By Jessie Martin
Los angeles couleur est l’une des composantes essentielles du cinéma : noir et blanc ou Technicolor, colorisation ou outil d’expérimentation artistique, c’est elle qui donne aux motion pictures leur identité et affirme leurs caractéristiques esthétiques et sensorielles.
Spectaculaire, symbolique, évocatrice, militante parfois, los angeles couleur est bien partie prenante dans los angeles mise en forme du movie et dans le discours du cinéaste.
Cet ouvrage retrace l’histoire des strategies cinématographiques de los angeles couleur tout en décrivant leur fonctionnement et discover les différents usages et pratiques de los angeles couleur au cinéma.
Il suggest également différentes approches esthétiques, notamment los angeles relation que l. a. couleur entretient avec le réel et sa représentation, l. a. signification (langage, sémiotique, symbolique de los angeles couleur) ou l. a. signifiance (abstraction de l. a. couleur).
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Extra resources for Le cinéma en couleurs
When driving through the curve, the place where you would feel the most amount of FORCE would be at its apex. The FORCE would diminish as you pulled out of it, allowing you to regain speed. If we add gravity to this situation, the blue line shows us a mass that is bottom heavy because of where the apex of the curve is located on the line. The direction of the mass is defined by its apex, which was defined by the orange Applied FORCE. If we look at both of the arrows, we get a sense of their connected relationship.
Angles allow you to stop straightening out the pose. This is a bad student habit. Angles are exciting and you want to find them. Try to avoid horizontal and vertical moments. The 45-degree angle is the most dramatic. Seeing Life 29 These examples show two common errors that students may make after an initial discussion about rhythm. ” We see that the student bounced their way down the side of the figure. Rhythm must be oblique to create balance. It must move across the figure in angles. See the solution to the rabbit on the right side where Applied FORCES moves across the body to find the next Directional FORCE.
3. I realized that main idea extended much further. Now I see that the pose is about the inward thrust of the lower rib cage against the upward FORCE in the right arm. The length of this FORCE idea creates the strain in the upper back and pushes the left shoulder out. This page is a great example of the following: a. Investigating a pose to gain understanding. b. Searching for how far a FORCE travels and its true motivation. c. Not settling for the first attempt. Keep working at a drawing until it feels like the model’s effort.
Le cinéma en couleurs by Jessie Martin