Color in the Epic Film: Alexander and Hero1
A key feature of the epic genre since the appearance of the tinted and stenciled Italian epics of the 1910’s, color technology and design constitutes a direct line of formal innovation that extends from the earliest iterations of the epic film to the exalted color symphonies of the present. The sign...
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| Format: | Article |
| Language: | English |
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Sociedade Brasileira de Estudos de Cinema e Audiovisual
2016-07-01
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| Series: | Rebeca: Revista Brasileira de Estudos de Cinema e Audiovisual |
| Online Access: | https://rebeca.emnuvens.com.br/1/article/view/282 |
| _version_ | 1797903637035352064 |
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| author | Robert Burgoyne |
| author_facet | Robert Burgoyne |
| author_sort | Robert Burgoyne |
| collection | DOAJ |
| description | A key feature of the epic genre since the appearance of the tinted and stenciled Italian epics of the 1910’s, color technology and design constitutes a direct line of formal innovation that extends from the earliest iterations of the epic film to the exalted color symphonies of the present. The significance of color in the epic, however, has largely been ignored. In this essay, I argue that color design complicates the traditional understanding of epic form as a conservative, nation-centric genre, governed by what Gilles Deleuze calls a critical-ethical horizon. The recent epics Alexander and Hero provide a case in point: in each film, color design articulates a range of messages that provide a new way of understanding these works, and that illuminate the use of color in the long history of the epic genre.2 |
| first_indexed | 2024-04-10T09:36:05Z |
| format | Article |
| id | doaj.art-1832e0554a1a4c29b2e8e0578b5e0767 |
| institution | Directory Open Access Journal |
| issn | 2316-9230 |
| language | English |
| last_indexed | 2024-04-10T09:36:05Z |
| publishDate | 2016-07-01 |
| publisher | Sociedade Brasileira de Estudos de Cinema e Audiovisual |
| record_format | Article |
| series | Rebeca: Revista Brasileira de Estudos de Cinema e Audiovisual |
| spelling | doaj.art-1832e0554a1a4c29b2e8e0578b5e07672023-02-17T17:31:26ZengSociedade Brasileira de Estudos de Cinema e AudiovisualRebeca: Revista Brasileira de Estudos de Cinema e Audiovisual2316-92302016-07-011210.22475/rebeca.v1n2.282Color in the Epic Film: Alexander and Hero1Robert BurgoyneA key feature of the epic genre since the appearance of the tinted and stenciled Italian epics of the 1910’s, color technology and design constitutes a direct line of formal innovation that extends from the earliest iterations of the epic film to the exalted color symphonies of the present. The significance of color in the epic, however, has largely been ignored. In this essay, I argue that color design complicates the traditional understanding of epic form as a conservative, nation-centric genre, governed by what Gilles Deleuze calls a critical-ethical horizon. The recent epics Alexander and Hero provide a case in point: in each film, color design articulates a range of messages that provide a new way of understanding these works, and that illuminate the use of color in the long history of the epic genre.2https://rebeca.emnuvens.com.br/1/article/view/282 |
| spellingShingle | Robert Burgoyne Color in the Epic Film: Alexander and Hero1 Rebeca: Revista Brasileira de Estudos de Cinema e Audiovisual |
| title | Color in the Epic Film: Alexander and Hero1 |
| title_full | Color in the Epic Film: Alexander and Hero1 |
| title_fullStr | Color in the Epic Film: Alexander and Hero1 |
| title_full_unstemmed | Color in the Epic Film: Alexander and Hero1 |
| title_short | Color in the Epic Film: Alexander and Hero1 |
| title_sort | color in the epic film alexander and hero1 |
| url | https://rebeca.emnuvens.com.br/1/article/view/282 |
| work_keys_str_mv | AT robertburgoyne colorintheepicfilmalexanderandhero1 |