Синий цветозвук в фильме: из глубины к свету

Abstract

The article highlights the techniques of creating a colour-sound cinematic image on the example of the use of one colour, blue, in the films where it is not only the dominant one on the colour palette but, along with sound, becomes an important element of a complex semantic structure. In our case, the blue colour dynamically changing on the screen and interacting with the sound contributes to the expression of the semantic layering of the film drama and its synesthetic perception by the viewer. The author is more interested in the analysis of the blue in the films where it is not just seen as a colour marker of the different (world, space, character, subjective state of the character, etc.) but becomes involved, in its multiple coloristic nuances, in the dynamics of the development of the film narrative and the change (transformation) of a character’s inner world. Considering the achievements and prospects of modern audio-visual technologies, it is the development of a common colour and music solution for both an episode and the overall aesthetic form of the film that can become most effective and relevant. The main material for representing this kind of colour and sound interaction is two films: Three Colours: Blue directed by K. Keslevsky (1993) and Tree of Life directed by T. Malik (2011). For the directors, the depth of immersion and the height of ascent into the blue are not just a metaphor or a local device, but a way to convey a complex film drama and express their worldview and main aesthetic principles. The philosophical, aesthetic and methodological basis for the film analysis is some theses from the theoretical works on colour and sound by S.M. Eisenstein, J.W. Goethe, V.V. Kandinsky, L. Wittgenstein, M. Pastoureau and Jan Baleka, as well as the approaches of philosophical dialogism, hermeneutical and receptive aesthetics.