Malevich.

Malevich exhibition at the Tate modern.

Memoirs of a Geisha 2005, Rob Marshall.

The film 'Memoirs of a Geisha' directed by Rob Marshall is a story of a young Japanese girl Chiyo Sakamoto who is sold by her parents to a geisha house. Her sister too is also sold although she is rejected by the house and sold to another. At the geisha house Chiyo meets another young girl pumpkin at her time in the Okiya (geisha house) she has numerous unpleasant run-ins with the senior geisha Hatsumomo. The story tells the journey Chiyo faces from being a slave for the Okiya house because of an incident of her trying to run away with her sister, she eventually gets noticed by mameha one of the cites most successful geishas and transforms into Sauri a true geisha. 

The film holds a lot of connotations to colour throughout. When made conscious to the use of colour after reading 'If It's purple someones going to die' by Patti Bellantoni and other background reading on the use of colour in film, i found that i was constantly making references and understood the use of the colour from scene to scene a lot more than i would have if i was watching the film otherwise. 

The use of colour symbolism within the film was very predominate there were reoccurring colour schemes that referenced to something happening within the scene. 

A predominant colour throughout the film was the deep musky yellow tones of the lights from the geisha houses, at the time this colour was ever shown on screen the rest of the composition were deep blacks and browns the yellow shade was the only lighter tone creating light and depth for the audience to see what was happening. This drew the attention mainly onto the characters and mainly onto Sauri. 

Yellow can be anxiety producing and causes us to think there is danger but can further be seen as a magical colour for life and energy. This relates to a lot of what was happening on screen. 

Sauri associated the geisha house with miss trust, aggression and unhappiness. She was always unhappy and bad things were happening when shown in this light being miss lead for example when she was forced by Hatsumono to draw on a very expensive geisha robe and deliver it to Mameha the stair case was filled with yellow tones from the light symbolising danger and the anxiety of what was to come. 

Although the yellow also symbolised the magical element of the geisha house. Her dream was to become a geisha to find the Chairman and towards the end of the film the yellow symbolised her energy with her life that was controlled by the geisha world. This colour was very trapping the colour felt like it was enclosing the screen a symbol for Sauri's world her life wasn't her own she was trapped and controlled by the owner of the geisha house and she has no were else to go this was very predominate within one of the end scenes involving Hatsumono when she sets Sauri's room on fire its exactly the same colour of the yellow throughout but within this scene it engulfs the screen the colour is so predominate that it creates tension and anger something Sauri feels strongly in this scene. 
The colour yellow has further been used in many other films for similar effects such as the 'Taxi Driver' 1976 directed by Martin Scorsese. In the first thirty second of the film a bright yellow taxi surrounded by blackness fills the screen a yellow that lives in the shadow of black are comparisons of venomous insects who attack and kill this symbol yellow combined with black signals there is poison lurking about and similarly 'Taxi driver' is about a man whom becomes obsessed with a woman and ends up killing people within the film this is much like the way Sauri becomes obsessed with the Chairman although she is not aggressive the poison could be the way of geisha life, another symbol within the use of the colour yellow. 

A further colour that was predominate through the film was the colour red, the film explored the element of sex and sexuality of the women. The idea that the geisha's life wasn't to find love but to be the definition of a geisha 'A floating piece of art'. Red is a colour symbolising danger and creates a heightened sense of tension and warning although some shades of red can symbolise love and romance this colour red was very strong, bold and definite the colour that creates a sense of danger. 

The colour was first shown the meeting of Hatsumomo and Sauri with the contrast of the colours of Sauri's robe a very pale blue symbolising innocence, sadness and known to be a passive colour compared to the bold red of Hastsumomo's robe. This Signal's to the audience using the colour red shows Hastsumomo as danger, throughout the rest of the film there is conflict between these two characters creating aggression and tension within the film using this colour initially for there meeting sets the scene of there relationship from the start. This use of red to symbolise aggression was further used through the film. Red was used in various different ways such as lighting or props to signify was was to come or happening within the present story line of the film. For example the red cloths rippling in the stream symbolised death in the war this was a very strong scene again using the contrast of the realistic grey dark rocks under the murky water against the deep bright red was a very symbolic moment. This has further been used within the film 'Schindler's list' 1993 directed by Steven Spielberg, the little girls red coat the only colour throughout the whole film within a scene shows a young girl playing, then again dead in a heap of corpses traveling to a mass grave this colour here symbolises both life and death similarly to in the scene above the red cloth in the stream symbolises the death of the many people from war but also the life of Sauri in the village in the mountains.

The bold colour red was further used to symbolise sex. The shade of the colour again was persistent throughout the film this created the same association to the colour during the scene involving sex as it did in the scene above involving conflict and danger. In the scene Sauri is about to have sex with the highest bidder to transform her into a true geisha she is wearing a red robe the strong block colour creating a huge amount of tension, red is a colour that unconsciously registers with our nervous system and emotion centres allowing it to manifests physicaly because of this it allows the audience to feel the pain and physical uncomforted for Sauri when watching this scene. 

The use of the two prodominate colours together (red and yellow) is symbolic in the way that the colours contradict each other the red says danger and a sense Sauri dose'nt was to go through with it but the yellow symbolises the trapping of the geisha world that she desires to follow to find the Chairman her one true love. This is shown within this scene and also when she is searching for a man to bid for her the use of light on either side of the path signifies this. 

A key scene within the film used colour as symbolic reference. This scene is shown twice within the film at the start and at the end this is the turning point in the film to when she prayed after meeting the Chairman that good things will start happening that she will become a geshia to meet him. Again it is featured at the end when all of the good things she wished for have become true. 

The colour orange signifies hope we often relate well to colours of the earth and although this orange is bright the colour creates a positive and welcoming atmosphere. This is one of the only scene that we see Sauri when she is young happy. 

The use of Natural colours is a reoccurring symbolic reference between her and the Chairman in each scene that they meet blossom is present this creates references to nature, life and beauty but further the colour pale pink of the blossom associates with unconditional love and nurturing. From the first time they meet him buying her an iced cone and money for food to the middle were he sends her off to be safe from the war right to the end scene of them announcing there love for one another mirrors there surroundings the natural bright earthy colours of orange, green and pinks symbolising happiness, health and a cycle of reproduction a sign of there future. 

Sauri's Makeup, Hair and styling in the film is a continual transformation it allows the audience to make a judgement of time and follows the colour symbolism used within the rest of the film. The colour robe warn by Sauri is a big clue to her personality at that time within the film. 

The beginning shows her as mentioned before in a baby blue robe symbolising innocents, a muddy brown and dull greys when she is a servant girl with minimal makeup to when she is a geisha although her geisha robes are decoratively admiring the colour pallet is always subtle and refined using pale blues, pinks, yellows and greens always very soft colours unlike for example Hatsumomo's robes who's are bold reds and blacks much more bolder colours. 

The comparison of the hair and makeup between the two creates a contrast also, Hatsumomo's hair is always long and down across her face with half gather up a little messy, her makeup too very dark long winged eye liner defining her eyes. This is the opposite to Sauri's clean up do style that always looks very perfect and in place often accessorised with flowers a symbol of life and purity along with her makeup thats subtle and pretty using shades of red and pinks for her lips and a pale pink tone for her cheeks but the rest keeping very minimal. This is a symbol of the characters personalities.

A key scene for the makeup hair and styling is the show scene Sauri performs a dance in front of the whole city, Mameha made this happen so that she was the desire for all the men so they would bid a lot of money for her. This is the only time we see Sauri like this within the film her makeup is very bold and sexualised the deep red tone of her lipstick suggests power and lust while the cold blue lighting her face is cold and sad the choice of a white robe cutting through under the sheet of blue lighting emphasise the iciness. Her hair is further very different to how we usually see it the long dark colour over the robe is sharp this loose style also signifies a sexual relaxed element contrasting the coldness of the rest of the scene. 

The coldness in this scene is mirrored later on within the film similar ice blue colours are used to portray sadness and a feeling of defeat. The styling within the scene is very simple the hair again is loose and makeup not done at all. The overall colours in the scene and costume convay a lost of her dreams and sadness. The use of this cold blue tone is used as a turning point within the film at each point blue is shown Sauri's life changes. 

The effect of the war also is very influential in the styling of Sauri later on in the film, in comparison to pumpkin who you can see has been influenced by the american style in both hair and makeup. Pumpkin has gained influence from the western war time fashion the short lighter colour fringe tucked under with the side barrel curls combined with the darker skin, fuller red lips and defined thicker eye brows and lashes. Sauri is very simple at this point in the film she is very minimal unlike previously in the film when she was a geisha this shows the effect of the war on product and on Sauri as a character her makeup is very pale soft and natural and similarly with her hair too having a more relaxed feel but continual in keeping style for Sauri. The comparison between her and pumpkin also shows the development of characters and the situation that they have been living in over the war. 

The Power of Colour.

''Colour can have political religious and cultural connotations, represent gender and as believed by Kandinsky, have emotional and physical effects on us…..improves our memory, influences buying decision and indicates meaning and tells stories.'' Robert Mills. 

Colour is all around us although we don't pay attention to our colour surroundings in everyday life it's suggested to have emotional and pysical connections that simulate our actions and emotions. 

An interesting point brought up when reading 'colour as a semiotic mode.' by Gunter Kress was the idea of language of colour, the grammar of which is the basis of the meaning of colour understood by all across varied cultures. Unlike the grammar of language its self of which society understands and although differing according to social situations there is a ground work of facts in grammar of language that we work from. 

'There is no large or sufficiently powerful group which colour sustain a shared understanding of the meaning of colour across 'all of society'.Instead there are specialised interests of small groups or individuals, all with their very specific professional or personal interests.' Gunter Kress.  

When looking at colour in the arts e.g. film, television, art, makeup artistry and advertisements. Colour is analysed in the context of the work. film makers for exarmple are prodominatly very careful when selecting the colour choice for miss en scene of which is the creative choices made to manipulate what the audience sees within the film. This can either be in costume, set design or lighting. 

The colour red for example through research done by Patti Bellantoni over a 20 year period on a range of his students at the school of visual arts in New York, discovered red can activate anger, compulsive behaviour, aggression and a heightened sense of power, tension and warning. 

This is shown for example in 'The wizard of Oz.' the colour red used within the costume for Dorothy selected perposfully by the film makers. The red shiny shoes as a symbol of power, Dorothy needs power to walk down the hazards of which the 'yellow brick road' hold (again the choice of the colour yellow known to produce anxiety fuelled situations). This is the opposite to her pale blue dress which dose not send a strong enough signal to ward of the scary encounters Dorothy faces along the way. 

When reading 'If its purple, someone's gonna die' by Patti Bellantoni i found an intense interest into the descriptions of colour further how these related to many films across time and society. 

The way although colour dose not have a direct understood gammer within society it evokes emotions subconsciously that are experienced similarly by all shown by Bellantoni's last study. Each participant chose similar colours and patterns when painting to describe the feelings of 'rage' the participants used reds, yellows and blacks and 'traquility' using pale blues, peaches, greens and whites.

Bellantoni found colours can simulate the five sense: taste, smell, touch or sight is because these are already available sources to us tasting something that may not look red can embody the red sense for example cinnamon is brown but embodies the fiery hot passions of the colour red this makes the colour easier to explain to others in society similarly to use colour to explain emotions the saying 'i saw red' when someone lashed out in anger. 

Therefore when using colour in film the film makers have to be very conscious of there colour choices as this could manipulate the audiences understanding of the film. using a slightly wrong shade of yellow could turn a sunlit tranquil dreamy scene into a dangerous and anxious situation. 

Patti Bellantoni 

Colour Explanations: 

RED- a colour that is bold in your face can activate anger, sexuality, compulsive behaviour, speeding, heightened sense of tension and waning/aggressiveness.

Reds vary in tones they can either portray romance or death pain and power.

Yellow- an all yellow environment can actually be anxiety producing, we associate yellow with danger ( the sun) although can also be associated with powerful life and energy- yellow can be a scene stealer.

Pale yellow- innocence and elegance

Bright- hazard

Golden light yellow- magical

Blue- tranquil, soft blanket of sadness quite and aloof, In a blue environment people become passive and introspective. ‘environment we think to but not to act’ – powerlessness. Inspires openness and interaction.

Blue green- happy loss concept of time

Pale blue- wanted to be quite and still

Blue can have contradictory traits as it’s the coldest colour in the spectrum.

Orange- warm and welcoming- (nice) we respond prossitivly with colours of the earth. Versatile orange can also react as erotic. 'don’t expect orange to stimulate analytical activity.'

Green- colour of fresh veg and of spoiled meat/ Heath and vitality or danger and decay. Powerful tool for irony.

Purple- no real effect in the physical realm at all, spiritual and mystical rather than royal. Sends signals that something or someone is going to be transformed. Something will die or be lost when purple appears on screen. 

References: 

Bellantoni, P. (2005). If it's purple, someone's gonna die. 1st ed. Burlington, MA, USA: Elsevier/Focal Press.

Kress, G. and Leeuwen, T. (2014). Colour as a semiotic mode:notes for a grammar of colour. 1st ed. [ebook] Cardiff. Available at: http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.126.7669&rep=rep1&type=pdf [Accessed 5 Sep. 2014].

Mills, R. (2013). Robert Mills » Colour and Storytelling in Films. [online] Robertmills.me. Available at: http://www.robertmills.me/colour-and-storytelling-in-films/ [Accessed 5 Sep. 2014].

Moviesincolor.com, (2014). Movies In Color. [online] Available at: http://moviesincolor.com/ [Accessed 5 Sep. 2014].

The Shot Mise en Scene. (2014). 1st ed. [ebook] pp.Part 3: P.111- P.158. Available at: http://highered.mcgraw-hill.com/sites/dl/free/0073535109/963721/Ch04_The_Shot_Mise_en_Scene_cpp.pdf [Accessed 5 Sep. 2014].

'The Fashion Battlefield in China.' & 'Chinese opera mask art and Chinese tradition.'

On the 8th of May, 2014 we were given a guest lecture at Southampton Solent univeristy by two speakers from the Hong Kong design institute both experienced and practising currently in fashion design and traditional Chinese opera mask design in China. 

Pacino Wan gave a lecture titled 'The fashion Battlefield in China' he discussed the vast competition through the quick pace and continual growth and change in Chinese fashion. Both in the high street market were his career began and the need for individual unique fashion, the direction he is now heading. 

China has one of the fastest and largest fashion markets in the world situated in Hong Kong is home to the largest production company in the world. Chinese people therefore are used to fast affordable yet fashionable clothing continually, there is a very high turn over within the clothing industry making working in fashion here a challenge. 

Pacino Wan discussed how Chinese people look to european fashion and want to imitate the european trends because of this Pacino found growing up as an aspiring young designer very hard. There is no support for young Chinese designers wanting to design a traditional Chinese brand as everyone wants to follow what European fashion was doing rather than wearing clothes inspired by there own traditions and culture.

'Pacino Wang 2002'

Wan turned this all around he found his own company in 1992 called 'She & He' LTD as inspiration he looked to the streets of China being inspired by women street fashion. He began in a small shop in the centre of the busy fashion area this he found hard but as he began to become more and more recognised by the local fashionistas his label has now taken off. 

Wan has 38 stores world wide both his own and individual stores whom hold his garments in both China, London, Canada and Australia. Wan discussed how having stores world wide is a big thing for him not only for his success but designing for the Chinese body type is very different to that of the western average body type. This he is continually developing creating fashion that suites everyone but staying to his Chinese routes and inspirations. This was shown through video clips we were shown off his fashion shows through out the years and the development of the clothing. 

Victor Tong from the Hong Kong design institute spoke about 'Chinese opera mask and Chinese tradition' he explored traditional colour and shapes used in Chinese opera traditionally called Beijing opera explaining how each element of the painted on face mask showed the audience what sort of character was being portrayed within the story. His wide knowledge has aided him to explore Chinese opera characters in depth and understand the significance of the semiotics within the designs. 

Victor Tong began by explaining the four main characters within all Chinese opera male, female, painted face and the comedian although originally there were no females aloud in traditional Chinese opera. Semiotics, colour and shape therefore are very important it helps the audience differentiate between the characters with ease. 

He began by discussing shape and semiotics within eyebrow and eye type as this is an initial importance of the mask, the eye area is one of the first things the audience will look too. 

A few example such as a very straight brow pointed at the bottom and wider at the top is used for warriors, a wide eye shape is used in most theatrical masks. kidney eye shape is used for monks, for old people a spot shape for the brow and a long curved under eye pattern symbolising the loosening of skin and a fish tail eye shape, round at the core is used to show a herowin or someone who is courageous. 

Although at a first glance the designs look very complicated when Victor was explained in depth each shape or semiotic is very intuitive for example the sharp shape used looks harsh and definite something a warrior should be and the spot for an eye brow suggests hair loss another realistic element used to convay an older character. 

Colour was another very important point of interest for Victor to show when explaining characters: 

Red- loyalty and valour, Pink- elderly age, Black- moral decency, White- crafty crook often used to show higher officials in the army, Yellow- cruel, Green- Violent, Blue- bravery and stubbornness and Gold- for spirits. Although the mask holds a lot of vibrant colour there is always one that is more predominate through witch the audience will be able to understand the character. 

Taiji 

Confucius influence are also involved in Chinese opera meaning the governments morality correctness of social relationships in both justice and sincerity within ones self. This element is spread through generations after generations. Books of these believes were distributed through story telling through Chinese opera so even the children that didn't go to school could be educated. 

Symbols are used within the masks such as Taiji symbol a Chinese cosmological term for the 'supreme ultimate' a state of undifferentiated absolute and infinite potentiality. This sign is often shown on the mask of Beijing. Others such as this from the seal script used in many traditional Chinese decrative art and paper cutting this symbol means longevity- long life. 

Victor showed us a clip of 'Farewell my Concubine' 1993 a Chinese opera. Xiang Yu a character was shown with the longevity symbol although the symbols look very decretive they allow along with the colour and shape to explain who the character is before they have even began the performance. 

'Farewell my Concubine' 1993

Many contemporary influences within fashion, sport and film have been taken from traditional Chinese opera masks, such as SS07 Just Cavalli collection and the 2008 Puma campaign. 

Puma 2008

This lecture allowed you to just vocus on colour and the semiotics of the details within the designs looking at the masks in this way creates a wide knowledge before you even as an audience watch the opera this is something that can be explored within all areas of makeup design how exploring meanings or shapes, symbols and colour can change the meaning of the design overall. 

I found both speakers very interesting and there passion and inspiration towards there own Chinese culture i found inspiring.