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1	Från svartvit till färg : en studie av färg i Michelangelo Antonionis film Den röda öknen / From black and white to color : a study of color in Michelangelo Antonioni´s film The red desert Ericsson, Calina January 2012 (has links) Michelangelo Antonioni (1912-2007) belonged to a generation of filmmakers that breathed new life into cinematic expression in the annals of modern-day European film history. By employing his background as a documentary filmmaker, Antonioni used these skills to help establish his own particular style. There was a distinct evolution of style which progressed during his triology L´Avventura, La Notte and L´Eclisse, 1959-1962. This theises presents a comperative study between his earlier films in black and white and his first color film - Il deserto roso, from 1964. By observing color in relation to narrative, dialouge, acting and elements of mise-en-scène, I suggest different answers than those previously discussed among critics concerning this interrelationship. I also discuss how camera technique has presented new possibilities in this area. Concerning references from the texts and books by influential critics, I add my own visions and interpretations concerning this subject. Moreover, I have looked at other filmmakers and their productions´use of colors. One of the crucial themes of this text is how these two formats - black and white and color - bring different modes of meaning and affect their specific films´narratives. Michelangelo Antonioni The red desert color Technicolor filmstyle filmhistory Michelangelo Antonioni Den röda öknen färg Technicolor filmstil filmhistoria
2	Från teckning till färdig produktion : en studie av storyboards inom spelfilm och animerad film / From initial sketch to final production : a study of storyboards within feature film and animated film Ericsson, Calina January 2014 (has links) In this thesis I focus on the artistry and essential work, behind the scenes that storyboard artists have contributed to, since the early days of film history. The works I will focus on are the important phases of pre-planning of feature films and animated films. I theorize on the aspect of what makes a good story and how it is brought to life on the screen, as well as how the story is actually conveyed with this drawings. The hypothesis maintains the importance of storyboards, as well as defining their main purpose. Using a formalistic point of view and historical argumentation, I examine and compare five different directors´ use of storyboards and how their respective collaborative teams (i.e director of photography, production designer and story artists, editors etc) create each film´s particular nuances and cinematic expressions. The source materials used are works by Bill Krohn, Giuseppe Cristiano, Steven D. Katz and Robert Kapsis, amongst others. The films/DVDs for my research have consisted of numerous behind-the-scenes materials and storyboards that have been featured with these filmic references. My conclusion is that the subsequent cinematic expression in each work is already apparent in the early process. This is revealed sometimes in the sketchbook of the director, but most often in the important collaborative work of the whole production team. In this we discover aspects as to what makes an elaborate, filmic masterpiece, facts most often unknown to a normal cinema audience. storyboards animation filmhistory narration montage theory Hiroyuki Morita Martin Scorsese Guillermo Del Toro Philip Kaufmann Alfred Hitchcock storyboards animation filmhistoria narration montageteori Hiroyuki Morita Martin Scorsese Guillermo Del Toro Philip Kaufmann Alfred Hitchcock

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Från svartvit till färg : en studie av färg i Michelangelo Antonionis film Den röda öknen / From black and white to color : a study of color in Michelangelo Antonioni´s film The red desert

Från teckning till färdig produktion : en studie av storyboards inom spelfilm och animerad film / From initial sketch to final production : a study of storyboards within feature film and animated film