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Essays on colour psychology
Essays on colour psychology
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IMDb describes the movie Bullitt as: “An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.” The Nicholas Watts painting “Bullitt In Pursuit” uses colors, lines, and sizes to convey the message: The Dodge Charger scene from the “Bullitt” car chase produced excitement. Bullitt was released in theaters on October 17th, 1968 and was directed by Peter Yates. The movie is based off of the book Mute Witness by Robert L. Fish. The protagonist Frank Bullitt is played by Steve McQueen; Frank is ranked as a lieutenant for the San Francisco Police Department. Bullitt is recognized and famous for the car chase scene between Frank Bullitt and the Ross Hitmen. Frank drove the …show more content…
Lines are the foundation of art; such as paintings, pictures, movies, cartoons, or T.V. shows. They create shapes and define the piece. “Bullitt in Pursuit” is no exception to this statement. In “Bullitt in Pursuit” all sorts of lines, whether they are curved, or straight create all sorts of things such as: the cars, the buildings, and the scenery. Lines also convey the sensation of speed by making everything blurry as if the entire painting is flying by at 100 mph. Without lines, the painting would appear virtually a blank canvas without any definition of the scene being depicted. Although a blank canvas could be considered art it would not be appealing to view. Although, everyone’s different and everyone has their own opinion on what they like to view. Colors add a depth to art that takes the visual appeal to a whole other level and enhance the effect of …show more content…
“Bullitt in Pursuit” uses blacks, blues, grays, greens, and muted tones. Blacks are used to define the 1968 Dodge Charger R/T. The blues define the sky, and the 1968 Ford Galaxie 500. Grays convey the sense of speed by washing out the road. The color grays is also used repeatedly as accents on the buildings in the background. Green colors in Frank Bullitt’s 1968 Ford Mustang which is off in the distance behind the Black 1968 Charger, and green also colors the VW Beetle which is just left of the black 1968 Charger. The trees are also filled in with green to show that they are healthy and that it is summer time. Muted tones such as, beiges, blacks, browns, and darker blues fill in the buildings in the background which the building helps the viewer determine where the chase takes place. The style of the buildings indicates that the car chase is happening in San Francisco. Being that San Francisco has a style specific to the city which is unlike any others in the United
Ken Kesey's award-winning novel, "One Flew over the Cuckoo's Nest", was adapted into a film in 1975 written and directed by New York City native Bo Goldman and Czech director Milos Forman. Towards the end of the novel and film, Chief Bromden escapes from the ward. This scene is conveyed differently in the novel and film; however, there are evident similarities between each form of media. This scene is important to the plot because it wraps up the entire storyline. In the film and novel, similarities within Chief Bromden’s escape from the ward include the way Chief escaped, how he couldn't hear anyone in the ward due to being deaf, and how McMurphy assisted Bromden with gaining his confidence to lift the panel and throw it through the window. McMurphy essentially changed Bromden to help him break out of the asylum and back into the real world.
Two-Lane Blacktop is a 1971 road movie with no beginning, no ending and no speed limit, is directed by Monte Hellman. Actors and actress are singer-songwriter James Taylor (the Driver), the Beach Boys drummer Dennis Wilson (the Mechanic), Warren Oates (GTO), and Laurie Bird (the Girl). “Blacktop” means an asphalt road. It is existential road movie, because, as the race grows increasingly, the road itself takes on a real identity as if it were a place to live and not just a place to pass by. This is a freedom according to Monte Hellman, the road goes forever but that doesn’t mean there is anywhere to go but it will forever stand… Two-Lane blacktop might not have a destination but has a direction. It has been associated with
Incohesive, long, and dialogue-heavy, Inherent Vice has all the potential to flounder. Yet under the steady (or rather, wild) hands of director Paul Thomas Anderson, the film becomes a psychedelic, incredibly enjoyable ride brimming with wit and melancholy. The film follows Larry ‘Doc’ Sportello (played in routinely magnificent fashion by the now ever-reliable Joaquin Phoenix), and his exploits to help his ex-girlfriend, Shasta Fey (Katherine Waterston, also exquisite) investigate a kidnapping of notorious real-estate billionaire Mickey Wolfmann. From there, the plot descends (or ascends, depending on your perspective of the film) into sumptuous lunacy; a mystery involving the coveted and secretive
An early scene in George Roy Hill’s film Butch Cassidy and the Sundance Kid (1969) shows illustrious bandit Butch Cassidy walking into a bank and observing a series of security upgrades (e.g. an alarm system, a safe, and several different locks). As Butch Cassidy exits the establishment, he asks the security guard, “What happened to the old bank?” The guard responds, “People kept robbing it.” Butch remarks, “Small price to pay for beauty.” Although Butch Cassidy’s disappointed assertion may have been rooted in disappointment for the loss of a heist rather than the loss of architectural merit, it leads one to question: To what extent are cultural attributes lost at the expense of new technology? I will consider this question as I examine the ways in which Butch Cassidy and the Sundance Kid highlights the
A more modern outlook on the film recognizes the film's flaws but gives it, it’s credit as the last fully realized work of one of the most important directors in American cinema history. Ford understood that an audience's recollections of older, less complex Westerns would add a layer of expressiveness to the viewing experience. The black-and-white structure helps him achieve this. Ford’s decision to shoot the film in black and white in 1962 produced a dark, anachronistic look, while the unconcealed soundstage effects of the film’s opening scene reinforced Ford’s vision of a wilderness, interiored Western frontier. Just as Ford intended, many of the flashback scenes are masked in darkness, whereas the frame tale is immersed in light. This con...
The artistic intensions of the film were clearly stated in the beginning when the credits appeared on the screen along with the recognition that this film received. Nothing in the background moved. The size and arrangement of the letters on the screen screamed to the audience that the main artistic intension of this film was for the audience to clearly recognize that this film itself was a piece of art in its finest form. The film very quickly and artistically set the mood and the location as well as the topical time period through the jazzy music in the background, the accents and grammar of the characters, the style of clothing and hair, the presence of a soldier, and through the scenery. Later in the film, some indicators of the time period were shown through the old radio Stanley threw out the window and the young man coming to collect for the newspaper. An indicator of the location was made more clear by the presence of African American people walking in Stella and Stanley's neighborhood. Back when this movie was made the black people and white people, especially of upper class society, were still segregated for the most part. The upstairs neighbors fighting with each other and yelling loudly and the appearance of Stanley's poker friends...
First and foremost, film noir refers to the visual style of a picture. The imagery of film noir was influenced by early 20th century German expressionism, featuring distorted, sinister shapes and shadows. These precursors to film noir used abstract figures and looming shadows for bizarre, emotionally stirring results. Techniques such as chiaroscuro were used to give a dark and minimalistic feeling. In many cases lighting is limited to a single harsh light source, which obscures the image, and even throws shadows across actors’ faces. These elements ensure that an audience regards the actors and the setting with equal importance. Oblique angled shots permeate many film noirs, naturally provoking anxiousness and apprehension in the viewer. In Sun...
use of the camera the sound and the mise en scene. I will analyze the
In the opening scene of the movie we see Frank’s character played by Denzel Washington. Right away we are shocked by his violence and see his power. This is the first motif we are introduced to. We see Frank stand tall over his victim, and the dark shadowing we see on his face and body show his dominance. Another motif we are introduced to is how real this film is setup to be. The car headlights that setup the background and introduce where we the setting is as well as motivate lights. They have a purpose in the film in promoting its authenticity. We also hear the all the sounds in the forefront. When hear the sounds up close it dramatic for us as viewers. We hear every 7drop of gasoline that is poured on the man’s body and we even hear the flick of the lighter as Frank sets the man on fire. This is the director Scott Ridley’s way of saying to the audience I want to fool you, and I want you to feel like you were there and what you are watching in front of you is real.
For this assignment, I decided to watch “Crash”, a movie set in the streets of Los Angeles California and that shows the lives of various individuals with different cultural backgrounds. The movie starts with the scene of a car crash between an Asian woman and a couple of detectives near the sight of a murder, as the African American detective Graham Waters walks around the scene he stops because he saw something that shocked him, and from there a flashback begins. The first relevant scene shows, Anthony and Peter, two African Americans individuals walking down the street talking about racial discrimination. As they talk a couple passes by them and the two decide to steal their car. This causes a chain of events affecting the lives of many
As a contrast to the humanity portrayed by Mr. Mead, Bradbury has mirrored the characteristics of progress in the police car. The car, as well as Mr. Mead, is associated with light. The light of the car, however, displays the absence of humanity. Rather than the "warm" light of Mr. Mead, the car possesses a "fierce" and "fiery" light that holds humanity "fixed" like a "museum specimen"--something from the past that should be looked at behind an impersonal plate of glass (105-06). When not holding humanity captive, the car's lights revert to "flashing ... dim lights," showing the absence of any real soul (106). The car is representative of several modern inventions, thereby embodying mankind's advancement. It is itself a robot, and it speaks in a "phonograph voice" through a "radio throat" (105-06).
Movies featuring car chases have always been popular in Hollywood. Classics like Smokey and the Bandit, To Live and Die in L.A. and Bullitt all contributed to the action genre. The movie Drive however, used car chases in a movie that drew from the action genre, the romance genre, and the crime genre of films. The movie is a depiction of the life of a man only known as “The Driver”. The movie follows him as he tries to balance his life of crime, with his love of cars and driving, and also an attempt at romance. The movie follows the Driver and details his daily life as a stunt driver, a mechanic, and a getaway driver for criminals. The Driver meets his neighbor Irene and her son Benecio, and begins to bond with them. He learns that Irene's husband is in jail and is due to be released soon. After her husband, Standard, is released, crime bosses immediately want payment for keeping him safe in prison. The Driver, having deep feeling for Benecio and Irene offers to help. Things go awry, Standard gets killed, the Driver is on the run with stolen money, and is furious for being set up. The movie follows his quest to make things right, however this causes a rift between Irene and the Driver, and at the conclusion of the movie the audience never knows what becomes of the relationship. In Drive the camera work soundtrack casting and style all fuse together to create a fantastic film detailing the criminal underworld, corruption, and romance.
The movie Crash is in the streets of Los Angeles. If you notice all of the characters seem to play the victim and accuser in different racial situations. There is a story behind each character over a two day period. There is the detective who is prejudice against his own race whose younger brother is a criminal. There is Jean who is prejudice against black people after getting robbed. John is the cop who is racist against all black people and sexually assaults Christine in front of her husband. This movies show’s so many of the social psychological principles through the story of each individual.
This movie starts off as Jordan Belfort, the main character in the movie, losing his job as a stockbroker in Wall Street. After losing his job, he goes and gets a job in a Long Island brokerage room. In the brokerage room, he sells penny stocks. Thanks to him being aggressive in his selling skills, he was able to make a profit. With the new income, he gives his wife a bracelet and she asked him why doesn’t he go after the people that can afford to lose money, not the middle-class people or lower income people. That is when he gets the idea to get a lot of young people and train them to become the best stock brokers.
Cubism takes the opposite route for the same effect. Solid lines are drawn, but the painting itself is usually more abstract (as with Picasso). At times it can be difficult to discern what some paintings are supposed to represent. Bright, vivid colors infuse the pieces with more passion. The contrast between those not well defined objects and the punch of emotion gives cubism its personality and vitality.