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.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:kau-27017 |
| Date | January 2012 |
| Creators | Ericsson, Calina |
| Publisher | Karlstads universitet, Estetisk-filosofiska fakulteten |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
Page generated in 0.0027 seconds