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Color Moves: Diacritical, Kinetic, and Rhetorical Cinema Color.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Color Moves: Diacritical, Kinetic, and Rhetorical Cinema Color./
作者:	Brost, Laure Norma.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2011,
面頁冊數:	285 p.
附註:	Source: Dissertations Abstracts International, Volume: 73-10, Section: A.
Contained By:	Dissertations Abstracts International73-10A.
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3497384
ISBN:	9781267183156

Color Moves: Diacritical, Kinetic, and Rhetorical Cinema Color.
Brost, Laure Norma.

Color Moves: Diacritical, Kinetic, and Rhetorical Cinema Color. - Ann Arbor : ProQuest Dissertations & Theses, 2011 - 285 p.

Source: Dissertations Abstracts International, Volume: 73-10, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2011.

This item must not be sold to any third party vendors.

The purpose of this dissertation is to map some of the various senses of cinema color in terms of both sensation and meaning by focusing on how color means rather than what color means. Expanding on Mikel Dufrenne's phenomenological ideas of the aesthetic object along with reference to the theoretical work on color of Eisenstein, Deleuze, and others, the first section concerns diacritical color, that is to say, color used as emphasis and differentiation. The second section expands from there, examining the rhythms that are established through the color alternations discussed in the first section, and further identifying the various and often simultaneous types of movement that occur in kinetic color . Finally, section three delves deeper into the idea of emphasis and rhythm, drawing parallels between rhetorical figures of speech, considered the "color" of language, and "figures of color" in film. Tropological color explores cinema color as tropes and schemes, with the ability to persuade the spectator and create narrative meaning by foregrounding issues of physical and figurative movement through layers of space, character, and time. I conclude by stressing the importance of considering color in a way that focuses both on specific instances of use by discerning patterns within individual films while also recognizing color's prismatic and polyvalent identity across a great variety of narrative film examples from different genres and time periods.

ISBN: 9781267183156Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Aesthetics

Color Moves: Diacritical, Kinetic, and Rhetorical Cinema Color.
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500 $a Source: Dissertations Abstracts International, Volume: 73-10, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Bergstrom, Janet.
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506 $a This item must not be sold to any third party vendors.
520 $a The purpose of this dissertation is to map some of the various senses of cinema color in terms of both sensation and meaning by focusing on how color means rather than what color means. Expanding on Mikel Dufrenne's phenomenological ideas of the aesthetic object along with reference to the theoretical work on color of Eisenstein, Deleuze, and others, the first section concerns diacritical color, that is to say, color used as emphasis and differentiation. The second section expands from there, examining the rhythms that are established through the color alternations discussed in the first section, and further identifying the various and often simultaneous types of movement that occur in kinetic color . Finally, section three delves deeper into the idea of emphasis and rhythm, drawing parallels between rhetorical figures of speech, considered the "color" of language, and "figures of color" in film. Tropological color explores cinema color as tropes and schemes, with the ability to persuade the spectator and create narrative meaning by foregrounding issues of physical and figurative movement through layers of space, character, and time. I conclude by stressing the importance of considering color in a way that focuses both on specific instances of use by discerning patterns within individual films while also recognizing color's prismatic and polyvalent identity across a great variety of narrative film examples from different genres and time periods.
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