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The Disney film palette is rich with pastel pinks, blues, and light reds, greens, and yellows, all of the primary shades with just a few marginal colors on the side.
Part of Burton's success is his "ability to transform colour into a commodity . . . with high visibility in public space," a space that is beyond just the screening of his films.20 Burton's highly stylized juxtaposition of deeply saturated, marginal colors against bland backgrounds of neutral peachybeige or his trademark gray-blue work to create a new kind of fantasy realm full of contrasting colors that is then replicated and marketed to children in a variety of products (and not necessarily limited to products based on the film itself).
Each new Burton film targeted toward children also brings with it a bevy of products based on the film, but the film's palette alone acts as an important tool to precondition its young audience to see the film's saturated colors, often marginal colors rather than primary, as desirable, thereby reinforcing their future adult tendencies to prefer colors that invoke nostalgia for the fantasy film world that "insinuates itself into [children's] lives as 'natural history.'
The film's distinct palette appears replicated on store shelves as marketers "anticipate a viewer who knows certain pictorial conventions and who shares visual experiences" in a community of color associations.40 The deeply saturated and marginal colors of music videos, TV shows, and films also mimic the dark reality of drugs, crime, sex, school shootings, isolation, bullying, and technology that inhabit today's childhood.
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