The Look in the movies A single man, Blue is the Warmest Color and Moonlight

Authors

  • Pedro Felipe Pinho Souza Universidade Estadual de Campinas (Unicamp), Brasil

DOI:

https://doi.org/10.35699/2237-5864.2019.15727

Keywords:

Look, Color correction, Digital colorization

Abstract

This   article   analyzes   the   use   of   color   in   film   production   and   post-production. Three films will be used as examples to demonstrate the importance of creative color use in the narrative construction of film. First, it is important to investigate the naming and classification of terms used for color manipulation processes in the image. Color correction, color grading,   digital   colorization,   look,   primary   corrections,   secondary corrections are terms that will be analyzed and pointed. Subsequently, the article focus exclusively on the look. Through a historical account of the modification of the cinematographic image, the article aims at showing the development   of   the   meanings   that   color   in   the   image   has   borne throughout the history of the seventh art.

Author Biography

  • Pedro Felipe Pinho Souza, Universidade Estadual de Campinas (Unicamp), Brasil

    Doutorando em Artes Visuais - Instituto de Artes, Unicamp

References

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BEACHLER, Hannah. Color Patterns: the production designer of Moonlight builds worlds thatbreathe with emotion. Film Comment (Film Society of Lincoln Center), v. 53, n. 1, p. 18-19, 2017. COLOUR IN STORYTELLING. Youtube, 2015. Disponível em: . Acesso em: 20 jul. 2016. COSTA, M. H. Cores & filmes: um estudo da cor no cinema. Curitiba, PR: CRV, 2011. COUCHOT, E. A tecnologia na arte: da fotografia à realidade virtual. (S. Rey, Trans.) Porto Alegre: Editora da UFRGS, 2003. DUBOIS, P. Cinema, vídeo, Godard. São Paulo: Cosac Naify, 2004. FILHO, Otacílio Amaral; FERREIRA JÚNIOR, Sérgio do Espírito Santo; MACEDO, Tarcízio. O choque do real na narrativa cinematográfica Azul é a Cor Mais Quente: reflexões sobre a cultura estética. Sessões do Imaginário. v. 22, n.37, p. 20-29, 2017. GUIMARÃES, L. A cor como informação: a construção biofísica, lingüistica e cultural da simbologia das cores. São Paulo: Annablume, 2001. HELMER, E.; JI, Q. Film Classification by Trailer Features. Stanford University, 2012. Disponível em: <http://cs229.stanford.edu/proj2012/HelmerJi-FilmClassificationByTrailerFeatures.pdf>. Acesso em: 14 dez. 2018. HURKMAN, A. V. Color Correction Look Book: creative grading techniques for film and video.Berkeley, Califórnia: Peachpit Press, 2014. ______. Color Correction Handbook: Professional Techniques for Videos and Cinema. Berkeley, California, EUA: Peachpit Press, 2011. KALMUS, N. Color Consciousness. Journal of the Society of Motion Picture Engineers, p. 139-147, 1935. MOURA, E. Da Cor. Santa Catarina: iPhoto Editora, 2016. O'FALT, Chris. Moonlight' Glow: Creating the Bold Color and Contrast of Barry Jenkins’ Emotional Landscape. 2016. Disponível em: <https://www.indiewire.com/2016/10/moonlight-cinematography-color-barry-jenkins-james-laxton-alex-bickel-1201740402/>. Acesso em: 11 mar. 2017. PRINCE, S. The Emergence of Filmic Artifacts Cinema and Cinematography in the Digital Era. Film Quarterly, University of California, v. 57, n. 3, p. 24-33, Spring, 2004. ______. Digital Visual Effects in Cinema: The Seduction of Reality. New Jersey: Rutgers University Press, 2011.

SOUZA, Pedro F. P. O look no cinema digital. Dissertação (Mestrado em Artes Visuais) – IA – Unicamp. Campinas, 2018. STOREY, Elliot. 'Moonlight' uses color, characters to create excellent, carefully crafted portrait. Nov. 2016. Disponível em: <https://tuftsdaily.com/arts/2016/11/14/moonlight-uses-color-characters-create-excellent-carefully-crafted-portrait/>. Acesso em: 3 nov. 2017. YUMIBE, J. Moving Color: Early Film, Mass Culture, Modernism. New Jersey: Rutgers University Press, 2012. THOMPSON, Kirsten Moana. Falling in (to) Color: Chromophilia and Tom Ford's A Single Man (2009). The Moving Image, University of Minnesota Press, v. 15, n.1, p. 62-84, 2015.

Published

2019-05-17

Issue

Section

Articles - Open section

How to Cite

The Look in the movies A single man, Blue is the Warmest Color and Moonlight. PÓS: Journal of the Arts Postgraduation Program at EBA/UFMG, Belo Horizonte, v. 9, n. 17, p. 123–152, 2019. DOI: 10.35699/2237-5864.2019.15727. Disponível em: https://periodicos.ufmg.br/index.php/revistapos/article/view/15727. Acesso em: 25 dec. 2024.

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