powerful. (One color increases attention 50%, 3 colors 75% -- advertising)
Remember, COLOR is the VISIBLE light (electromagnetic spectrum).
Hue describes the color itself.
Saturation decribes the color richness (strength).
Brightness or Lightness (value).
Additive -- red, green, blue (mixed = white)
Subtractive -- magenta, yellow, cyan (together = black)
SUM: Color is the property of light. Color shapes matter, forms it without changing shapes, like it father -- light.
... As early as 1908 a process called Kinemacolor used green and red filters both in photographing and in projecting black-and-white film to create an effective appearance of natural color.Sound and Color enter film history at the same time. What a coincidence!
When I said "seven" I want you to remember the special one -- absence of color!
See Visual Composition: Color Composition is always DRAMATIC composition.
COLOR page in 200X Art Directory! Read it!
... In the 1920s efforts turned to recording color on the film negative so that filters or special projection equipment would not be needed. The process, known as Technicolor, at first utilized two color negatives that were pasted together in a positive print. Later, a dye transfer system enabled the two negatives to be printed as a single positive film. The first feature-length all-Technicolor film appeared in 1922. Two-color Technicolor remained in use until around 1930, often for special sequences within black-and-white films. During the 1930s a further improvement, three-color Technicolor, was first utilized by Walt Disney in animated films; Becky Sharp (1935), directed by Rouben Mamoulian of the United States, was the first feature-length film to use this process.
Study fine art: check the 200X files! This is the Aesthetics class I use as an intro to all other classes. The basics and fundamentals are the most important, the foundation. Most of my time in classes is consumed by covering what should be known by anybody graduated from HS. Why couldn't Shakespeare and Aristotle be tought in those most wonderful years? Why do we have to learn it in college? Instead of talking about the color, I had to talk about the art history, period and styles, impressionists... This is not my subject in film directing class. But we can't talk about style without it. The B&W period can't be understood...
Oh, I am off again.
Read Eisenstein on color, when he was shooting b/w films.
Ah, the color. Each story has its own color. Remember Natasha's in "War and Peace"? She talks about each of us having our own color. Here is your color gamma. I do ask my actors to find the character's color... and their own color. Shape, smell and so on. Why? Because this is how we work. Give me the taste -- and it will overpower everything this character has to say. Color is more powerful than shape...
I told you to think black&white to appreciate color...
Now, lets talk about the dynamic color!
Darkness and Light is first.
If you paint, you know that "black" has its own colors. It's never "black" --- like "white" is never "white"...
Close your eyes -- what do you see? Color is the MOOD! That's how your direct us! Through COLOR! Color is the music of the eye!
No, no, color is not a melody, the line is.
Maybe I will finish it later. The story about seven colors. ....
Watch Kurosawa's "Dreams"!
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