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'High noon' movie analysis
Color meaning in cinema
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The 1952 film High Noon, directed by Fred Zinnemann, is a whole new type of progressive western. High Noon explores what it means to be a different kind of hero, not one who fights with just guns and fists, but with heart. The choice to make the film in black and white instead of color is a major indicator High Noon is far from a classic western. In general, Classic Western movies, for example, The Searchers, use bright and bold colors to show how the wild west looked. In this film however, we get dark black colors that help convey to the audience that we are in a darker world. As mentioned above, color is a vital part of the western genre. Color is used to let the audience know who is a “good” and “bad” person. In contrast though, this
L. Frank Baum achieved a fairy tale classic in his work of The Wizard of Oz. In the story, colors are used repeatedly to directly or indirectly give feeling and meaning to the setting.Color is a crucial imagery factor in a piece of writing. It lets a reader connect and use their imagination to make the words come alive in their heads. Baum specifically uses the colors; gray, yellow, and green. The novel is filled with many mood changes using these colors.
The film is beautifully shot in black and white, using Ford’s trademark of great depth of field that visually displays the stunning geography, combined with chiaroscuro lighting by cinematographer Joseph MacDonald and edited by Dorothy Spencer. The film has a wonderful film noir quality, moody, and dramatic night shots. By dawn, the camera captures the magnificent desert landscape that seems tailored made for Ford’s romantic action western film. Enhanced by the musical direction by Alfred Newman and music score by Cyril Mockridge and (uncredited) David Buttolph blends well into each scene.
It's the first thing people notice, so it has to be done logically to persuade the audience to feel a certain way. In the trailer for Leatherface, color is used to generate a feeling of suspense by shifting back and forth between a warmer, daylight tone to a darker, blue tone. In the beginning of the trailer, a couple is driving in a car laughing and having fun as seen in figure 1. There is a warmer tone created by the use of natural daylight to make the audience feel how the couple is feeling. Following the playful feeling created by the first scene, the color shifts when the protagonist and her child are introduced. The scene, shown in figure 2, is dimly lit by candles with no other light. Switching to darker lighting hints to the audience that the characters involved in the scene could be related to or are the problem presented in the movie. Going back to the natural daylight, figure 3 demonstrates the next shift in color when the sheriff is talking to the protagonist about her children. In this scene, the daylight is used to highlight and create shadows on
A more modern outlook on the film recognizes the film's flaws but gives it, it’s credit as the last fully realized work of one of the most important directors in American cinema history. Ford understood that an audience's recollections of older, less complex Westerns would add a layer of expressiveness to the viewing experience. The black-and-white structure helps him achieve this. Ford’s decision to shoot the film in black and white in 1962 produced a dark, anachronistic look, while the unconcealed soundstage effects of the film’s opening scene reinforced Ford’s vision of a wilderness, interiored Western frontier. Just as Ford intended, many of the flashback scenes are masked in darkness, whereas the frame tale is immersed in light. This con...
The development of the Western genre originally had its beginnings in biographies of frontiersmen and novels written about the western frontier in the late 1800’s based on myth and Manifest Destiny. When the film industry decided to turn its lenses onto the cowboy in 1903 with The Great Train Robbery there was a plethora of literature on the subject both in non-fiction and fiction. The Western also found roots in the ‘Wild West’ stage productions and rodeos of the time. Within the early areas of American literature and stage productions the legend and fear of the west being a savage untamed wilderness was set in the minds of the American people. The productions and rodeos added action and frivolity to the Western film genre.
Western films are the major defining genre of the American film industry, a eulogy to the early days of the expansive American frontier. They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins - they focus on the West - in North America. Western films have also been called the horse opera, the oater (quickly-made, short western films which became as common place as oats for horses), or the cowboy picture. The western film genre has portrayed much about America's past, glorifying the past-fading values and aspirations of the mythical by-gone age of the West. Over time, westerns have been re-defined, re-invented and expanded, dismissed, re-discovered, and spoofed. But, most western movies ideas derived from characteristics known to the Native Americans and Mexicans way before the American culture knew about it. What you probably know as a good old western American movie originated from a culture knows as vaqueros (cowboys for Spanish). They are many misrepresentations of cultures and races shown throughout movies from as early as 1920's with silent films. Although one could argue that silent film era was more politically correct then now a day films, the movie industry should not have the right of misrepresenting cultures of Mexicans, Indians and there life styles in films known as western films.
Much contention and controversy have historically surrounded the idea that Fred Zinnemann’s High Noon (1952) is the single film that brought an end to what is commonly referred to as the “classical Western." Through a single crucial scene, one important character invokes the ancient advice lent by Aristotle in his seminal work, On Rhetoric, to persuade a town to turn on its hero and change the face of Western's forever. By adhering to the ancient philosopher's notion of ethos, pathos, and logos, the film effectively reworks a traditional Western opposition that had been at the core of the genre's classical narrative structure from its inception.
All of us can agree that the only Western shootouts that we have ever seen were on the big screen in a Hollywood movie. The very first real Western shootout might just have been between Wild Bill Hickok and Dave Tutt. Hickok shot Tutt dead in Springfield, Missouri right in the market square. No matter what Hollywood movies tell us a real classic western showdown or walkdown occurred only rarely in the American West. Most of the time men were shooting each other in hot heated arguments or drunken brawls.
The cinematography enforced the mood, drama, and plot. The use of color in the film was telltale of the mood. The colors were drab, lifeless, mellow colors. These colors were telltale signs of the setting and mood of the play. The setting was in a sorrowful, dirty, suffering country; the mood was sorrowful and suffering as well.
In L. Frank Baum's Fantasy book " The Wonderful Wizard Of Oz", The author uses colors as a role in the play to describe the mood. Throughout the book, L. Frank Baum uses color to symbolize many different scenes in the story. Baum uses the colors grey, blue and white to symbolize misery, peace and purity.
One motif which is shown frequently is the use of colors to display affiliation with good or evil. Throughout the movies, red is
The characteristics, features and conventions of Stagecoach (John Ford, 1939) allow this film to fit directly under the title of Classical Hollywood cinema. The film uses a few main characters that the audience members get to know well and create their own feelings for. In Stagecoach, there are nine main characters that the audience gets to know well, Dallas, Ringo Kid, Buck, Hatfield, Doc Boone, Lucy Mallory, Curley, Gatewood and the lieutenant. These characters are consistent throughout the story and the audience members begin to understand them as the story develops.
In watching Star Wars IV, the film display element from several genre’s that I recall which include Film Noir, Western, Science Fiction, Action and possibly others. In this essay I’m going to discuss Film Noir and Western. When we think about Film Noir, which I feel was resembled frequently in terms of the lighting aspect and characters. The lighting in this film did have some color but it was lower keyed during some scenes and dark at times. While the movie was not in black and white, it did seem to have some low angled and many wide angle lens shots. It also has an essence of the character traits that we frequently see in the Film Noir movies. We had the heroes and villains who in this case were Han Solo and Luke Skywalker. Our villains
Why are colours important when trying to symbolize what is taking place in the mind of the setting and the characters of literature? Tennessee Williams have once said “ Symbols are nothing but the natural of drama the purest languages of play.” Tennessee William has exactly used symbolism and colour quite effectively in his play A Streetcar Named Desire. An impressive story about fading southern belle Blanche Dubois and her failure into insanity. A Streetcar Named Desire consists many symbolism and knowledgeable use of colour. This helps the audience to connect scenes and events to the themes and issues that Williams presents within the play, just as desire and death, and the conflict between the past and present of America. The significance of colours is a central theme in Tennessee Williams’ A Streetcar Named Desire; the author uses colours to reflect states of mind, make further commentary on particular characters, and what sorts of things specific colours represent.
Narrator: The importance of color usage in film is a crucial aspect of the movie in its whole.