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A Comparative Study of Chinese and Western Film Colors
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논문 기본 정보

Type
Academic journal
Author
Xiao-Hui Wu (Cheongju University)
Journal
The Korean Entertainment Industry Association Journal of the Korea Entertainment Industry Association Vol.13 No.4 KCI Accredited Journals
Published
2019.6
Pages
131 - 138 (8page)
DOI
10.21184/jkeia.2019.6.13.4.131

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Method
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Result
A Comparative Study of Chinese and Western Film Colors
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Abstract· Keywords

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The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can’t express it. The artistic effect conveys the information content that the story itself can’t convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People"s subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.
#Film color #Color montage #Color structure #Image-in-one #Color aesthetics #영화 색채 #색채 몽타주 #색채구조 #의상합일 #색상 미학

Contents

ABSTRACT
I. introduction
II. Comparison of Cultural Implications between Chinese and Western Film Colors
Ⅲ. Conclusion
References
요약

References (11)

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R. Arnheim / 1985 / Film as Art / China Film Publishing House google schola M. Mardan / 2005 / film language / China Film Publishing House google schola B. Baraz / 1992 / Film aesthetics / China Film Publishing House google schola O. Lindgren / 1979 / On the art of film / China Film Publishing House google schola D. P, C. Thomson / 2003 / Film Art-Form and Style / Peking University Press google schola

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UCI(KEPA) : I410-ECN-0101-2019-691-000900318