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The correct use of colors in the cinema is essential to create emotionally charged films, works that really create a connection with the audience.

En su definición más simple, el cine es el arte de contar historias a través de imágenes. Sin embargo, no solo se guía por la inspiración, sino al mismo tiempo por el domain técnico de todos los elementos que confluyen en estas composiciones. Entre ellos, destaca el uso de colors To generate emotions, such a rich and entertaining subject that it has given way to numerous studies and research.

Since its origins, man has built a deep relationship with him colors. It is proven that each of them affects our emotions differently. Being a visual art, cinema is not exempt from the so-called color psychology. Conocer todos sus secretos se ha convertido en uno de los objetivos de los grandes cineastas, cuyo target es crear películas que conecten con el espectador a nivel emocional.

Color as a resource for storytelling

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The use of colors in the film is key to creating an emotional connection with the viewers.

the use of colors in the cinema or in movies it helps determine the aesthetic style of a director. Some choose strident colors to stir our senses with feelings of energy and dynamism, while others resort to desaturation of these to generate other types of reactions. From the first scene, the filmmakers they understand that it is a powerful narrative device, the perfect catalyst for promoting moods.

Surely you have heard that the color blue inspires tranquility, freshness and relaxation, but that its overexposure on a stage transmits sadness and melancholy. Apart from this, pink is a color that is inevitably associated with the feminine, but at the same time it is associated with the feeling of friendship, delicacy and love. As we can see, each color affects our perception as spectators and, consequently, our emotional state.

It is no coincidence that sad or nostalgic scenes have an aesthetic dominated by the color blue, while those where passion or violence predominate have a greater presence of red. In this way, the filmmakers seek to reinforce the plot of their shots by playing with colors to direct us to a certain emotion, just as they do with the soundtrack or the type of framing.

The masters of the use of color in the cinema

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Color is a narrative resource with strong expressive power

Among the directors who forged a style unmistakable for their masterful use of colors in the cinema meet Alfred Hitchock. His case is curious because he began his career recording in black and white, experimenting with the use of color until 1948. Just enjoy Vertigo to understand that he was a genius as a visual storyteller. This film is characterized by the predominant use of intense reds and greens.

The filmmaker Pedro Almodóvar is considered another of the great masters of the use of color on the big screen. His talent stands out for choosing a palette capable of enhancing the dramatic effect of the story. Apparently, the color red is the one we find most frequently in his filmography.

Another emblematic case is that of the iconic Wes Anderson, who usually moves between colors pastel and vibrant for your different movies. Without any doubt, it is one of his main characteristics as a visual artist, becoming a reference for new generations.

In the end, all serious filmmakers know that the color it is just as important as the plot of the movie itself. Every decision made about this element will be key to raising or lowering its expressive power.

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The correct use of color helps to connect emotionally with the public

Where can we see this? online content? 🍿

If you liked our article, you will surely want watch the movie or series right now online!. For you who are a lover of the seventh art, watching a movie from your personal computer will probably be a bit of a challenge. We will always have the romance of movie theaters, with their smell of popcorn and surround sound.

Sea Anyway, we give you the best alternatives so you can enjoy a worthwhile feature film from the comfort of your home.

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