{"title":"色彩校正和节日纪录片的外观","authors":"Chris Cagle","doi":"10.7560/vlt8804","DOIUrl":null,"url":null,"abstract":"ABSTRACT:The digital turn and the increased role of postproduction have transformed the look of documentary films, especially those geared toward the film festival circuit. Festival films such as Fire at Sea (Gianfranco Rosi, 2016), Armadillo (Janus Metz, 2010), On Rubiks' Road (Laila Pakalniņa, 2010), and A Memory in Khaki (Alfoz Tanjour, 2016) have developed an approach to color correction distinct from that of more industrially dominant theatrical documentary. Reconciling realism and pictorialism, these films' color correction acts as a \"house style\" of festival documentary that adds meaning to the individual documentary.","PeriodicalId":335072,"journal":{"name":"The Velvet Light Trap","volume":"88 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Color Correction and the Look of Festival Documentary\",\"authors\":\"Chris Cagle\",\"doi\":\"10.7560/vlt8804\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT:The digital turn and the increased role of postproduction have transformed the look of documentary films, especially those geared toward the film festival circuit. Festival films such as Fire at Sea (Gianfranco Rosi, 2016), Armadillo (Janus Metz, 2010), On Rubiks' Road (Laila Pakalniņa, 2010), and A Memory in Khaki (Alfoz Tanjour, 2016) have developed an approach to color correction distinct from that of more industrially dominant theatrical documentary. Reconciling realism and pictorialism, these films' color correction acts as a \\\"house style\\\" of festival documentary that adds meaning to the individual documentary.\",\"PeriodicalId\":335072,\"journal\":{\"name\":\"The Velvet Light Trap\",\"volume\":\"88 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Velvet Light Trap\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7560/vlt8804\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Velvet Light Trap","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7560/vlt8804","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Color Correction and the Look of Festival Documentary
ABSTRACT:The digital turn and the increased role of postproduction have transformed the look of documentary films, especially those geared toward the film festival circuit. Festival films such as Fire at Sea (Gianfranco Rosi, 2016), Armadillo (Janus Metz, 2010), On Rubiks' Road (Laila Pakalniņa, 2010), and A Memory in Khaki (Alfoz Tanjour, 2016) have developed an approach to color correction distinct from that of more industrially dominant theatrical documentary. Reconciling realism and pictorialism, these films' color correction acts as a "house style" of festival documentary that adds meaning to the individual documentary.
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