Kolor w przestrzeni miejskiej „Siedem” Davida Finchera

• Authors: Małgorzata Choczaj

Title variants

EN

The Colour of Urban Areas in David Fincher’s Seven

• Languages of publication: PL

Abstracts

PL

The Colour of Urban Areas in David Fincher’s Seven The city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where  two forces are fighting: light and darkness, purity and sin.

EN

The city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where two forces are fighting: light and darkness, purity and sin.

Keywords

PL

Seven; David Fincher; Darius Khondji; lighting; sound; thriller; serial killer; seven deadly sins; colors

EN

Seven; David Fincher; Darius Khondji; Lighting; Sound; Thriller; Serial killer; Seven deadly sins; Colors; Seven; David Fincher; Darius Khondji; Lighting; Sound; Thriller; Serial killer; Seven deadly sins; Colors

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2013
• Volume: 12
• Issue: 21
• Pages: 307-316

Dates

published

2013-01-13

Contributors

author

Małgorzata Choczaj

• Katedra Filmu, Telewizji i Nowych Mediów UAM

References

• Swallow, Dark Eye. The 2lms of David Fincher, Reynolds & Hearn, London 2003, s. 67.
• M. Ząbkowska, Siedem, „Film & TV Kamera” 2003, nr 2, s. 15.
• M. Rzepińska, Historia koloru w dziejach malarstwa europejskiego, Wydawnictwo „Arkady”, Warszawa 2003, s. 122
• S. Marschall, Farbe im Kino, Schüren Verlag, Marburg 2002.
• Cz. Miłosz, Saligia, w: idem, Ogród nauk, Instytut Literacki, Paryż 19812, s. 62–63 („Biblioteka Kultury”, t. 332).
• D.E.Williams, The Sins of a Serial Killer, „American Cinematographer” 1995, nr 10, s. 40.
• B. Brown, Światło w 2lmie, przeł. K. Kosińska, Wydawnictwo Wojciech Marzec, Warszawa 20112, s. 36–37.
• B. Cierlica, Niestandardowe procesy obróbki chemicznej negatywu oraz pozytywu filmowego i ich porównanie z podobnymi efektami osiągalnymi drogą cyfrową, praca magisterska, promotor prof. S. Czyżewski, Państwowa Wyższa Szkoła Filmowa, Telewizyjna i Teatralna im. Leona Schillera, Łódź 2009, s. 10.
• M. Browning, David Fincher. Films That Scar, Praeger, Santa Barbara 2010, s. 58.
• K.J. Donnelly, „Saw” Heard. Musical, sound Design In Contemporary Cinema, w: Film Theory and Contemporary Hollywood Movies, red. W. Buckland, Routledge, New York–London 2009, s.112.
• DVD , Siedem, reżyseria: D. Fincher, scenariusz: A.K.Walker, zdjęcia: D. Khondji, muzyka: H. Shore, produkcja: Cecchi Gori Pictures, New Line Cinema; USA 1995.

Identifiers

DOI

10.14746/i.2013.21.24