PDF DIABOLIK (145): Ricordo del passato (Italian Edition)

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The process, called Dye Transfer, has been launched by Kodak. Il colore nei mass media tra e Reggio Emilia: Edizioni Diabasis, pp. Its original negative stock therefore was essentially three layers of black and white film on a single base mutually self-filtering and recording information about the red, blue and green light entering the lens. In processing, this information was converted into dyes for printing. This could be done conventionally or with the richer, slower imbibition method.

The Film Reader. New York: Routledge, , pp. Color also emphasizes the emotional register of the film. Yet analysis of the color system of All That Heaven Allows does not merely show that the film is an exemplary instance of color participating in the conventions of melodrama. As we shall see, color has three additional functions in the film: 1 as part of the realist aesthetics of the Hollywood film; 2 as a device for pulling the film away from or decentering it from conventional Hollywood film practice; and 3 as a means of blocking concentration on the story and thereby impeding the emotional trajectory of melodrama.

It is not compartmentalized into separate family or social functions. Social interaction is flexible in this adaptable space; it is more intimate, less formal. This opposition is made visible through the design of interior space and the degree to which characters can comfortably move within it. It is rougher in texture and the furniture appears more casually placed in the room. This use of color in the narrative space has meaning in that it helps to make the contrasts in lifestyle visible. However, the color system and realist narrative space in All That Heaven Allows do not simply establish a binary opposition between suburban conformity and an alternative Walden-like existence.

Color also functions in excess of narrative primacy in several ways. Color functions as a signifier of the psychic and sexual energy that cannot be contained or expressed by the narrative in the usual ways. In this scene the potential of color to function as spectacle is not solely motivated by the emotional register of melodrama.

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The scene begins when Kay enters her room, tossing her jacket down on a chair by a window that is apparently constructed of stained glass. Fabric has been positioned outside the window to give the effect of colored glass. While this scene is an isolated and conspicuous instance of color that is neither harmonious nor uncomplicated, the film uses red, yellow, and blue in similar ways. These colors are within the conventions of realist color filmmaking, and they also comment on the ideologies the film takes up.

Red is sometimes obedient to color conventions in that it functions as a specific signifier of character and narrative development. When Cary decides to rejoin the social world on her date with Harvey, her children take notice of her red dress. In her prior social excursions outside the home Cary wore a black velvet dress more suitable to her status as a widow. The strength of the color red also functions to markedly separate Cary from other characters and from the settings of her home and the country club.

Massimo Introvigne - Bibliografia

She stands out as protagonist as her character progresses through the narrative. Kay has undergone a transition from an immature and cold intellectual to a woman who is loved. Cary, having succumbed to the pressure of her children and turned away from a relationship with Ron, listens to Kay in some misery.

The red costumes each woman wears stand out against the more uniform color of the mise-en-scene. Yet these costumes also have specific meaning for the narrative and for the development of the characters of Cary and Kay. When Cary walks through the Christmas tree lot after her breakup with Ron, men in red jackets interfere with viewer identification of Ron, who is also in a red jacket, standing on the truck. The color system of the film does not always use red to separate objects or characters from the setting in order to emphasize the narrative or to comment on ideologies.

Unlike the color red, the colors blue and yellow appear to participate in more uniform color systems. Throughout the film blue is a signifier for nighttime while yellow indicates warm interior lighting. The evening after Ron and Cary meet, Cary has placed the tree branches Ron has given her in a vase on her dresser.

The deep blue from the night and the yellow from the hallway compete for viewer attention, making it unclear where the eye should go in the narrative space. This use of color complicates the otherwise realist narrative space of the bedroom.

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But at this point the combination of blue and yellow does not yet function as a specific signifier of narrative meaning. The yellow from the interior and the blue from the night are visually contentious. Blue and yellow in combination complicate the realist narrative space and help to. In one scene blue comes very close to functioning as an emphasis in itself, intruding on the realist narrative space.

After the Christmas scene in which Cary learns that her children have plans to live their own lives outside of the family home, Cary comes to regret her decision not to marry Ron. She wanders around her living room and possessions.