Bibliography-Websites

Damien Hirst - 4oD - Channel 4. 2012. Damien Hirst - 4oD - Channel 4. [ONLINE] Available at: http://www.channel4.com/programmes/damien-hirst/4od. [Accessed 26 April 2012].

Tumblr. 2012. Tumblr. [ONLINE] Available at: https://www.tumblr.com/. [Accessed 26 April 2012]. 

Name List. 2012. Name List. [ONLINE] Available at:http://www.rootsweb.ancestry.com/~polwgw/namelist.html#polish. [Accessed 27 April 2012].

Monochrome painting - Wikipedia, the free encyclopedia. 2012.Monochrome painting - Wikipedia, the free encyclopedia. [ONLINE] Available at: http://en.wikipedia.org/wiki/Monochrome_painting. [Accessed 27 April 2012].

Home | Causes of Color. 2012. Home | Causes of Color. [ONLINE] Available at: http://www.webexhibits.org/causesofcolor/index.html. [Accessed 27 April 2012].

Design Seeds®: For All Who Love Color. 2012. Design Seeds®: For All Who Love Color. [ONLINE] Available at: http://design-seeds.com/index.php/P80. [Accessed 27 April 2012].

Women, Sex and Film: The Objectified Woman and Her Quest For Subjectivity | Suite101.com. 2012. Women, Sex and Film: The Objectified Woman and Her Quest For Subjectivity | Suite101.com. [ONLINE] Available at: http://michael-peters.suite101.com/women-in-film-a45612. [Accessed 27 April 2012]

 Did colour ruin the movies? | Film | guardian.co.uk . 2012. Did colour ruin the movies? | Film | guardian.co.uk . [ONLINE] Available at:http://www.guardian.co.uk/film/filmblog/2007/aug/10/didcolourruinthemovies. [Accessed 27 April 2012].

Colour Quotes - BrainyQuote. 2012. Colour Quotes - BrainyQuote. [ONLINE] Available at:http://www.brainyquote.com/quotes/keywords/colour.html#wlhFPfBQ4XGIagXA.99. [Accessed 27 April 2012].

. 2012. . [ONLINE] Available at: http://www.tate.org.uk/art/artworks/klein-ikb-79-t01513/text-summary. [Accessed 27 April 2012].

Color Symbolism Chart by Culture. 2012. Color Symbolism Chart by Culture. [ONLINE] Available at:http://webdesign.about.com/od/color/a/bl_colorculture.htm. [Accessed 27 April 2012].

I wanted to take something in the style of Cat Lane (this self portrait in particular http://www.facebook.com/photo.php?fbid=301442413242965&set=a.289544354432771.71821.135068259880382&type=1&theater ). I wanted something beautiful and filled with light, so when it finally came to the golden hour I asked Brittany to come and pose for me, we photographed other things but as the light turned really beautiful she asked if I wanted anything else, so I asked to go squat behind the crops. I used a zoom lens and was atleast 10-15 metres away from her at the time, but it allowed me to get a much better shot, but also to get a lot of light in front of her face which works really nicely. I overexposed it at various exposures, letting in as much light as possible, burning out a lot of the background, filling the camera with this beautiful yellow light so that the whole photograph would be tinted. I then took the exposure down a little in editing as well as upping the contrast and definition so that you can see her face.

Bibliography-Film

DVD

The Artist, 2011. [DVD] Michel Hazanavicius, USA/France: La Petite Reine.

DVD

The Devil’s Backbone, 2001. [DVD] Guillermo Del Toro, Spain: Guillermo Del Toro.

DVD

Pan’s Labyrinth, 2006. [DVD] Guillermo Del Toro, Spain: Guillermo Del Toro.

DVD

The Hunger Games, 2012. [DVD] Gary Ross, USA: Lionsgate Film.

DVD

The Hunger Games, 2012. [DVD] Gary Ross, USA: Lionsgate Film.

DVD

Peter and the wolf, 2006. [DVD] Suzie Templeton, UK: Alan Dewhurst.

DVD

Blue Valentine, 2010. [DVD] Derek Cianfrance, USA: Lynette Howell.

DVD

500 days of summer, 2009. [DVD] Mark Webb, USA: Veronica Brooks.

DVD

Paris Je T’aime, 2006. [DVD] There’s 20 odd beginning with Olivier Assayas , France: Emmanuel Benbihy.

DVD

Amelie, 2001. [DVD] Jean-Pierre Jeunet, France: Jean-Marc Deschamps.

DVD

Sin City, 2005. [DVD] Frank Miller, USA: Elizabeth Avellan.

DVD

We need to talk about Kevin, 2011. [DVD] Lynne Ramsay, UK/USA: Luke Roeg.

DVD

Persona, 1966. [DVD] Ingmar Bergman, Sweden: Ingmar Bergman.

DVD

Tzameti, 2005. [DVD] Géla Babluani, France: Géla Babluani.

DVD

Tzameti, 2005. [DVD] Géla Babluani, France: Géla Babluani.

DVD

Three colours red, 1994. [DVD] Krzysztof Kieslowski, France: Marin Karmitz.

DVD

Three colours blue, 1993. [DVD] Krzysztof Kieslowski, France: Marin Karmitz.

DVD

Three colours red, 1994. [DVD] Krzysztof Kieslowski, France: Marin Karmitz.

DVD

Scott Pilgrim Vs. The World, 2010. [DVD] Edgar Wright, USA/Canada: Universal Pitctures.

DVD

Scott Pilgrim Vs. The World, 2010. [DVD] Edgar Wright, USA/Canada: Universal Pitctures.

DVD

Eternal Sunshine of the Spotless Mind, 2004. [DVD] Michel Gondry, USA: Focus Features.

DVD

House of Flying Daggers, 2004. [DVD] Yimou Zhang, China, Hong Kong: William Kong.

DVD

Drive, 2011. [DVD] Nicholas Winding Refn, USA: Bold Films.

DVD

Submarine, 2011. [DVD] Richard Ayoade, United Kingdom: Film 4.
The Silence, 2010. [DVD] Baran bo Odar, Germany: Das Kleine Fernsehspiel (ZDF)

Damien Hirst: On the Spot from Matt Black on Nowness.com.

Damien Hirst: On the Spot The Industrious Art Star Occupies Gagosian Galleries Worldwide with His Complete Spot Paintings A rhinestone-wearing Damien Hirst explains the theory and thought behind his infamous spot paintings in the latest short from filmmaker Matt Black. The legendary British artist, made famous by submerging mammals in formaldehyde and creating jaw-droppingly expensive jewel-encrusted skulls, has become one of the most prolific and lucrative names in contemporary art. The Complete Spot Paintings, 1986-2011, his series of 331 white canvasses imbued with rows of multicolored dots, are currently on display at all 11 of mega-gallerist Larry Gagosian’s sites around the globe. Manufactured largely by Hirst’s army of assistants, the paintings range in size and detail, with the most recent, completed in 2011, containing some 25,781 spots each 1mm in diameter; no single color is ever repeated on a canvas. Black first encountered Hirst’s hyper-symmetrical series in the mid 1990s, and found that his opinion on the works slowly developed from ambivalence to fascination. “When you are in a room full of them, they are overwhelming and disturbing; these dots staring at you creates a real sense of anxiety,” says Black. “His work always has an aggressiveness, and these are no exception.”

Any colour - so long as it’s black. Henry Ford

I find this quote really interesting. I don’t know whether Mr Ford particularly likes black or whether this is in fact a joke based around the fact that because black as a ‘colour’ absorbs all light and reflects nothing, it is actually a complete absence of colour and in reality there is no such thing as the colour black.

Short director’s commentary

I think it’s because it was an emotional story, and emotions come through much stronger in black and white. Colour is distracting in a way, it pleases the eye but it doesn’t necessarily reach the heart. Kim Hunter

This is a really interesting and somewhat contraversial view as it is often thought that using colour made a photograph more realistic and caused a greater emotional effect on people, which is partly why it took a while for colour to really become the mainstream medium in film and photography as it is now, it was too realistic for people. However I do agree that colour can be distracting just because it adds that extra dynamic, it’s almost like an extra emotion playing alongside the main ones and if used badly could easily cause a distraction. 

Advertisement. The top works better than the bottom as it is more simple sticking to 4 different colours, beige, blue, cream and red.

I used wrapping paper that I had been given for my birthday for a blurred colour back drop, reflecting the colours in the foreground. 
I asked my mother to hold the paper further forward in her left arm so that the whole piece would catch window light. This took ages and by the end of it I was so tired of explaining how to hold paper to her that I didn’t ask her to lower the left bottom corner. I really wish I had.

I used wrapping paper that I had been given for my birthday for a blurred colour back drop, reflecting the colours in the foreground. 

I asked my mother to hold the paper further forward in her left arm so that the whole piece would catch window light. This took ages and by the end of it I was so tired of explaining how to hold paper to her that I didn’t ask her to lower the left bottom corner. I really wish I had.