Pleasantville Color Analysis

In this paper, I will be explaining my thoughts on the Cavell arguments on classical and modernist films about movies black-and-white in comparison to the movies in color, with the reference to Sunset Boulevard (1950) and In the Heat of the Night (1967).

We can observe the selection of blue color symbolizing melancholy in these scenes. Also, during the film, another color scene, this time yellow, can be seen, reflecting madness, insecurity, and obsessive by these scenes in the jury and streets. The catastrophic events, scenography and audio incremented the tension of every scene and complemented the facial expressions in the characters, creating a circle of the dramatic tension in the movie.

The purpose of our project in the form of a drawing is to represent the life of Janie Mae Crawford. The image of the world shaped like a heart has both a light side and a dark side. In general, the world is in the shape of a heart to show how Janie views her world: completely involved in the concept of love. Janie, constantly encompassed within goals of finding and understanding love, views the world as a giant melting pot of love, and all she has to do is travel the planet to find it. The light side of the planet demonstrates her hopes and dreams of finding her true love, searching for it with optimism and joy in believing that her love is out there somewhere, and it will satisfy her. However, the shaded, dark side of the planet represents

Pleasantville is 90’s movie that is all about personal expression and breaking conformity by using a motif of color that represents freedom. It could be viewed as a visual successor to the giver in its idea that perfection is rarely perfect because you loose the humanity element. Pleasantville at the beginning is a closed minded society. Everyone does their job and doesn't think about it.

Colors are used all throughout our world in paintings, drawings, and writing. Although the majority of people do not pay much attention to colors in stories, they have deeper meaning than a reader might originally believe. Knowing this, it is no coincidence that the authors use the colors they did. People do not generally stop and contemplate the red soup in “The Most Dangerous Game” or the green door in “American History.” However, doing this gives the reader more insight into the climax and resolution of the story. In the three short stories “The Most Dangerous Game,” “The Scarlet Ibis,” and “American History” the color red serves as a warning to the reader about the coming events.

The use of colour in films during present time is often taken for granted. Colour is a factor modern audiences almost expect however, often filmmakers use colour creatively to convey a message. Throughout the 1920s to 1930s colour in films became highly popular. This essay will explore how Pleasantville has creatively used colour to represent America during the 1950s.

Through a combination of these fundamental pigments, one can produce any of the secondary or tertiary hues. In essence, these three colors are the building blocks of all tints. In context to the film, the term “primary colors” refers to the presence of red, white, and blue on the American flag. In the words of Bill Moyers “Ideas are great arrows, but there has to be a bow. And politics is the bow of idealism.” Thus, the color white represents the innocent political idealism present in governance. The red symbolizes valour and resilience, necessary to achieve success of any kind. Lastly, the color blue conveys the justice seeking society of America. A combination of idealism, justice, and resilience constitute all political elections, and thus, this satirical film is named “Primary Colors” because it includes red, white, and blue to symbolize the elements present in general American

The use of various camera techniques such as canted frames, low-angled, high-angled and close up shots, as well as camera distance, enhances the struggle between the characters. The use of such techniques not only allows the audience to get an extensive insight into the many different characters, but also helps us understand the relationships between them and how all of these factors contribute to the overarching theme of racism in the film. The use of these camera rapid movements

Cigarette Candy is a sentimental story of a young man’s trauma caused by his war experience who was forced to act heroic and end ups bonding with a rebellious girl at his homecoming party. Lauren Wolkstein’s short film is a beautifully directed montage used to evoke emotion and compassion. In this essay there are several aesthetics aspects which I will discuss: light, colour, movement, rhythm and sound. The second scene demonstrates the use of low-key lighting during a day-time scene.

This essay is based on films of the same story, told in different ways, with emphasis, themes, meaning and interpretation shaped or shaded by the situation of the storyteller; the cinematic mise-en-scene. Based on the same story, the films reveal and reflect the film-maker’s social norms and views, emerging from their different national contexts. While exploring the two films, this essay will examine elements of film language or semiotics: color saturation (or black and white), sound, setting, type of camera angles used; repetition of visual motifs (Metz, 1985). The two films explored were made in the 1960s. Neither film is American, yet both reveal influences and reflections on American cinema and American power; the Western film, adherence or detracting from Hollywood Classical cinema tropes, i.e. close-ups, shot-reverse-shot, POV, depth of field (Bazin, 1985: 128-9). The two films are Kurasawa’s Yojimbo (1961) and Leone’s Fistful of Dollars (1964), from Japan and Italy, respectively. How are they different; how similar? Why do they use the same plot,

The True Colors test is the most accurate for me. According to the True Colors personality quiz, blues “desire quality time with loved ones.” This describes me best because I’m always putting family and friends first before I do anything else. For instance, if a friend wants to get together, I always end up going out with them instead of doing my chores or homework. As a result, I end up getting in trouble or getting behind in school. The True Colors personality tests states that blues “value close relationships.” Traditionally, I keep my loyal friends close and fear to lose them. I keep them close because they are the ones I trust and I tell them mostly everything that I would not tell anyone else. Also, I know that loyal people in my life

“Symbols are nothing but the natural speech of drama…the purest language of plays.” Once, quoted as having said this, Tennessee Williams has certainly used symbolism and colour extremely effectively in his play, ‘A Streetcar Named Desire’. A moving story about fading Southern belle Blanche DuBois and her lapse into insanity, ‘A Streetcar Named Desire’ contains much symbolism and clever use of colour. This helps the audience to link certain scenes and events to the themes and issues that Williams presents within the play, such as desire and death, and the conflict between the old America and the new.

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

Beginning in 1993, the world was introduced to Krzysztof Kieslowski's Three Colors Trilogy, composed of 1993’s Blue, and 1994’s White and Red. Each of the films titles referred to the colors of the French flag, and were based on the themes that went with each color: liberty, equality, and fraternity. However, the theme is not taken blatantly, but is instead explored deeply, so they invite the viewer to do their own questioning and interpreting on his/her own. This only adds to the intriguing quality of the trilogy, already established by the films’ depth, beauty, subtlety, and variety. They each tell a seemingly disconnected story, instead of the usual series method of continuing a storyline, and are part of a different genre: anti-tragedy, anti-comedy, and anti-romance, but their plots all revolve around chance, love, modern french

Genre is a reflection of society. Film noir is a genre that has a distinctive relationship with the American society from 1941 - 1958 because it reflects America’s fears and concerns from when they experienced major upheaval after The Great Depression and during World War I. In particular, the unstable atmosphere from the aftermath of World War 1 as Bruce Crowther, author of the book ‘Film Noir: Reflections in a Dark Mirror’, elaborates on how Film Noir films produce “a dark quality that derived as much from the character's depiction as from the cinematographer’s art.” These dark moods are transparent through the key features of the femme fatale, the film techniques and the impact of the Hay’s code on American film and American society.