This knowledge is incredibly important when we look back at our main question. When the goal is to influence the audience and transport emotions it is important to know which colours evoke which response in the audience. But more on that later.
When we take a closer look at the colour wheel we can see that we not only can separate colours into warm and cold colours but we can also operate each colour in hue chroma and value or as seen in the graphic in hue, tint and shade. Hue is defined as the colour. That means that yellow, yellow-orange, orange, red-orange, red, red purple, purple, blue-purple, blue, blue-green, green, and yellow-green are hues. Chroma is the saturation of the hue. It defines how saturated or dull the colour is. The Value defines how bright the colour is. To better imagine the difference between a high and low brightness of a colour it is best to imagine that colour under the influence of different lights. For example, blue will look very different in the late evening compared to midday.
But why is it important to know how outside factors like the current time influence colours? To answer this it is best to look at some phenomena from the field of perception psychology. Not only the time of day can influence the perception of colours but also neighbouring colours and different backgrounds. Depending on the situation our brain can be tricked into perceiving things differently than they are. Usually, the brain is excellent at decoding the world around us. For example when an object is surrounded. The brain can recognize a familiar object as being a consistent colour regardless of the amount or wavelengths of light reflecting from it. When you look at the cube you can tell that it is a consistent yellow, even though the surface looks green in some parts because of the blue cubes that surround the yellow ones.
This phenomenon is called consistency of colour. In other situations however the brain is tricked. When we look at squares whose colour is identical but are placed on two different backgrounds, we perceive the tone and hue of the square differently. This phenomenon is called simultan contrast. It works the same way with black and white.
Next up in the series of interviews with inspiring people from the Production Management field is Lena Krins. She works at FreibeuterFilm in Vienna and has a lot of experience in the field of Production. I got together with her on Zoom and we talked about what it means to work in the Austrian film industry!
Before we begin, I have two important pieces of information to share:
I talked with Lena on January 11 2023 (just for transparency purposes)
The interview was conducted in German which is why the following part of the post will also be in German. That way I can ensure that her answers are reflected authentically.
Ein ständiges Hin und Her
Wie in meinem Interview mit Barbara Eppensteiner im Dezember, habe ich Lena als erstes gefragt, was man als Produktionsleitung eigentlich macht. Neben einem stetigen Austausch mit den Kreativen über Ideen und Budget ist laut ihr die Produktionsleitung
[…] ein ständiges Hin und Her und ein gemeinsames Erarbeiten, sozusagen, der Machbarkeit und Durchführung des bestmöglichen Films.
Lena Krins
Während ihren weiteren Erzählungen über die Zuständigkeitsbereiche wie Budget und Gagenverhandlung habe ich schnell gemerkt, wieso Lena diesen Job so gerne macht. Für sie ist es der rege Austausch mit fast allen Beteiligten der Produktionskette. Bis zum Abschluss der Dreharbeiten ist sie immer für alle da und lernt so die spannendsten Menschen kennen.
Auch die Flexibilität, die bei dieser Arbeit von ihr gefordert wird, scheint sie als positiv zu sehen.
Die Produktionsleitung […] ist dann dafür verantwortlich, dass wenn wirklich ganz grobe Schnitzer sind, das mit den Produzent*innen zu besprechen oder innerhalb dessen, was eigentlich geplant war wieder Wege zu finden, um das was passiert ist, oder das, dass abgefangen werden muss, wiederum zu integrieren.
Lena Krins
Nur nicht die Klappe halten!
Im weiteren Verlauf unseres Gesprächs habe ich Lena nach dem ihrer Meinung nach größten Fehler gefragt, den man in ihrem Zuständigkeitsbereich machen kann. Ihre Antwort hat mich erstaunt.
Kopf in den Sand und abwarten, dass Dinge vorbeigehen. Das ist glaube ich das Schlechteste, was man machen kann.
Lena Krins
Man merkt, Lena ist eine Macherin. Aber während ich diesen Eintrag schreibe, merke ich immer mehr, dass sie vollkommen recht hat. In einer Filmproduktion treffen so viele verschiedene Menschen aufeinander, dass es eine Person braucht, die sich auch mal traut, Dinge anzusprechen, die gerade nicht nach Plan laufen. Und das funktioniert nur dann, wenn die Produktionsleitung den Kopf nicht in den Sand steckt. Deshalb der Tipp von Lena: Klappe auf wenn was nicht passt!
Erfahrungen sind Gold wert
Am Ende unseres Interviews hat mir Lena noch ein paar Tipps mit an die Hand gegeben, die ihr in ihrem Werdegang sehr geholfen haben. Einen davon möchte ich hier gerne noch teilen.
Laut Lena ist die beste Möglichkeit, sich auf die Tätigkeit als Produktionsleitung vorzubereiten, in vielen verschiedenen Teilen einer Produktion einmal mitzuarbeiten. Erfahrungen in den Bereichen zu haben, mit denen sich die Produktion auseinandersetzt, ermöglicht einen verständnisvolleren Umgang auf Augenhöhe. Wer schon mal als Kamera am Set dabei war weiß, welche Dinge hier wichtig sind und kann in weiterer Folge die Wünsche an die Produktionsleitung besser nachvollziehen.
Lenas Apell an alle, die gerade erst anfangen lautet also: Probierts aus! Wechselts Position! Rotierts einmal durch eine ganze Filmproduktion, wenn möglich! So bekommt man das Rüstzeug, das man für eine gute Produktionsleitung benötigt!
Learnings
For me, talking to Lena revealed one very specific aspect of Production Management: The people you work with. It not only taught me, that honesty and bravery are two very important skills in the film business, but also how fulfilling this position can be. And I am looking forward to experiencing this when going further down the Production Management road.
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Sources
All information is from my interview with Lena Krins via Zoom on January 11 2023. If you require more details and are interested in the exact timecodes, I am happy to share them with you. Please write me an email at hannah.drobir@edu.fh-joanneum.at and I can send you the transcript.
The Sinus-Milieus are a social model and are considered the gold standard of psychographic target group segmentation in the German-speaking market (in this case Austria). This model arranges people with similar values, lifestyle and comparable social situation. The Transition between milieus are fluid.
The Sinus-Milieus illustrate the motivations behind the various lifestyles in our society.
Conservatives 5 % The older, structurally conservative elite: Strongly characterized by Christian ethics, high estimation of education and culture. Skeptical towards current social development. Demographic info: Age: 60+ Men are Academic schooled Woman are housewifes Retired 2 person household
Established 8 % Strongly focused on status, exclusiveness, responsibility and leadership
Demographic info: age between 40 – 60 high educational level Senior servants and self-employed and freelancer High income Life in a 3 or more household
Performers 8% Flexible and globally orientated. Individual performance, efficiency and success have top-priority; competent in business and IT. Demographic info: Age: under 30 Most of them are still in school Education level is high Good income
Digital individualists 9% Individual, networking, digital avant-garde. Mentally and geographically worldwide mobile, cross-linked online and offline, permanently looking for new experiences Demographic info: Age: Under 35 small self-employed or freelancers trainees, pupils and students without income is high. Net household income is still above average. Thanks to good situated parents. A lot of singles
Adaptive-Navigators 12% The young pragmatic middle stratum. Strong desire for anchorage, membership, security, performance-orientation but also the wish for fun and entertainment
Demographic info: Age 30-60 Personal households Child friendly Middle-income employees, civil servants or skilled workers
Post-materialist 10 % Open-minded social critics. Variated aspects of culture; cosmopolitan orientation, but critical towards globalization; socially engaged. Demographic info: Age: begin 30 after school they work in qualified and leading jobs. high income big households with kids
Modern Mainstreamers % Adaptive mainstream. Seeking professional and social establishment, secure and harmonic circumstances, support and orientation, peace and a slow pace.
Demographic info: Above 50 Simple educated Jobs in administration, business and culture Employed and unemployed
Traditionals 12 % Emphasizing on security, order and stability. Rooted in the old pretty bourgeois world, in the traditional blue collar culture or in the rural milieu
Demographic info: 65+ (Boomers) A lot of women in this milieu A lot of traditional jobs (skilled worker/ farmers)
Consumption Oriented 8%
Materialistic lower class striving for participation. Sense of discrimination. Striving to stay connected with the consumption standards of the middle class.
Demographic info: Younger and middle age group to 50, focus under 30 Simple to medium education. Students and trainees are high. Middle rage income
Consumer Hedonistic Milieu 8% The modern lower middle class, living for the excitement of the moment. Seeking fun and amusement; rejection of traditional standards and conventions.
Demographic info: Wide ranch up to 60 Most completed elementary school or secondary school. Lower income. Social disadvantages such as unemployment, illness or incomplete family often make the situation even more difficult
Sources: – The gold standard for target group segmentation. (2023). https://www.sinus-institut.de/. Retrieved January 11, 2023, from https://www.sinus-institut.de/en/sinus-milieus – Sinus-Milieus® Austria. (2018). https://www.sinus-institut.de/. Retrieved January 11, 2023, from https://www.sinus-institut.de/en/sinus-milieus/sinus-milieus-oesterreich – PDF Sinus milieus (2009)
Looking back, AI has definitely been one of the hottest topics of 2022, at the center of which it seemed like were text-to-image AI and neural networks. A polarising topic to be sure with some criticising the possible use cases, especially in the arts, and some praising the technology and it finding a special place within internet culture.
All this buzz can make it confusing to understand just how and what these AI everyone seems to be talking about are. This is what I want to clear up within this blog entry.
OpenAI
I want to start by examining OpenAI briefly. It is a research laboratory founded in 2015 with the aim of creating AI that benefits humanity as a whole in some fashion that has since given birth to many generative models that are now being used as a basis for text-to-image style AI.
OpenAI consists of the for-profit OpenAI LP as well as the non-profit OpenAI Inc. When it was founded, it started with a pledge of 1 billion US dollars from founders Sam Altman and Elon Musk. In 2019, Microsoft invested another 1 billion US dollars into the company.
GPT
OpenAI’s generative pre-trained transformers, or GPT, GPT-2 and GPT-3, respectively are generative models with the purpose of understanding language models. These started out as relatively simple models used to autocomplete sentences in computer programs. The newest model, GPT-3 is a highly complex network with over 175 billion parameters that is capable of understanding long, complex sentences, produce well-formed text and is being used for ChatGPT, a service that lets users converse with the AI. As of June 2020, GPT-3 is licensed exclusively to Microsoft.
DALL-E
OpenAI has also developed DALL-E and its successor DALL-E 2, transformer models that can generate images based on text prompts. Both use GPT-3 as a base to understand the text prompts and then generate images based on said prompts. No public code has been released so far.
CLIP
CLIP can be seen as the opposite of DALL-E as it is capable of creating detailed descriptions of images. CLIP as well as similar AI models are already being used by many websites such as unsplash.com to create descriptions or alt texts for the images hosted on the site.
Point-E
A more recent development has created Point-E, a transformer model similar to DALL-E that, instead of images creates 3D models based on text prompts interpreted by GPT-3. This is another feature that I believe to be of incredible value, as creating 3D assets is a challenging, highly technical as well as time-consuming and hence expensive feat.
Midjourney
Another noteworthy text-to-image generating AI is Midjourney, which has entered open beta in July 2022 and as of November 2022 has reached its fourth version. The AI can be used through bot commands using the chat platform ‘Discord’.
Stable Diffusion
Perhaps the most notable client-side text-to-image model is stable diffusion, a collaborative effort by Stability AI, CompVis LMU and Runway along with other contributors. Stable diffusion is based on a diffusion model, its main purpose consisting of de-noising images. Stable diffusion works by creating random noise which it then iteratively de-noises based on a text prompt by the user, eventually creating highly detailed images.
As previously mentioned before, stable diffusion is remarkable in the sense that, in contrast to many other AI text-to-image models, users are able to run it on their private machines rather than only through server or cloud services.
This screenshot below shows stable diffusion working as a blender add-on on my personal computer. On the left you can see the actual model and viewport, the right image shows what stable diffusion creates after being given the viewport render as well as the text prompt ‘Photorealistic face of a monkey’.
The philological method is usually applied to works of art. But art had become a part of our daily lives. Never before has this kind of art played the role as it does today.
Subjection of man to the impersonal necessities of social, economy and political life. An emphasis on the beautiful has penetrated in all levels; it has also penetrated to the forms of propaganda used to advertise these goods.
And the success of such attempts at aesthetic appeal achieved by modern advertising is confirmed by many exhibits of original commercial designs which have attracted a large public.
There exists today whole literature devoted to the requirements of effective advertisements
(H.F. Adams – Advertising and its Laws/ H.E. Burtt – Psychology of Advertising)
In such treatments the emphasis is generally placed on the psychological element and on the utilitarian efficacy of the propaganda
Attempt to appeal aesthetic The success of modern advertisement in its attempts to appeal aesthetic.
In this Commercial for Sunkist oranges is the scene so perfect with a nice mountain view snow that shimmers in de sun and the color of the juice is perfect. > but in the whole commercial there is nothing said about the juice itself how healthy it is and how nice the taste is. There is no human only the nature and how you can experience the miracle you would experience when you drink the orange juice.
The fact that these oranges have to be transported kilometers to end at our house is not a matter.
Advertisements need to be aesthetically pleasing and need to provoke a feeling you get the product out of the ideal world. The origin of the product doesn’t matter. The aim of the advertisement is to sell and make money and not inform people.
Now that I know more about the the future Academy Award guidelines (from 2024) for “Best Picture” nominations, I would like to take a closer look at the television and cinema scene in Austria. What film funding opportunities are there and is there already a clear guideline for a more diverse production crew or stories. What is the status quo among filmmakers in Austria and do they even need these guidelines?
The largest funding institutions are the state-owned “Österreichisches Filminstitut” (Austrian Film Institute), the “Filmfonds Wien” (Vienna Film Fund) and RTR’s “Fernsehfonds Austria” (Austria Television Fund), which together represent around three-quarters of the total Austrian film funding budget. During my research I only found gender specific guidelines for the “Österreichisches Filminstitut – öfi”.
Since the beginning of 2019 filmmakers in Austria have the possibility to qualify themselves for the “Gender Incentive” which is an additional financial support of 30,000€ when reaching a specific number of points. How the points are received is shown in the next illustration. This concerns only the people behind the production and not the creative work/plot/characters.
breakdown of the Gender Initiative scoring system (“the imbalance of the points of the individual departments does not represent a valuation, but rather corresponds to the degree of underrepresentation of women in the areas affected.”)
Second Austrian Film Gender Report
The University of Innsbruck has compiled an “Austrian Film Gender Report” on behalf of the öfi. Therefore, a quantitative analysis of the film and television projects funded by the largest Austrian subsidizers has been made (2017 to 2019). The following statements (and more) can be taken throughout this report:
Women receive only 25% of film funding in Austria
More money equals fewer women
Years will pass before gender equality
Decision-making department heads are men
More diversity in female-driven films
Since the data is only available before 2019, it is difficult do say if the Gender Initiative of the öfi already had an impact.
When we look at some of the highest-grossing films of the last decade, we don’t always find the diversity we know from our world reflected on the screen. This lack of representation has consequences for our society and the people who do not find themselves on the screen.
What you see often becomes a part of your memory, and thus a part of your life experience.
(Boboltz & Yam, 2017)
#notMyArielle
The remade version of “The Little Mermaid” starring Halle Bailey will hit theaters on May 26, 2023. Walt Disney Studios was forced to disable the Dislike button on the trailer on YouTube after receiving 1.5 million thumbs down in just two days.
Meanwhile, videos of young black children noticing that the new mermaid looks like them are going viral on TikTok. Everyone deserves to have their story told. Looking at the excitement on the young children’s faces makes it clear, how much the representation in media really matters.
The question I am asking myself is why has Hollywood not been shy in the past casting white actors and actresses for non-white roles like Jake Gyllenhaal as Prince of Persia (2010) or Tom Cruise as Last Samurai (2002), but Disney’s The Little Mermaid is the latest target of racist fans?
#OscarsSoWhite
How does the Academy of Motion Picture Arts and Sciences manage to show more diversity for the Oscars, in front of and behind the camera? The new rules are to apply to nominations in the top category “Best Picture” from 2024. It is intended to ensure a minimum number of actors or film crew, production and administrative staff from underrepresented groups.
Inclusion and Representation Standards
“To be eligible for Best Picture consideration for the 96th Oscars (2024), a film must meet TWO out of the FOUR standards.” Here you cand find some of the criteria for the first two standards:
Standard A: On-Screen Representation, Themes and Narratives (film must meet at least one criterion)
At least one actor who is assigned a significant role must be from an underrepresented ethnic group, such as having dark skin.
The storyline of the film must be about women, LGBTQ people, an underrepresented group, or people with disabilities.
At least 30 percent of the cast must belong to one of the groups just mentioned.
Standard B: Creative Leadership and Project Team (film must meet at least one criterion)
Two or more executives (directors, cinematographers, and composers) must be female, part of the LGBTQ community, have a disability, or be part of an underrepresented group.
At least six other members of the film crew must be part of an underrepresented group.
Thirty percent of a film crew must be part of one of the categorised groups.
further research
For my further research, I would like to look specifically at Austrian film funding (öfi). How does it deal with the visibility of underrepresented groups in front of and behind the camera? Which films have been funded in recent years? Are there guidelines that a film has to follow in order to be eligible for funding? What has been the development in recent years?
By now, I already know that being a production manager is a lot of planning work. Before talking to Barbara Eppensteiner at the beginning of December (see the last blog post) I thought the go-to tool to work on Dispos and other plannings was Excel. However, she told me that there are better ways to work on pre-production!
Initially she recommended a tool called Fuzzlecheck that her workplace uses for said purpose. However, they do not offer a free license or trial time with which I could have tested and used the program. For that reason, I did my own research and stumbled across another, visually way more pleasing option called StudioBinder. I tried it out for a small private project and would love to share my findings with you.
What is StudioBinder?
According to their own website, StudioBinder is an industry leading software for the production of various sorts of media such as photo, film, TV and movie. It is said to be used by a lot of big networks including BuzzFeed. Their producer says the following about the software:
StudioBinder is an invaluable tool for our production workflow. The sleek design and smart features like call sheet tracking bring organization, efficiency and automation to our shoots, and greatly increases our productivity.
Trevor Fernando (Producer at BuzzFeed)
Above that, what cought my attention was the variety of features the program offers:
Screenshot from StudioBinder’s Website (https://www.studiobinder.com/)
It seems that one can find every single feature any production manager could dream of. So it makes sense that after spotting the “TRY FOR FREE” button I just had to download it immediately! And after creating an account, I could get started with my own project right away.
The Test
As mentioned above, I wanted to test the software with one of my own projects to see how applicable it would be for an average filmmaker who is just getting started. As my skills in production management are not that sophisticated yet, I concentrated on the features that I would profit from the most at the moment: Scripting, the Shot List and the Production Calendar.
As a test project I chose my latest crazy idea – a scripted mountainbike short movie about the freedom of bikes (my first ever non-documentary project). I know, as my topic is about the production management of documentary films it might not be the best to use my first scripted project as an example. However, this time it just made more sense because I could test the scripting and script distribution features StudioBinder comes with. Also, this is the only project I have going on right now that has passed the “I’m talking to potential protagonists” stage (and is therefore the only one I could have used in the first place).
1. Scripting
Long story short: I got started by writing my script in StudioBinder. And let me tell you, their scripting feature is awesome. It not only automatically has the right form and fonts but it also gives you some buttons on top where you can choose if the line is the charachter description, a dialogue, a location, director’s comments, etc.! The program then adapts the form according to the type of content you have chosen. This is especially handy if you’re just trying out your first script drafts or have a limited amount of experience in that field.
Here’s a screenshot where you can take a closer look at everything. Please ignore the way I mixed in camera comments into the script and keep in mind that this is my first script (selftaught) hence there are for sure some mistakes. We’re here to test the software, not to judge my script skills.
Screenshot of the scripting option in the StudioBinder software
For those who are already a little bit more sophisticated in script writing, you can also import existing scripts. Also, there’s a feature where you can turn your scenes and other parts of the script into scenes for your shot list, storyboard and production plan. Generally, a lot of features are intertwined with each other in StudioBinder which allows you to work seamlessly and optimize your time. That way, you don’t have to rewrite the contents of your script when it comes to your shot list planning.
2. Shot List
Speaking of, the shot list in StudioBinder was the second thing I tried out. As I had marked my scenes in the script already, the software automatically suggested these for the creation of the shot lists. I don’t exactly know if that’s the way to go for big, professional productions but for me it made sense to write a shot list divided into the different scenes. What I ended up with was a list of shots already numbered with a lot of information that was nice to have before the shoot. Here’s a screenshot of two of them:
Screenshot of the StudioBinder Shot List tool
As you can see, you can add a lot of different information to every shot. You can customize the details you would like to display and add. That way you only see what you need. There’s also the possibility to create setups. On top of that, you can add your frames from the storyboard and will end up with a perfect collection of shots to shoot on set.
If you’re done writing your shot list, you can access the print view and print out your shot list. That way, you don’t have to carry your laptop everywhere to tick of shots and can easily come back later to simply update your list. The print view is well-designed and has all the details at the same time. It will look something like this:
Screenshot of the Print Preview of the Shot List
With all these features the shot list in StudioBinder can be a valuable tool in your production management workflow.
3. Production Calendar
The final feature I wanted to try was the production calendar. As a small filmmaker I mostly work as a one-woman show. Being able to manage and have an overview of all the different tasks combined with a calender therefore is worth a lot. StudioBinder offers exactly that!
The production calendar is divided in different sections which can be seen in the left collumn in the following screenshot. You can then go ahead and drag your to-dos across the dates you’ll be working on them. After that, you can assign colors (which makes every designer’s heart beat faster), add to-dos for every single task, add collaborators, assign roles and so on. You’ll then end up with a production calendar that is accessible to everyone and is easy to understand. Here’s a quick screenshot of how that could look:
Screenshot of the Production Calendar feature in StudioBinder
You can also share the production calendar with people who are not users of StudioBinder. I sent the calendar to my protagonist and we could easily discuss dates and deadlines with this as a basis. I also enjoy that for every event in the calendar, StudioBinder automatically creates a Workflow element that can be viewed in a seperate tab. It works like a to-do list and is divided into categories such as “on hold”, “in progress” or “needs review”.
Final Opinion
After using StudioBinder for the production planning of a small project (and using the printed version of my script and shot list during the shoot itself) I am 100% sure that I will continue using this software. However, I quickly want to mention the limitations of the free version before I close off this post.
When using the free StudioBinder version, you can only have one project at a time, the number of calendar entries is limited as well as the number of shots for your shot list and storyboard contents. For me personally that is no problem. As I am not obligated right now by sponsors or customers to keep my project plans, I can just delete them after downloading the print version and screenshotting the calendar. If you wanted to use the software for more serious stuff or bigger projects, I would definitely recommend buying a license.
The licenses can be bought via the website and can be billed annually or monthly. There is the possibility to get a student discount if you have created your profile with your edu email adress. After that you just have to write them a quick message and they will tell you more about the discount.
To sum up, I really recommend trying out the software at least for one project. It might take some time until you understand the various features but I am sure it will pay off. Project management is one of the most important skills every filmmaker (especially if you’re kinda just starting to be one) should learn.
If you need help with that, StudioBinder also has a really great Blog where you can find tips and tricks on a lot of different Media Design topics.
That’s it for this blog post and my StudioBinder test. If you want to try it out and need some help, hit me up. Other than that, enjoy the rest of the year!
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Sources
StudioBinder: A seamless production workflow — all in one place. In: StudioBinder, https://www.studiobinder.com/ (last seen December 28 2022)
You probably would not want to sleep in a room lit in red light or even walls painted in red. Colours have a psychological effect on us and can transport emotions. To understand the why and how and be able to actively use colour to evoke a specific feeling in an audience it is mandatory to understand the science behind colour.
When we look at history we see that it was always there but not scientifically understood and researched. The first scientist we associate with deductions in this particular field is Sir Isaac Newton. He experimented with sunlight and prisms. He discovered that the spectrum of light visible to the human eye consists of seven colours: Red, Orange, Yellow, Green, Blue, Indigo, and Violet.
Roy GBiv
Newton also concluded that every colour in this spectrum is a mix of Red, Yellow and Blue, which is not entirely true.
More modern scientific approaches corrected Yellow to Green and reduced the main colours from seven to six. Indigo got removed because it was hard to distinguish it from its surrounding colours.
Roy GBv
The Visible Spectrum
Yet the spectrum of light ranges further. The human eye is however restricted to the wavelengths of light mentioned above. These wavelengths are measured in nanometres. The part of the spectrum visible to humans ranges from 380 to 700 nanometres.
When it comes to colour in films, however, another diagram is more important. The CIE or horseshoe diagram also displays the whole spectrum of colours just as the visible spectrum but in it, there are different colour gamuts. Those gamuts are essentially the ranges of colour a display can portray. Since a film has to be shown on some display regardless, every colour outside these gamuts is rendered useless for filmmakers. The most common types of gamuts are the Adobe RGB Gamut and the SRGB Gamut, in both of which D65 is the white point.
CIE Diagram
Furthermore, the CIE diagram also displays the colour temperature. Colour Temperature is measured in Kelvin. “The color temperature model is based on the relationship between the temperature of a theoretical standardized material, called a black body radiator, and the energy distribution of its emitted light as the radiator is brought to increasingly higher temperatures.” In its original sense is used to measure how warm or cold the colour temperature of the light source feels. For example, a clear blue sky emits light we interpret as cold, whereas light in the early morning or evening is warm. This colour or light temperature, however, can also be applied directly to colours, whereas colours on the left of the D65 White Point can be seen as cold and colours on the right side of the white point can be seen as warm colours.
Research Problem / Research Question / Research Hypotheses:
How does the development of gender relations in film relate to contemporary society? How meaningful are the “Bechdel Test” and the “Mako Mori Test” as a general tool for measuring feminism? Why are female hero roles in action films so lacking in depth, and what constitutes strong, feminine roles? How are the main female characters portrayed through visual appearance / language / behavior?
Methodology:
-Content analysis: selected films are tested using a coding sheet with 15 test items; comparison of character portrayals, plot interpretations, and realistic reflections;
Analysis of sexual objectification (amount of visible skin) of main and supporting female characters compared to box office ranking;
-Textual analysis: selected films are analyzed based on film reviews.
Comparison of cinematic feminism in mainstream blockbuster films and non-blockbuster arthouse films.
Selection of successful films in five(?) year intervals over a period of time to show any changes in the portrayal of women over time
2022: Top Gun: Maverick $1,484,620,609
2021: Spider-Man: No Way Home $739,351,607
2020: Bad Boys for Life $426,505,244
2019: Avengers: Endgame $2,797,800,564
2018: Avengers: Infinity War $2,048,359,754
Sources:
Women-led films: different female representations in popular cinemas
Palatable Feminism: Reinforcing and Challenging Gender Stereotypes in Contemporary Hollywood Action Films:
The Empowering (Super) Heroine? The Effects of Sexualized Female Characters in Superhero Films on Women
The role of women in film: Supporting the men — An analysis of how culture influences the changing discourse on gender representations in film
BADASS BITCHES, DAMSELS IN DISTRESS, OR SOMETHING IN BETWEEN? Representation of female characters in superhero action films
