The images taken are either from the summer or winter time. And I wanted for that to be noticed. Playing around with the warm and cold effects again I think these shots worked with that a lot better, specifically because they are outside with natural light or indoor with only natural light. The tones were easy to pick because most of the photographs already had its colour palette blended together by the natural light, nothing was in contrast with an object opposing to the colour themes.
The images of children playing outside with the grandparents watching was a lucky shot, nothing was set up, because everything was natural and genuine. It links to Coppola's Virgin Suicides, the girls playing/sunbathing outside became very natural with sunlight hovering over them. Although they are a different age to these children, they still obtain the theme of innocence, immaturity and youthfulness in their own way. Personality sinks through to the audience where they are able to comprehend by the detail the characters make, with things you wouldn't think to order when making a film.
This again fits into the ideology of memories carried out in Tarkovsky's films. Pieces of memory can be related through a shot by an action of detail or mis-en-scene. Especially with youthfulness, everyone can relate somehow with another's childhood.
The winter shots have specified tones of blues and pinks, although pink has more of a warmth I wanted the warmth to be like the left overs of summer, a sense of nostalgia. The cool blues are to represent the present time of winter. I did this by enhancing the warm temperatures first as the past tense, like I did with the summer shots, to then enhance cooler tones as a layer of the presence. Coppola's Virgin Suicides also have contrasting effects from summer warmth to bleak tones of nostalgia turning into a dark winter. For example, one of the characters (Lux) downwards spiral into winter time is reflected with constant crisp blue sceneries after her last night of summer at prom. She wakes up left alone by her partner in a football field with a close up shot, eventually expanding in the establishing shot positioning her at the bottom of the screen in pure ice blues. The grass is turning grey as summer descends and the audience is left with a sharp breeze of Lux's innocence vanish.
This colour psychology creates a narrative of childhood, nostalgia and memories.
This again fits into the ideology of memories carried out in Tarkovsky's films. Pieces of memory can be related through a shot by an action of detail or mis-en-scene. Especially with youthfulness, everyone can relate somehow with another's childhood.
The winter shots have specified tones of blues and pinks, although pink has more of a warmth I wanted the warmth to be like the left overs of summer, a sense of nostalgia. The cool blues are to represent the present time of winter. I did this by enhancing the warm temperatures first as the past tense, like I did with the summer shots, to then enhance cooler tones as a layer of the presence. Coppola's Virgin Suicides also have contrasting effects from summer warmth to bleak tones of nostalgia turning into a dark winter. For example, one of the characters (Lux) downwards spiral into winter time is reflected with constant crisp blue sceneries after her last night of summer at prom. She wakes up left alone by her partner in a football field with a close up shot, eventually expanding in the establishing shot positioning her at the bottom of the screen in pure ice blues. The grass is turning grey as summer descends and the audience is left with a sharp breeze of Lux's innocence vanish.
This colour psychology creates a narrative of childhood, nostalgia and memories.
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