Technicolour Film Analysis

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In today 's day and age, cinema has almost become synonymous with exfoliating shades of vibrant colours, satiating the lust of the mass populace. It has but sadly become a common belief, wherein a majority chunk of the movie aficionados consider the Monochromatic reel, or so to speak in layman 's language, black and white cinema as an outdated and ancient hindrance which has thankfully been replaced by colour. This notion is as jocularly hilarious as it is flawed. It is true, that with the birth of the colour motion picture process, Technicolour the slow and steady decline of monochromatic films started, but in no way did they become obsolete. Infact, filmmakers and cinema enthusiasts around the world, willfully agree of it as being an…show more content…
Technicolour was still in its dormancy, seldom used to bring some vibrancy into the screen to make movies more appealing, if not outright pretty. Therefore, the most serious dramas often tended to be black and white: Citizen Kane (1941), The Little Foxes (1941), the entire genre of film noir, and so on. The genre 's’ golden age was experienced in shades of silver, black, white and the varied intermediary shades that lie woven amongst these three, charting news heights for the Noir genre in itself. Extending from the early 1940s to the late 1950s, the era is particularly associated with a low-key black-and-white visual style that has its roots in German Expressionist cinematography. It was in this genre, that one of the resounding cinematic geniuses of the suspense genre, flourished, mastering the monochrome to his…show more content…
Little did we know, that this would be a pivotal moment in the history of the Monochrome reel. It would take another 33 years for another black and white film; Schindler’s List ( even though it did have a few colour elements) to break the foray of colour dominance in the Oscars. With the advent of the 1970’s, colour film became more realistic and less expensive, leading to majority of the features churning out in colour. Black and white movies, though seldom, were still being made but there was almost always, an artistic inclination to it. Directors were often seen, opting for black and white, while intending to portray a political or an aesthetic point. Street Scene (1989) is one such example of a film by an African American director, that attempts to restage Charlie Chaplin 's The Kid (1921) in an contemporary inner city, suggestive of the cruelly absurd humanity and the nostalgizing poverty, that the inner city denizens grant to the little

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