Filtering by
- All Subjects: Movies
- Creators: School of Film, Dance and Theatre
- Creators: Maayan, Inbar
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.
The Public Broadcasting Station (PBS) documentary Life's Greatest Miracle (abbreviated Miracle, available at http://www.pbs.org/wgbh/nova/miracle/program.html), is arguably one of the most vivid illustrations of the making of new human life. Presented as part of the PBS television series NOVA, Miracle is a little less than an hour long and was first aired 20 November 2001. The program was written and produced by Julia Cort and features images by renowned Swedish photographer Lennart Nilsson. It comes as a sequel to the award-winning 1983 NOVA production, The Miracle of Life, which exhibits Nilsson's photography as well. The program showcases a combination of graphic animation, endoscopic and microscopic footage, as well as the story of a couple who are expecting a child. It features a number of new technological and scientific developments not present in its prequel, providing additional relevant information. By depicting human development in a clear and fresh manner, Miracle helps shed light on this indispensible aspect of life. Following is a description of the documentary, highlighting the key points of the film and explaining images featured in it.
Written, produced, and directed by Toby Mcdonald, the 2005 National Geographic Channel film In the Womb uses the most recent technology to provide an intricate glimpse into the prenatal world. The technologies used, which include advanced photography, computer graphics, and 4-D ultrasound imaging, help to realistically illustrate the process of development and to answer questions about the rarely seen development of a human being. The following description of the images and narrative of the film captures the major points of In the Womb, and of embryonic and fetal development, as they are seen at the outset of the twenty-first century, depicted in only 100 minutes.
The goal of such an exercise is to bring the audience closer to a character, typically the main character. A film is driven by the audience’s connection to the plot and the main character, who is typically the driving force behind the narrative. Having an audience closer to the main character is advantageous to give the audience something personal to latch onto. Getting invested in a single character’s story is a tactic that most films use and while some use traditional filmmaking styles to narrate the film, some put in these subjective moments.
Most movies include a mix of objective and subjective scene; however, the vast majority of screen time is usually objective. Subjective moments are just that, moments within a film where the filmmaking is visually distinct from before in order to communicate the transition into a character’ subjective experience of reality. The process of using cinematic techniques: sound, images and actors to create emotion is the focus of the thesis. What specific techniques do director and other filmmakers use to create these moments from the perspective of a specific character? The research on this creative project included reverse engineering scenes to firgue out the technical specifications that the filmmakers use. What kind of lighting, cameras and sound design where employed? Why were those techniques chosen to represent a character’s subjective reality? And most importantly, why do those techniques evoke those emotions?