by jen l.
A STUDY
OF COLOUR. a film study
an introduction.
CONT/ ENTS.
04
a dissection.
06
variations.
08
symbolism.
10
03.
COLOUR. [noun] the quality of an object or substance with respect to light reflected by the object, usually determined visually by measurement of hue, saturation, and brightness of the reflected light; saturation or chroma; hue. in film, colour can be used to manipulate the emotions of an audience on many difference conscious and subconscious levels. this can be communicated through many ways, be it through the composition of each individual shot or the recurring motifs associated with a distinct colour. film colour palettes play a wide range of roles in the audience’s connection to the characters and plot, from wardrobe choices and colour gels to post-production filters and fonts.
05.
DIVING DEEPER.
HOW CAN COLOUR TELL A STORY? colour is an irreplaceable tool for filmmakers and artists alike. it affects audiences emotionally, psychologically, and physically. colour in film can build harmony or tension within a scene, perhaps bringing attention to a key theme. a massive spectrum of its abilities range from: eliciting psychological reactions; drawing focus to significant details; setting the tone of the film/setting; representing character traits; showing changes or arcs in the plot. the film palette of a film is incredibly important. the very basis of a film is built on the foundations of its colour scheme, carefully aimed at maximising emotional and visceral effect on audiences.
exploring the psychological effect of colour in films. the three main components of a colour are: [ ] hue --- the colour itself [ ] saturation --- the intensity of the colour itself [ ] value --- darkness or lightness of a colour
there are several types of colour palettes, consisting of balanced and discordant palettes, as well as associative and transitional palettes. these branch out to further colour schemes, such as complementary and triadic schemes.
07.
BALANCED COLOUR PALETTES.
monochromatic complementary analogous triadic
monochromatic colour schemes. consist in shades of a single colour (eg. red, dark red, and pink.)
monochromatic.
they create a deeply harmonious feeling that is soft, lulling and soothing.
contrasting drama (ie. warm vs. cool) complementary colours circle opposite each other on the colour wheel. dueling colours are often associated with conflict, whether internal or external.
complementary.
analogous colours reside as neighbours on the colour wheel (eg. red/violet, yellow/lime-green).
analogous.
since colours don’t have the contrast and tension of complementary colours, they create an overall harmonious and soothing viewing experience.
vibrant and colourful. triadic colours are three colours arranged evenly spaced around the colour wheel (eg. red, blue and yellow). it is one of the least common film colour schemes, but it can be striking and vibrant even when the hues are unsaturated.
triadic.
spectre, 2015. dir. sam mendes
DISCORDANT COLOUR PALETTES. discordance is a deliberate colour scheme choice by the director to deviate from the balanced film colour schemes mentioned on the page prior to refocus attention. it is often used to refocus viewer attention to a specific person, place or thing.
09.
SYMBOL / ISM.
colour can also be used to show transition and change in plot and/or characters. for example, (Wizard of Oz) Dorothy’s dream was shown in colour, while reality was depicted in monochromatic colours.
film is incomplete without colour symbolism. colour is used for a range of things in film, from highlighting dramatic developments, to adopting a certain look or feel.
perhaps, the best example of colour symbolism that depicts transition in films is seen in ‘The Crouching Tiger Hidden Dragon’. the leading character is always shown in white --- however, once she falls in love, she is shown in red.
colour symbolism can also be used to depict clues in films, giving subtle hints towards the plot etc. directors such as M.Night Shyamalan and Jeunet employ colour symbolism to portray such features. directors often employ the use of colours to portray expressions. in Jeunet’s Amelie, colours were used to portray the inner reality of the characters. for example, the cinematographer used a green-gold-red palette to depict the main character’s fairytale view of the world.
for example, Shyamalan uses red to depict objects that were touched by the ‘other worldly beings’, and Jeunet using complementary reds and greens to depict danger and caution.
11.
REFERENCES. https://www.premiumbeat.com/blog/manipulate-emotions-with-color-in-film/ http://ideas.dissolve.com/tips/how-to-use-color-in-film-50-examples-of-movie-color-palettes https://www.studiobinder.com/blog/how-to-use-color-in-film50-examples-of-movie-color-palettes/ https://www.cinema5d.com/film-color-schemes-cinematic-color-design/ https://www.filminquiry.com/power-colour-storytelling/ https://www.lafilm.edu/blog/the-psychology-of-color/ https://ideas.ted.com/how-color-helps-a-movie-tell-its-story/ https://www.color-meanings.com/color-symbolism-in-movieswhat-do-colors-mean-in-movies/