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The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
This paper explores the psychological experiences of domestic workers in three contemporary Latin American films: Roma (Mexico, 2018), Crímenes de familia (Argentina, 2020) and Que Horas Ela Volta? (Brazil, 2015). Specifically, the motherhood of these three protagonists is explored and analyzed using psychological research that pertains to motherhood, trauma, and the relationships between domestic workers and the families that employ them. This paper reveals that contemporary Latin American cinema portrays domestic workers as having negative experiences of motherhood as a direct result of their occupation and proposes for further protections, policy change, and psychological research to take place for domestic workers in Latin America and beyond.
Set in 1999, the film focuses much of its time on exploring alternative visual interpretations of a color-saturated digital space, and contrasting these with a less-vibrant analog world. This contrast intends to provide a visual differentiation between the digital and analog worlds, serving as the basis of the film’s storytelling. The built worlds privilege the emotional context of the internet, and contain an inherent thesis statement: that the digital experience can be as rich and meaningful as that of the analog, if not more so. The visual direction is the result of integrating several perspectives, including contemporary representations of the internet on film, personal observations, digital themed art installations, and experiences of others on the internet. As such, this film intended to engage with the existing body of work, and provide an artistic contribution to what already existed within the film and music video landscapes.
With this, I intend to use storytelling as a tool for conceptualizing worth. Specifically, with the centering of two Black women as romantic interests, I hope to provide a nuanced affirmation in a space where representation is often lacking.