Analysis Of Fight Club And The Girl With The Dragon

The colors in this piece are instrumental in moving the eye across the piece and drawing attention to specific parts of the piece. For instance, for the most part, the colors that are used are dark. However, to emphasize General Wolfe, the focal point in the middle, his outfit is painted in a brighter red and yellow and the ground beneath him is light as well. Also, in order to allow the eye to glide across the painting almost all of the soldier’s uniforms are red, creating rhythm. One solider, who is apparently rushing into see Wolfe, is painted in green, which is the complimentary color to red. The use of complimentary colors brings the eyes attention to the panicked solider, emphasizing the overall sense of urgency in the piece. The piece is also well balanced and uses appropriate scales and proportions.

Fight Club is very deep and intricate, and as such it is difficult to pinpoint two specific concepts to focus on for analysis, but I think deindividuation and the attraction theory of similarity are two theories vitally important to the film that should be addressed. The textbook describes deindividuation as “the reduced sense of individual identity accompanied by diminished self-regulation that comes over a person when he or she is in a large group” (Social Psychology, 64). Someone that is deindividuated in a group will feel a sense of anonymity as well as a diffusion of responsibility. Simply being in a large group creates in people arousal and a stimulus and sensory overload, and as they become less aware of themselves and more aware of their immediate environment they become more impulsive and responsive to behavioral cues. In essence people lose their inhibitions and as a group act impulsively, which by human nature often leads to violence.

As we all know, color is the voice for the artist 's sentiment. It makes up the appearance of a picture. Color is the decisive factor in depths of the two-dimensional plane of the artwork, making the viewer feel physically and mentally attracted, or the context of things - the phenomenon the author wants to present. Colors have been around for a long time, but there is not a common definition for colors. And perhaps humans are one of the luckiest creatures that can identify colors. Often, the recipient 's eye knows a myriad of colors and colors that always change based on the relationship between light and perspective. In art, color creates a sense of

Colour is an important image in both Chazelle and Hallstrom’s texts. Throughout La La Land, Chazelle incorporates an abundance of bright colours in the backdrop and the clothing. However, after travelling five years into the future, the characters are dressed in darker and duller outfits. Chazelle’s use of bright colours suggests the feeling of having hope, dreams and fantasy whilst the duller colours imply maturity and the reality of life. Hallstrom also uses imagery of colour to describe the

Thesis: The narrations of Inside Out and Stormrage emphasize the color green to portray the juxtaposing characteristics of nature and joy against corruption and disgust, as both genres use the color to explicate the duality of green and showcase its ability to display both positive and negative connotations used in the genres. Inside Out and Stormrage are both works with contrasting plot lines and characters yet, both works with comparable usage of particular aspects such as the usage and analysis of color. Pete Docter and Ronnie Del Carmen’s film, Inside Out uses the color green to personify the emotion of disgust, a fastidious figment of the main character, Riley’s imagination that is always looking over looking her actions and making sure

For David Fincher, in an interview with The New York Times, “that’s what Zodiac was for a 7-year-old growing up in San Anselmo. He was the ultimate bogeyman” (Halbfinger). The Zodiac film illustrates the fear surrounding the case covered in Graysmith’s books by using strong yellows that are reminiscent to the book’s original front cover. Yellow can be interpreted in a multitude of ways but “yellow’s negative connotations include caution (traffic light), sickness (jaundice), betrayal, treason, age, and cowardice (“yellow streak,” “yellow bellied”)” (Feisner 187). In regards to film, “warm colors (red, yellow, orange) suggest aggressiveness, violence, and stimulation” (Giannetti 23). The common element of these connotations of yellow shows that it is a warning color and in the case of Zodiac it is a warning color associated to the killer. The word “yellow” appears within Graysmith’s first Zodiac book 24 times to describe clothing, vehicles, and settings. The significance of these descriptions is their relevance to the mise-en-scéne of Zodiac. “Colour is an important expressive element for film-makers, and is often mobilised by means of costume, which has the advantage of a direct association with a particular character. It might equally, however, be a feature of the lighting, the set decoration, or particular props” (Gibbs 1). For the Zodiac film, yellow become analogous with the

In literature color is often used to create a mood within the story. Within the two mediums I picked. The Book Thief and A Single Man. Zusak and Ford utilize color to represent emotions and feelings in a character. More specifically, they focus on darkness to further accentuate the main characters’. George and Liesel. struggles with death and trauma. George and Liesel both experience traumatic deaths in their lives; however, Liesel finds a way to overcome this trauma without letting it define her, while George lets it fester and remains lost in mourning.

The colourist I have chosen is Yvan Lucus. Born on May 7,1960 in Cholet, Maine & Loire, France, the movies that he has been involved with are among some of the best to date so far. These include The Runaways(2010 film of the all female rockband known by the same name), Shutter Island(2010 psychological thriller about a U.S. Marshal who investigates a psychiatric facility), Water For Elephants(2011 romantic drama), War Horse (2011 war drama about a boy and the bond between his horse and the war that was tearing through each nation), Snow White and the Huntsman(2012 fantasy adventure based on the novel of the well known fairytale), Django Unchained(2012 western about the crimes of the time and slavery), Argo(2012 political thriller about the Iran hostage crisis), The Hunger Games: Catching Fire(2013 sci-fi adventure about a mass fight to the death... for the second time) and Now You See Me(2013 caper thriller about magicians pulling big heists) and his latest grade being American Hustle(2013 crime comedy-drama about con men trying to frame congress men for taking bribes). Yvan Lucas is not a very well documented colorist however he does hold quite an impressive resume that shows he is a pretty well sort after color grader. His newly graded movie, Maleficent also fits my theme as it is highly accentuated through the use of black and making the black pop on the main character, showing what a hectic character she actually is.

Red is a common color found in Godard films, one that he uses schematically to pay homage to his native country of France, but also in his attempt to symbolize his communist ties as seen in his films Pierrot le Fou and La Chinoise. Anderson and Godard are aware of the importance of deliberate color schemes not only for visual purposes, but in order to use the cinematic language to add dimension and subtlety to a

constructed colour selection intensified the mood of each scene while escalating narrative complexities such as secrecy and danger. A lack of colour can further increase a character’s depth. For instance, at the beginning of the film, we meet Marion Crane who is involved in a torrid love affair with Sam Loomis (0:03:14). We discover that their romance often takes place in sleazy motels with the passion kept secret from judgemental eyes.

The use of lighting and filters for colours is not just used for simple illumination but it is more meaningful. It helps to understand the characters and focus our attention on certain objects and actions. The colour can be used as a motif, an occurring manifestation in which the shades themselves become an important part of the story, reflecting emotions, altering situations and underlining scenes. (Bordwell, Thompson and Smith, n.d.)

Fight Club can be viewed with many interpretations, all of them true. It is a great love story. It is an anti-consumerism rant. It is a spiritual piece against materialism. It is anarchist literature. It is a commentary on our ‘lost’ generation. At first viewing of the movie, very little of this can be seen and it appears violent and chaotic. However much thought was put into providing the movie with depth and development that only become apparent after multiple screenings.

Scholars and film critiques have often regarded the fifth-generation film Director, Zhang Yi Mou’s films as a visually sensual feast (Zhu 26). The predominant use of the color Red in his highly stylized films: Red Sorghum (1988), Ju Dou and Raise the Red Lantern (1991) are evidence of his trademark visual style thus leading scholars to critically analyze the symbolic representation of the color. I would argue however, in addition to the prevalent use of red in his art-house films, there are several supporting colors (black, white, grey, blue), intertwining with the color red. Zhang seems

The classic 1996 film Fight Club is a social commentary about our generation, which is in many ways devoid of spirit and marked by consumerism. It is the story of a man's spiritual journey towards enlightenment in modern society and his attempt to find his place in the world. It stresses a post-modern consumer society, reveals the loss of masculine identity amongst gray-collar workers, and examines the social stratification marked by our developing society. It follows the life of the narrator, who is referred to as Jack, (Edward Norton) as he struggles with insomnia and feelings of inadequacy in his desperate search to find meaning in his own life. The film, although

Fight Club is a unique film that has many different interpretations consisting of consumerist culture, social norms, and gender roles. However, this film goes deeper and expresses a Marxist ideology throughout; challenging the ruling upper-class and a materialist society. The unnamed narrator, played by Ed Norton, represents the materialist society; whereas Tyler Durden, played by Brad Pitt, represents the person challenging the controlling upper-class. Karl Marx believed that the capitalist system took advantage of workers, arguing that the interests of the upper-class class conflicted with that of the common worker. Marx and Durden share the same views about the upper-class oppressing the materialist, common worker. By interpreting Fight Club through a Marist lens, the viewer is able to realize the negative effects a capitalist society has on the common worker by seeing the unnamed narrator’s unfulfilled and material driven life in contrast to the fulfilling life of Durden who challenges the upper-class. The unnamed narrator initially fuels the upper-class dominated society through his materialistic and consumeristic tendencies; however, through the formation of his alter ego—Durden—the unnamed narrator realizes the detriment he is causing to himself and society. He then follows the guide of Durden’s and Marx’s views and rectifies his lifestyle by no longer being reliant on materials. Also by forming fight club, which provides an outlet, for himself and the common worker,