Boja kao izlagački aspekt narativnoga filma

The dissertation, titled Colour as an Expository Aspect of the Narrative Film, explores how color shapes the narrative, aesthetic, and emotional dimensions of film. Analyzing the historical, technical, cultural, and artistic aspects of color, the paper examines its role from the first black-and-white films to the digital era, considering how color influences the viewer's perception and contributes to the film's story. From its inception, film aimed to imitate reality, rooted in the philosophical concept of mimesis. Black-and-white films, although technically limited, developed sophisticated techniques for applying lighting and contrast to create persuasiveness and atmosphere. However, the pursuit of greater realism and visual diversity prompted the introduction of color as a significant artistic element, enabling a new acceptance and understanding of film language. The first chapter of the dissertation explores these beginnings, connecting the historical development of film with the philosophical concepts of realism and mimesis, while particularly emphasizing the introduction of color as a key element of the film image. This discussion serves as an introduction to a deeper consideration of the historical, theoretical, and technical aspects of color in film. Furthermore, the history of color theory is covered, beginning with Isaac Newton, who was the first to scientifically explain the light spectrum, and continuing to modern theories that incorporate interdisciplinary research in psychology, art, and technology. Newton's discoveries provided the foundation for understanding color as a light phenomenon, while later theories expanded this understanding by adding subjective and cultural factors to color perception. Through a historical overview, the paper explores how scientific discoveries influenced visual artists, and later filmmakers, and how concepts of color evolved alongside the development of the medium. The paper also addresses the technical and physiological aspects of color as a light phenomenon, explaining the basic principles of physics related to color perception. It describes how the human eye is physiologically adapted to perceive certain wavelengths of light. This analysis provides the reader with a deeper understanding of how color transitions from a physical stimulus to a subjective experience in the human mind. This insight is important for understanding the technical and artistic aspects of filmmaking, where the manipulation of color can produce specific emotional and narrative effects. The dissertation also explores the psychological dimensions of color perception. It examines how different colors evoke specific emotional responses, direct the viewer's attention, and influence the interpretation of narratives. The cultural symbolism of color is particularly significant in the language of film, as different cultures interpret colors differently. For instance, red is often associated with passion or danger in Western cultures, while in some Eastern cultures, it symbolizes happiness and prosperity. This complexity makes color a powerful yet delicate tool in narrative film. Color thus fits into the broader context of art and culture. The paper also explores how great masters of painting used color to express emotions and symbolism, and examines how directors such as Jean-Luc Godard and Ingmar Bergman drew inspiration from visual arts in shaping their films. Painting movements such as Impressionism and Expressionism had a profound influence on the development of film language, especially in the use of color to express the subjectivity and inner states of characters. The dissertation also focuses on photography as a new medium that shaped the perception of reality and the aesthetics of visual arts. The history of color photography follows technological developments from the first experiments to its mass application in the twentieth century. The aesthetics of color photography, particularly its ability to faithfully reproduce reality, laid the foundation for later innovations in film. The analysis shows that color photography is not only a technical innovation but also a dominant aesthetic tool, opening up new possibilities for narrative and symbolic expression. Part of the work relates to visual storytelling with moving images, exploring the poetics of black-and-white film and the transition to color film. Despite the limitations of visual art, black-and-white films developed expressive techniques, such as contrast and light quality, which enriched the film narrative. With the standardization of color film, filmmakers faced new visual challenges and opportunities. Early experiments with color in film, although technically imperfect, laid the foundation for later masterpieces that use color as an indispensable narrative element. The focus of the dissertation is also on the role of color in European film after 1960, a period marked by innovation and creative exploration. Directors such as Krzysztof Kieślowski, who plays with the colors of the French flag, and Pedro Almodóvar, who uses color in highly symbolic and emotional ways, demonstrate how color becomes not only a means of visual persuasion but also a crucial tool for philosophical and social commentary. Through a detailed analysis of key films, the dissertation illustrates how European filmmakers expanded the functionality of color in the language of film. Examples of specific uses of color in narrative film are discussed through films such as El Ballon Rouge (1956) by Albert Lamorisse and Pierrot le Fou (1965) by Jean-Luc Godard, as well as the works of Ingmar Bergman and Stanley Kubrick. In El Ballon Rouge, the red color of the balloon symbolizes freedom, innocence, and childhood imagination, while in Pierrot le Fou, color emphasizes the emotional intensity and chaotic nature of the narrative. Kubrick's precise and often symbolic use of color, for example in The Shining (1980), contributes to creating tension and deepening the meaning of specific scenes, making color an integral part of his film aesthetics. The dissertation also analyzes the digitalization of cinema and how modern technologies transform the use of color in film. Digital tools allow for greater control over color, from shooting to post-production, expanding the scope for filmmakers to experiment. The Wonderful Story of Henry Sugar (2023) illustrates how contemporary filmmakers use color to balance realism and artificiality. Digital technology opens new aesthetic horizons but also raises questions about authenticity and the perception of reality in film. Discussing the future of color in film, the dissertation considers rapid technological changes, such as augmented reality and virtual reality, confirming that new technologies will further expand the practicality and effectiveness of color in film. Finally, the dissertation concludes that color in film transcends its technical function, becoming a critical tool in shaping narratives, expressing emotions, and conveying symbolism. Through historical, theoretical, and practical analyses, the paper demonstrates how color evolved from a technical addition to the film image to an integral element of film language. This evolution enables filmmakers to use color as a means of shaping meaning, atmosphere, and audience interaction. Ultimately, the dissertation highlights the importance of further research into the role of color in film, particularly in light of new technologies and cultural changes that are redefining how we experience visual media. In summary, color remains a dynamic and complex aspect of film that continues to inspire creativity and innovation in the art of filmmaking.