And I feel blue … meaning of colors in cinematography, waves and a gram of gold

The world`s top advertising agencies have produced a large number of outstanding campaigns with a creative approach and powerful messages. If I am asked to name my favorite ones I will struggle to do so. However, there are a few video commercials, dare I say so, that have inspired me as a creative thinker.

Chanel N°5: The One That I Want. The Film

Directed by Baz Luhrmann (famous for the Great Gatsby), the commercial of Chanel N°5 iconic perfume beloved by Marilyn Monroe is a phenomenal reflection of the impeccable style of the brand. The commercial is serenity on one side and sensuality on the other. What makes this short film so special? Well, many things. Starting from the cast, their costumes, the scene and continuing with … colors. In this post I would like to pay more attention to the colors of the video.

When you watch this commercial you instantly notice the predominance of blue color – the ocean, Gisele`s eyes (the main character of the commercial), the suit of her admirer. Though there are dozens of shades of blue, it all appears to give a sense of calmness and triggers thought. Why? The experts in visual storytelling say that blue color encourages people to think and at the same time makes them powerless. I have recently read one book on how colors are being used in cinematography. I was surprised to learn that even the shades of details of clothes, the walls in the rooms or flowers in the garden that appear in the movie are used with specific purposes and are carefully chosen by the filmmakers.

There are a few shades that stood out for me in the video. The first is the wave. Although experts say that blue color disarms, we cannot deny the power of the wave. The first thing that came into my mind was The Great Wave of the Japanese artist Hokusai. As Gisele glides on the wave, practically taming it, she brings a balance between the calmness of blue water and the strength of the wave.

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The color of the eyes of both models in the commercial stands out too, reminding the color and power of the wave. I have noticed that although the model is wearing a black swimsuit followed by a white dress, there is always a shade of blue added which makes the picture very complete. I noticed beautiful tones of deep blue in her eye makeup too.

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However, not all the scenes appear blue – the scene of the young singer and the meeting scene at the end are full of reds. The change (especially such contrasting) of the colors always has a strong influence on the viewer. The coldness and composure of surfing is changed by the warmer shades of red and gold, bring more emotions and even love into the film. When Gisele finally enters the concert hall and approaches to the man waiting for her, red color empowers the man as he appears to have more control on the situation.

There is also another important color detail in the video – the golden touches of Chanel: the perfume, the package of the lipstick, the dress the model is wearing on the photoshoot, the stars on the skirt of her daughter, the lights on the huge “5” and “chanel” brand signs, the lights of the night city … all these details are there to highlight the iconic colors of the brand. Every color is part of the story that the video tells. We do not notice, but the colors influence our perception of reality, they bring out a whole new story. The video tells us one thing and our imagination influenced by the shades, tells us another…

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“Artists can colour the sky red because they know its blue. Those of us who aren`t artists must colour things the way they really are or people might think we`re stupid”.

Jules Feiffer

P.S. the video was take in Madeira and Cascais, Portugal

 

Was Plato right? Live streaming in the phenomenal world and escape to prison.

‘I read a book

And it’s your face

Fake? It’s your face now…’

Simply Red ‘Fake’

The faces we see at the screen today seem to be the faces of the modern society. But are they? Indeed, what is cinema today? Images of power? Source of entertainment? Opportunity to escape the reality? Perhaps a bit of all of these. The reflections over the significance of cinema took me back to … the cave. Back in 380 BC in the times when cinema did not exist and could hardly be imagined, Plato has very precisely described somewhat that can be now considered as a metaphor of modern cinema going experience. The allegory of cave talked about the prisoners watching the shadows of puppets casted on the walls of the cave believing that these shadows are the reality. If they are released they will most probably be confused with the reality and as much as they stay imprisoned in the cave, they stay ignorant regarding the real state of being. Having been raised in the cave, they would hardly want to escape the prison. Why are we the ‘prisoners’ of modern cinematography? And what is the reality we are missing?

We now take another ride in the time machine which takes us to the 18th century. It is the Age of Enlightenment. Immanuel Kant says there are two worlds: the nominal one – the real external world that is around us and the phenomenal one – the world we experience, we feel and taste every day, drawing vivid pictures in our consciousness. The world we think is real is not in fact – it is created in our imagination and lived through individual experience. Same epoch, same Age of Reason – Jonathan Swift reverses this picture: using his sharp satire he describes a surreal world of Lilliput, Brobdingnag, Country of the Houyhnhnms (and others) to show the real world with its political, social and economic problems.

Next stop – mid of the 20th century. The famous French philosopher Jean Baudrillard says we live in the world of simulation. Little has changed. Simulation of reality does not necessarily mean fictional and surreal images shown on the screen, it is all around us – in the newspapers, popular books, in the streets. The images around us are representations and interpretations of reality that are just like Instagram filters – they change our perception of the real thing. Centuries have passed but the concept is still the same: the dualism of modern world is represented in the nominal and phenomenal worlds which coexist in the same dimension. However, Baudrillard says that it is no longer possible to separate the truth from simulation. To make a decision whether he is right or wrong – take a look at your social network profile and ask yourself a question: Is it me or someone else?

It is interesting how many generations around the world have grown watching television and going to the movies and building their perception of the world influenced by what they saw on the screen. You may deny it, but the image projected to us every day (be it in your own living room or at the local cinema hall) does have an impact on our development and system of values. If Plato was right – shall we be confused once we realize the real life diverges from what we have seen before? If Kant was right, do we understand the difference between the nominal and phenomenal worlds? If Baudrillard was not mistaken – is it impossible to separate the culture and the society as it is from what it seems to be?

What is more interesting for me – who are those that ‘film’ the pictures of our lives? Although it may seem that we are the ones who shape our realities, it is not always so. To understand why the images that surround us are there, why certain concepts and ideas are brought in mass while others fade away, I turn to George Orwell. In the Prevention of Literature Orwell has argued on the concentration of control over press, films, books and radio in the hands of the more affluent and influential individuals. Questioning the liberty of speech Orwell complains on the pressure over writers to write on only those themes that are considered important by the ‘powerful ones’.

A look back in the philosophy of the previous centuries allowed me to understand that the works of the greatest thinkers are not just a collection of boring concepts and outdated ideas, on the contrary, I was surprised by how all the teachings from the past still hold true in today`s life, especially if we think of social networks and cinematography.

When I visit the cinema to see the latest blockbuster movie I make a conscious choice of what to watch. But is it so? Yesterday I have finally managed to see the so massively advertised movie Mad Max: Fury Road. The allegory of the society that is doomed and 120 min long chase of the ‘good guys’ by the ‘bad guys’ is so intense it keeps you still in the seat, but is diluted with the themes of love, superiority and depletion of natural resources. I believe, the chosen topics are not just a well-weighed marketing decision, but are the most significant issues in today`s reality. I went into the cinema expecting to see another fruit of boundless imagination of movie creators and went out pondering over feminism, greediness of human race and questioning myself: is there faith in the virtue of human race and where are we all going?

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a neverending story – on infinity, simplicity and nature

Saatchi Gallery in London is a place full of inspiration, unusual art forms and interesting talented people. Last Monday I had my pleasure meeting one of them – an outstanding Brazilian artist Valeria Nascimento. Valeria is one of the authors of a porcelain installation – a perfection of form and an embodiment of deep thought.

The masterpiece, called The Infinity, was created by Valeria Nascimento, Cristina Vezzini and Sheng Tsang Chen. The art object consists of multiple small “bowls” made of porcelain, steel wires and glass stretching from one corner of the canvas to the other, multiplying in quantity towards its end.

Valeria says the authors were inspired by nature creating this artwork: the “bowls” symbolize the flowers growing on the ground and their quantity increases showing the infinity of the development of nature, its forms and creatures. When I asked the artist why she has chosen these particular materials for the work, she said that porcelain and wires transmit the simplicity and purity of nature. Indeed, when you look at these little “flowers” you think of their fragile texture, with porcelain representing the tender petals of flowers.

If the meaning of modern art is to trigger thinking and drive imagination (as I discussed in the previous post), then my interpretation of the Infinity is the evolution of forms and meanings of objects. If you take a few steps back and glance at the installation from a distance you may see the overall change of color – it is white in the beginning where there are just a few flowers and changes to a kind of nude color when more flowers pop out. While one can refer this change to the pure fact of increasing the quantity of objects, I would suggest that the content changes too. The meaning of objects is altered once they become more widespread and more generally adopted.

I thank Valeria Nascimento, Cristina Vezzini and Sheng Tsang Chen for our conversation and for presenting this interesting installation to the public eye and I am looking forward to the future works!

P.S. I am also curious about other people`s comments 😉

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