Narrative- A Study in Values and Colour (Part 3)
Continuing on from my last post, a triadic colour scheme can create a playful balance, as seen in โThe Wizard of Ozโ by Victor Fleming & Co. Triadic colours are primary in nature and bold:
The Wizard of Oz (1939)
Discordance- the opposite of balance, features one saturated colour that doesnโt โfit inโ to make the audience focus on something or unsettle them:
Amelie (2001)
So, in summary:
Charactersโ colours also play a major role in storytelling. In Wes Andersonโs โRoyal Tenenbaumsโ, the character Gene Hackman does terrible things but because he wears pink, we know not to take him too seriously.
Royal Tenenbaums (2001)
In fact, a lot of Andersonโs work emits and has been criticised for this: using such soft palettes that they almost dilute the narrative. Take one of my favourite all-time films, โThe Grand Budapest Hotelโ:
The Grand Budapest Hotel (2014)
Colour in storytelling can be summed into two categories easily.
Associative
Such as in โThe Godfatherโ where orange connotates death...
The Godfather (1972)
Or in another one of my favourites, โWe Need to Talk About Kevinโ and how red is used to connotate death and violence and Kevin as a character...
We Need to Talk About Kevin (2001)
Associative colour in storytelling is for referring back to a certain subject or idea.
