The selective and meticulous use of color in cinema
Enhancing the emotional and dramatic values in the narrative
DOI:
https://doi.org/10.37467/revvisual.v9.3698Keywords:
Cinema, Color, Aesthetic, Narrative, RealismAbstract
In the first half of the 20th century, the arrival of color in cinema gives it a new and very relevant power. The psychological and affective signifiers of the most varied colors, if properly applied, can give the cinematographic work an extraordinary narrative involvement that provokes a strong affective and dramatic impact on the spectator.
Throughout this work, we intend to reflect on the possibilities that color has brought to the cinema, going beyond aesthetics and assuming a prominent position in the field of narrative.
Downloads
Global Statistics ℹ️
439
Views
|
251
Downloads
|
690
Total
|
References
Barbosa, P. R. (2007). A primeira cor no cinema: Tecnologia e Estética do Filme Colorido até 1935. Dissertação apresentada ao curso de Mestrado da Escola de Belas Artes da Universidade Federal de Minas Gerais. Belo Horizonte, Brasil.
Caldevilla-Domínguez, D. (2009). Neorrealismo Italiano. Frame: revista de cine de la Biblioteca de la Facultad de Comunicación de Sevilla. 4. 23-35. https://biblus.us.es/fama2/com/frame/frame4/estudios/1.4.pdf
Casas, Q. (2006). Rouben Mamoulian: a técnica ao serviço da arte. Em M. C. Ferreira (Org.), Rouben Mamoulian (pp. 10 - 61). Cinemateca Portuguesa - Museu do Cinema.
Dietrich, M. (1986). Marlene D. Lisboa: Publicações Dom Quixote.
Farina, M., Perez, C., & Bastos, D. (2006). Psicodinâmica das cores em comunicação. Edgard Blucher.
Ferreira, C. M. (2011). Cinema - Uma Arte Impura. Afrontamento.
Grazzini, G. (1985). Fellini Por Fellini. Publicações Dom Quixote.
Jimeno-Aranda, R., & Parras-Parras, A. (2020). La influencia de la fotografía americana del siglo XIX en el imaginario cinematográfico del western clásico. El caso de Río Rojo de Howard Hawks (1948). Historia y Comunicación Social, 25(1), 223-238. https://doi.org/10.5209/hics.63949 DOI: https://doi.org/10.5209/hics.63949
Mamoulian, R. (2006). Alguns problemas na realização de filmes a cores. In M. C. Ferreira (Org.), Rouben Mamoulian (pp. 82 - 89). Lisboa: Cinemateca Portuguesa - Museu do Cinema.
Mamoulian, R. (2006). Controlando a cor para efeitos dramáticos. In M. C. Ferreira (Org.), Rouben Mamoulian (pp. 138 - 151). Cinemateca Portuguesa - Museu do Cinema.
Martin, M. (2005). A Linguagem Cinematográfica. Lisboa: Dinalivro.
Paganelli, G. (2009). Sinais de Vida - Werner Herzog e o Cinema. Edições 70.
Pereira, I. B., & Ferreira, A. T. (2011, Jan./Jun.). A Cor Como Elemento Constitutivo da Linguagem e Narrativa Cinematográfica. Unoesc & Ciência - ASHS, 17 - 28.
Sadoul, G. (1993). Dicionário dos Cineastas. Lisboa: Livros Horizonte.
Sanzio, A., & Thirard, P.-L. (1988). Luchino Visconti. Publicações Dom Quixote.
Spergel, M. (2006). Reinventando a realidade: a arte e a vida de Rouben Mamoulian. In M. C. Ferreira (Org.), Rouben Mamoulian (pp. 62 - 73). Cinemateca Portuguesa - Museu do Cinema.
Street, S. (2013). Consciência das Cores: Natalie Kalmus e o Technicolor na Grã-Bretanha. Revista Laika, 1- 8.
Strick, P. (1963). Antonioni (Motion Monograph). Motion Publications.
Tiski-Franchowiak, I. (2000). Homem, comunicação e cor. Ícone.
Torres, M. J. (2006). O Mamoulian Touch ou a Arte Suprema do Musical Integrado. In M. C. Ferreira (Org.), Rouben Mamoulian (pp. 106 - 127). Cinemateca Portuguesa - Museu do Cinema.
Vacche, A. D., & Prince, B. (2006). Color: The Film Reader. Routledge.
Downloads
Published
How to Cite
Issue
Section
License
Those authors who publish in this journal accept the following terms:
-
Authors retain copyright.
-
Authors transfer to the journal the right of first publication. The journal also owns the publishing rights.
-
All published contents are governed by an Attribution-NoDerivatives 4.0 International License.
Access the informative version and legal text of the license. By virtue of this, third parties are allowed to use what is published as long as they mention the authorship of the work and the first publication in this journal. If you transform the material, you may not distribute the modified work. -
Authors may make other independent and additional contractual arrangements for non-exclusive distribution of the version of the article published in this journal (e.g., inclusion in an institutional repository or publication in a book) as long as they clearly indicate that the work was first published in this journal.
- Authors are allowed and recommended to publish their work on the Internet (for example on institutional and personal websites), following the publication of, and referencing the journal, as this could lead to constructive exchanges and a more extensive and quick circulation of published works (see The Effect of Open Access).