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Honors Theses Honors College
5-2016
Graphic Design and the Cinema: An Application of

Graphic Design to the Art of Filmmaking
Kacey B. Holifield
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Theses. Paper 403.
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Graphic Design and the Cinema:

An Application of Graphic Design to the Art of Filmmaking
by
Kacey Brenn Holifield
A Thesis
Submitted to the Honors College of
in Partial Fulfillment
of the Requirements for the Degree of
Bachelor of Fine Arts of Graphic Design
in the Department of Art and Design
May 2016
ii
Approved by
_______________________________
Jennifer Courts, Ph.D., Thesis Adviser
Assistant Professor of Art History
_______________________________
Howard M. Paine, Ph.D., Chair
Department of Art and Design
_______________________________
Ellen Weinauer, Ph.D., Dean
Honors College
iii
Abstract
When the public considers different art forms such as painting, drawing and
sculpture, it is easy to understand the common elements that unite them. Each is a non-
moving art form that begins at the drawing board. Using line, color and shape to evoke a
particular response from audiences is what ties these fine arts together. Graphic design,
however, tends to separate itself from the fine arts. Because of its later development in
the art world, as well as, its operation within modern technological developments,
graphic design is driven by the idea of communicating to large audiences. In this way,
although design finds its base in fine art practices, it is more easily related to filmmaking
in many aspects.
Both graphic design and filmmaking are particularly unique in respect to their
reliance on technological innovation, communication and public consumption. Even
though the mediums operate in different manners, it is important to note that they share
basic design principles such as color, composition and image systems. These elements of
design help build a solid foundation for a successful piece of design or film.
The research discussed in this paper critically analyzes how design principles are
incorporated into the 2015 Best Picture Oscar Nominees. By examining the
aforementioned design elements, color, composition and image systems, I was able to
break down the visual meaning of each film according to the use of these elements. All of
the nominees were successful in their own aspect, however the more experimental the
design of the film, the more effective the communication of their respective narratives.
Key Terms
Graphic design, filmmaking, cinema, art, color, composition, Academy Awards
iv
Table of Contents
List of Figures .................................................................................................................... vi
Introduction ..........................................................................................................................1
Literature Review.................................................................................................................2
1. Graphic Design and Film ...........................................................................................3
2. Design Principles .......................................................................................................5
a. Composition .........................................................................................................5
b. Color ....................................................................................................................8
3. Communication in Relation to the Visual Arts ........................................................11
4. Existing Literature ...................................................................................................13
Methodology ......................................................................................................................15
Film Analyses ....................................................................................................................16
1. American Sniper ......................................................................................................19
2. Birdman ...................................................................................................................22
3. Boyhood ...................................................................................................................26
4. The Grand Budapest Hotel ......................................................................................31
5. Selma........................................................................................................................39
6. The Imitation Game .................................................................................................44
7. The Theory of Everything ........................................................................................50
8. Whiplash ..................................................................................................................56
Conclusion .........................................................................................................................62
Bibliography ......................................................................................................................64
v
List of Figures
Figure 1: Color in Schindler’s List.....................................................................................10
Figure 2: Image Systems in Oldboy ...................................................................................12
Figure 3: Grand Budapest Storyboard ...............................................................................17
Figure 4: Contradictory Color in Whiplash .......................................................................18
Figure 5: American Sniper Desaturated Color ...................................................................20
Figure 6: American Sniper Subjective Shot .......................................................................21
Figure 7: American Sniper Close-ups ................................................................................22
Figure 8: Birdman Practical Lighting ................................................................................24
Figure 9: Birdman Saturated Color ....................................................................................24
Figure 10: Birdman Blue Overlay......................................................................................25
Figure 11: Birdman Central Composition..........................................................................26
Figure 12: Boyhood Color Usage .......................................................................................28
Figure 13: Boyhood Image System- Growing Up..............................................................29
Figure 14: Boyhood Image System- Road Trips ................................................................30
Figure 15: Grand Budapest Vintage Pink ..........................................................................32
Figure 16: Grand Budapest Nighttime Blue ......................................................................33
Figure 17: Grand Budapest Black and White ....................................................................34
Figure 18: Grand Budapest Mustard Yellow............................................................... 34-35
Figure 19: Grand Budapest Storyboarding .................................................................. 35-36
Figure 20: Grand Budapest Image System ........................................................................37
Figure 21: Grand Budapest Aspect Ratio Changes ...........................................................38
vi
Figure 22: Selma Color Usage ...........................................................................................40
Figure 23: Selma Kodachromes ................................................................................... 40-41
Figure 24: Selma Extreme Close-ups ........................................................................... 41-42
Figure 25: Selma Image System- The March .............................................................. 42-43
Figure 26: Selma Image System- Speeches ................................................................. 43-44
Figure 27: Imitation Game White ......................................................................................47
Figure 28: Imitation Game Warm Tones ...........................................................................47
Figure 29: Imitation Game Cool Tones .............................................................................47
Figure 30: Imitation Game Image System- Crosswords .............................................. 48-49
Figure 31: Imitation Game Image System- Christopher ....................................................50
Figure 32: Theory of Everything- Yellow ..........................................................................52
Figure 33: Theory of Everything- Green ...................................................................... 52-53
Figure 34: Theory of Everything- Red ...............................................................................53
Figure 35: Theory of Everything- Blue ..............................................................................54
Figure 36: Theory of Everything- Neutrals .................................................................. 54-55
Figure 37: Theory of Everything- Central Compositions...................................................56
Figure 38: Whiplash Cool Tones .......................................................................................58
Figure 39: Whiplash Warm Tones .....................................................................................58
Figure 40: Whiplash Close-ups ..........................................................................................60
Figure 41: Whiplash Image System ...................................................................................61
vii
1
Chapter One: Introduction
One of the most recognizable traits of humanity is the ability to create art. The
creation of aesthetically pleasing artifacts has the ability to connect each human being
together with nothing more than a few brushstrokes or strikes of the chisel. The artistic
quality of humankind furthers our understanding of each other and can ultimately take
imagination to its greatest height.1
All of the arts build upon one another. The relationships between the visual arts—
such as painting, drawing and photography—have been apparent throughout their
respective historical beginnings. For example, during the nineteenth century,
photographers employed compositional techniques of painters as an artistic influence for
the foundation of their photographs. Without the development of photography, painters
like Edgar Degas would not have experimented with new visual perspectives in their
works.2 This evolution of technique and creativity resulted in different forms of artistic
thinking and tools for artists to express their new ideas. Among the most recent practices
of art produced from this progression are the modern arts of graphic design and
filmmaking.
Graphic design and filmmaking are considered modern approaches to the arts.
This is due to the advancing technological era in which both came to fruition. Both
graphic design and filmmaking are often viewed as two separate entities within the arts,
but they are not. Visual arts affect one another. In its most basic form, the effect of
graphic design on cinema is found in film titles or promotional material such as posters;
1
Merriam-Webster online dictionary, s.v. “art,” http://www.merriam-webster.com/dictionary/art.
2
Johanna Drucker and Emily McVarish, Graphic Design History: A Critical Guide (New Jersey:
Pearson, 2013), 117.
2
however, this limits the effect of design on film to print or typographic sources only.
Though it is true that graphic design contributes to the complete package of a film, one
can also examine the influence of design principles further into the creation of a film
itself.
The correlation between graphic design and film can be found in fundamental
design elements such as composition, color and forms of visual communication resulting
from the previously stated design principles. These design standards serve as the
foundation of any piece of artwork, still or moving. The artistic quality of a film depends
on the solidity of its design. Therefore, it is important for a filmmaker to have exposure to
the practices of other visual arts before developing a moving piece of work.
A background in the visual arts has an important relationship with cinema,
particularly when strengthening the message and artistic quality of a film. If a filmmaker
can observe and learn the techniques of a graphic designer, the film in question has
already gained a significant amount of effectiveness and visual meaning.
For the purpose of this paper, a study will be conducted concerning the
relationship of graphic design and the cinema by analyzing design techniques and
applying them to film. It is crucial to understand basic design elements such as color and
composition in order to fully examine the quality of a film. How can these elements be
applied to cinema in relation to graphic design, and why is it so important?
Chapter Two: Literature Review
The purpose of this study relies heavily on a complete understanding of design
and film terminology. Because the two are closely related, terminology often overlaps.
3
Once a basic foundation is formed from the comprehension of design elements like color
and composition, the study can be easily conducted.
The literature reviewed for graphic design and the cinema not only consist of
specific terminology related to the visual arts, it also contains biographies and interviews
of several artists who have either worked in both fields of study, or have openly used
techniques that are taught in design education. These articles and interviews, from the
Golden Age of Hollywood to the twenty-first century, provide examples of design
terminology put into action. Thus, they become an essential part of the research in order
to gain insight into how design can bring a film to life.
Graphic Design and Film
Visual culture has been an essential development of humanity for hundreds of
years. Through the use of images as a visual aid, along with written communication,
artists created a way of life that became dependent on more than words. Graphic design is
an element that grew from the advent of visual thinking.3 Graphic design is an art form
concentrated in the effectiveness of communication through the use of images, words or
other graphic forms.4 The cultivation of graphic arts contributed to a form of
communication and experience that led to visual culture, or a culture dependent on the
use of forms understood by sight.5
Visual culture further evolved from two-dimensional print design. Once
technology was created to record human actions in real time, people found a new way to
relate to an art form. Father of motion pictures, photographer, Eadweard Muybridge,
3
Drucker and McVarish, Graphic Design History, xxii.
4
Juliette Cezzar, “What Is Graphic Design?” AIGA, n.d. accessed December 7, 2014,
http://www.aiga.org/guide-whatisgraphicdesign/.
5
Drucker and McVarish, Graphic Design History, 366.
4
began to study sequence photography in the early 1870s. His most famous work, The
Horse in Motion, gave the visual world something new: to record moments in motion
rather than still images.6 This photography developed into an art form called filmmaking.
Filmmaking is a technique of taking narratives and transforming them into a visually
meaningful story by using similar procedures found in other visual arts.7 These moving
pictures were able to immediately connect with an audience as a means of expressing
different philosophies and experiences of humankind. As the technology of film evolved,
so did the art form. Taking cues from art movements and design theories, filmmakers
became equipped to not only make a moving picture, but also a piece of art.8
Through the development of technologies dependent on mechanical culture, both
graphic design and filmmaking are linked as a modern approach to art.9 Each of them
find common ancestry in classical art forms such as drawing and painting, but they are set
apart by technology. The digital age has certainly established the two as siblings in the art
world with companies like Adobe that cater solely to design and film.10
Because of the modernity shared between design and film, both gravitate toward
each other stylistically. Clarity of meaning prized in graphic design serves the same
6
Ian Christie, "Thoroughly Modern Muybridge." Sight & Sound 20, no. 10 (October 2010): 10-
11. Art & Architecture Complete, EBSCOhost, accessed March 27, 2015,
http://lynx.lib.usm.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ibh&A
N=53792900&site=ehost-live
7
"Film," Aesthetics A-z, Edinburg: Edinburgh University Press, 2010, accessed February 22,
2015, Credo Reference.
8
John A. Walker, "Art and Film: A Survey of the Literature," Art Book 14.1 (2007): 67-69,
accessed February 6, 2015, doi: 10.1111/j.1467-8357.2007.00783.x.
9
Richard Misek, "The 'look' and How to Keep It: Cinematography, Postproduction and Digital
Colour," (2010) Screen, 51 (4). Pp. 404-409, accessed February 6, 2015, doi:
10.1093/screen/hjq045.
10
Vonecia Carswell, “Adobe’s Oscars Ad Recaps Photoshop’s Impact on Art and Film,”
Skilledup, February 20, 2015, accessed February 21, 2015,
http://www.skilledup.com/articles/photoshops-impact-on-art-and-film/.
5
purpose for cinematic creation. Elements of design that aid visual clarity are essential in
the making of significant art. In the words of cinematographer Johanna Heer, “Cinema is
art. Cinema is not storytelling only. Cinema should be explored within the same criteria
other visual and performing arts are discussed.”11
Design Principles
In order to fully understand the relationship between graphic design and
filmmaking, an overview of basic design principles is necessary. Though many may have
an understanding of composition and color, the two elements transform themselves into
much deeper areas when applied to the formation of a narrative. Once an understanding
of the two elements is established, one can apply them into forms of visual
communication that are useful in the production of any work of art, or in the case of this
study, cinema.
Composition
Compositional techniques are some of the most important skills learned in the
early stages of a design foundation. The composition of a piece of art has the ability to
communicate several messages by placement of objects within the picture plane. “[O]ur
view of the world is based on the interaction of two spatial systems.”12 Arnheim, noted
art and film theorist, speaks of the picture plane—the overall frame of a piece—and the
objects held within. Composition is of the utmost importance to the perception and
overall communication of a work of art. An audience views an image differently if the
11
Johanna Heer, "Cinematography," BOMB 1.2 (1982): 46-69, accessed January 17, 2015,
http://www.jstor.org.lynx.lib.usm.edu/stable/40422330.
12
Rudolf Arnheim, introduction to The Power of the Center: A Study of Composition in the
Visual Arts (Oakland: University of California Press, 1983), vii, accessed February 21, 2015,
http://books.google.com/books?id=b9Nv57tiOEUC&dq=rudolf+arnheim+art+and+visual+percep
tion&lr=&source=gbs_navlinks_s.
6
subject of the piece is placed in the center, rather than the side of the picture plane.
Central objects carry the weight of importance and symmetry, but can lose details of their
surroundings, which can be equally important. 13 Meaningful composition takes skill and
thought. Compositions can be created through several techniques. One of the most
common terms within the realm of composition is balance, which includes symmetry, the
rule of thirds and hierarchy.
Composition is dependent on balance in order to create a cohesive and
aesthetically pleasing work of art. Balance in design serves to anchor forms in their
relative space. “Visual balance occurs when the weight of one or more things is
distributed evenly or proportionately in space.”14 The human eye is comfortable while
examining a balanced design, but it can easily be distracted by an unbalanced one. It is
important to create a design that is easily understandable. The correct balance of elements
within the frame can create an opportunity for meaningful composition that is
immediately comprehended.
One popular form of balance is created through the use of symmetry. By weighing
the composition equally with elements in the frame, stability is formed and easily
perceptible for the eye.15 Symmetrically balanced compositions, whether in graphic
design or film, carry a message of solidity.16
Though symmetry is often used and easily distinguishable to the human eye, there
are other forms of balance that can create a more stimulating experience and narrative.
13
Arnheim, The Power of the Center, 21-25.
14
Ellen Lupton and Jennifer C. Phillips, Graphic Design: The New Basics (New York: Princeton
Architectural, 2008), 29.
15
Ibid., 30.
16
Gustavo Mercado, The Filmmaker’s Eye: Learning (and Breaking) the Rules of Cinematic
Composition (Burlington, MA: Focal Press, 2010), 8.
7
Asymmetry uses elements and negative space in a way that allows the two to interact
with one another to create balance and tension.17 Asymmetrical compositions allow for
other elements within the frame to be shown and allot negative space for the eye to rest.
An ancient standard of this type of balance is called the Golden Ratio.
The Golden Ratio is a mathematical relationship studied by the ancient Greeks in
order to determine the most visually pleasing form of proportion breaks.18 The Golden
Ratio requires one side of the composition to be longer in relation to a shorter side.
Applied to the visual arts, this is called the rule of thirds. The picture plane is broken up
into a grid using a three by three format. Important compositional elements are placed at
a cross point of the grid within the frame.19 This allows a dynamic composition to be
created that gives the plane balance and a fixed focus on the narrative conveyed.
Lastly, hierarchical structure within a composition is an important tool to clearly
convey the meaning of the piece. Hierarchy with artistic elements is an artistic
development pre-dating that of the ancient Egyptians.20 Visual communication relies on a
hierarchy of elements to highlight what is most important within the piece. Hierarchy is
used to create a meaningful order for the artwork.21 It is not essential for hierarchy to
occur through size relation of elements in the composition alone. Hierarchy can be
achieved in a number of ways, including size relation, position, color or focus. In
filmmaking, use of hierarchy can be found in what is known as Hitchcock’s Rule. This
occurs when a particular element is emphasized in the frame by any of the previously
17
Lupton and Phillips, Graphic Design: The New Basics, 29.
18
"Proportion," The Bloomsbury Guide to Art, London: Bloomsbury, 1996, accessed February 22,
2015, Credo Reference.
19
Mercado, The Filmmaker’s Eye, 7.
20
Drucker and McVarish, Graphic Design History, 7-9.
21
8
stated forms of hierarchy. The use of Hitchcock’s Rule reveals an important symbol
within the film that will come into play later in the narrative.22
Color
Color is part of the daily lives of all people. It is integral to a human being’s
functionality to see the grass as green or the sky as blue. Color can have an
overwhelming effect on the psyche of a person. Because color plays such a vital role in
reality, it is an essential element of the visual arts. “The artist, finally, is interested in
color effects from their aesthetic aspect, and needs both physiological and psychological
information.”23 Johannes Itten, renowned color theorist, stated that one of the primary
interests of the artist is the relationship between color, the eye and the brain. These
relationships are a fundamental part of the creation of a piece of art and its intended
effects on the viewer.
All colors are mercurial and can change the meaning of the work at hand. Color
theory in design seeks to establish guidelines in which color can be understood physically
and psychologically for the use of the artist and overall perception of the piece. Color is
divided into three areas: hue, intensity and value.24
In order to fully understand the properties of color, one must first understand the
term hue. Hue is the basic form of the color itself. For example, when one looks at the
sky, it is first perceived as blue. If a person looks at the grass, the color that immediately
comes to mind is green. “Hue is the place of the color within the spectrum.”25 Basic
defining of color is one of the most important aspects of color psychology. Colors tend to
22
Mercado, The Filmmaker’s Eye, 7-8.
23
Johannes Itten, The Art of Color (New York: Von Nostrand Reinhold, 1973), 16.
24
25
Ibid., 74.
9
carry a simple meaning in relation to their hue. The hue of a color will affect the viewer’s
understanding of the piece immediately.26 One of these aspects is that of warmth and
coolness. Colors in the warm spectrum are red and orange; in the cool spectrum, blues
and violets. The relative warmth and coolness of a color psychologically send messages
of comfort or sadness. In film, warm hues usually represent a sense of home or love,
whereas cool hues indicate fear or depression. Artists use these attributes in both design
and film, often to create a simple method of communication for the design or scene in
order to set a certain mood for the work as a whole.
The intensity of a color means the relative brilliance or dullness of the color
itself.27 Intensity becomes important in order to communicate different moods within the
artwork. A dull color can be perceived as soft, whereas bright colors carry energy.
Oftentimes, designers use both simultaneously to place significance on the brightest
color, while other colors are dulled down so as not to distract from the focal point. The
same principles apply to color usage in film. An example can be seen in Steven
Spielberg’s Schindler’s List. The only color in the black and white movie is a Jewish
child in a red coat. (See Figure 1)
26
Josef Albers, introduction to Interaction of Color (New Haven: Yale University Press, 2006),
1-2.
27
10
Figure 1. Color in Schindler’s List
Through this simple usage of color and its relative intensity among the color-devoid
surroundings, Spielberg gives the audience an immediate symbol of the innocence of the
Jewish people and the violence of the Holocaust through the coloring of this one coat.
“Day and night, light and darkness — this polarity is of fundamental significance
in human life and nature generally.”28 The final aspect of color that heavily dictates its
visual meaning is value. Value is the light or dark characteristic of a color.29 Overall,
light and dark carry symbolic meanings that have formed throughout time. Lightness is
seen as good. Darkness is attributed to all that is bad. These metaphorical relationships
are engrained into the artist’s mind. The value of a color can change the meaning of the
color in an instant. For example, the lightest form of red is pink, which can be associated
with softness and, culturally, femininity. Red’s natural hue can be perceived as love and
passion. But once red enters into a darker form, its meaning becomes darker as well. Dark
reds can be associated with violence or anger. It is fascinating that the change of value for
28
Itten, The Art of Color, 46.
29
11
one color can completely change its psychological impact. Both designers and
filmmakers use the attributes of value change to dictate the meaning of their works.
Communication in relation to the Visual Arts
Visual meaning is created with the aforementioned elements of design,
composition and color, but an artist needs to create a cohesive work rather than sporadic
uses of different elements throughout the piece. In order to unify a large piece of work, a
designer will make use of a grid system to form a consistent design that can clearly
communicate its meaning.
A grid is useful in design to unify elements as a whole. “A well made grid
encourages the designer to vary the scale and placement of elements without relying
wholly on arbitrary or whimsical judgments. The grid offers a rationale and starting point
for each composition, converting a blank area into a structured field.”30 A grid is
necessary in order to organize particular design elements within a large work. It allows
for visual clarity, rather than confusion.
Though a film cannot use a grid in the same form as graphic design, there are
elements of filmmaking that serve the same purpose to organize the movie as a whole.
Oftentimes, directors will heavily storyboard each scene prior to filming. Storyboarding
is a technique that advertisers use to clearly indicate what is going to happen, as well as
what the finished product will look like. This organizational method allows for a
smoother transition to the filming stage, instead of jumping blindly into the shoot.31
30
Ibid., 175.
31
Andrew Horton, "The World of Hollywood Art Design: An Interview with Henry Bumstead,"
Cineaste (Summer 2001): 18, Literature Resource Center, accessed February 7, 2015, retrieved
from http://go.galegroup.com/ps/i.do?id=GALE%7CA76814629&v=
2.1&u=mag_u_usm&it=r&p=LitRC&sw=w&asid=022e78f7be33637208e6d55dfb10d40.
12
Secondly, filmmakers use what is called an image system to organize the
narrative of the film. An image system “. . . refers to the use of recurrent images and
compositions in a film to add layers of meaning to a narrative.”32 An image system can
use particular color and compositions in parts of the film to form a cohesive storyline.
Unifying these visual elements can be extremely helpful in communicating symbolism
within a film. An example of an effective image system is found in Park Chan-wook’s
Oldboy. (See Figure 2)
Figure 2. Image Systems in Oldboy
The first image is seen at the beginning of the film Oldboy. It is a painting that is
hung in the room of the main character. Underneath the painting is the quote “Laugh, and
the world laughs with you. Weep, and you weep alone.” By the end of the film, the main
character recreates the ambiguous expression of the man in the painting on his face.
Along with the red color element, the audience connects the both scenes visually and is
left wondering whether there will be a happy or sad ending to Oldboy.33
32
33
Ibid., 23.
13
Existing Literature
Research concerning the relationship between graphic design and film needs
further exploration. The correlation between the visual arts and film as a whole, however,
has a definite recognized correlation. Several filmmakers have been inspired from master
painters and are trained artists themselves.34
Rex Ingram was a 1920s sculptor who influenced early filmmaking. Ingram
included several Fine Art techniques into his films, because of his professional training in
the Fine Arts. The films he produced are often cited as compositionally masterful and
would serve as inspiration for the aesthetic qualities of films in the future.35
By the 1940s, Jack Cardiff, the first cinematographer to work extensively with
Technicolor, began to influence color usage in film. Cardiff was a trained painter whose
cinematic techniques were heavily inspired by the works of master painters such as Van
Gogh and J.M.W. Turner. Because of his familiarity with design principles, his
cinematography is often seen as a true art form. As a painter, Cardiff knew exactly how
to control color in connection with themes in film. Martin Scorsese said of The Black
Narcissus, “The color itself became the emotion of the picture.”36 However, Fine Artists
are not the only filmmakers to have an effect on the development of cinema.
34
Walker, Art and Film, 67-69.
35
Kaveh Askari, "Art School Cinema: Rex Ingram and the Lessons of the Studio," Film History:
An International Journal 26.2 (2014): 112-45, accessed December 29, 2014,
N=96800074&site=ehost-live.
36
Philip Kemp, "A Matter of Light and Depth," Sight & Sound 20.6 (2010): 9, International
Bibliography of Theatre & Dance with Full Text, accessed February 7, 2015,
14
Long before he became one of the most well known directors of all time, Alfred
Hitchcock worked in the advertising industry. Hitchcock was trained as an advertiser and
brought several advertising techniques into his films. Chief among these techniques was
storyboarding. Hitchcock would spend a majority of his production time storyboarding
every scene of a film. Due to thorough pre-planning, once filming commenced, he could
complete a movie in a very short amount of time.37
Twenty-first century filmmakers continue the trend of taking inspiration from
traditional visual arts. Evidence of graphic inspiration in the modern age is becoming
more and more prevalent. One of the most popular directors of the past decade is Wes
Anderson. Anderson combines a classical approach to filmmaking with that of graphic
sensibility evidenced in all of his works. Anderson’s films are characterized by their color
palettes, compositional symmetry and clarity in design—meaning he does not clutter the
frame with unimportant objects that distract from the central narrative. Anderson, much
like Hitchcock, plans every step of his pre-production process. Much like a designer
works, Wes Anderson makes design choices that will be used throughout his films. He
creates a color palette and framing techniques based around symmetry. He extensively
storyboards each scene prior to shooting in order to speed up the filming process.38
Graphic designer turned filmmaker, Mike Mills, discusses the fact that graphic
design and film are very much alike. “[C]onceptually, I see no leap between the different
37
Horton, The World of Hollywood Art Design, 18.
38
Isabel Stevens, "The Anderson Touch," Sight & Sound 24.3 (2014): 30-34, International
Bibliography of Theatre & Dance with Full Text, accessed February 7, 2015,
15
media; they are just different formats in which I try to communicate with people.”39
Communication of different ideas, cultural exchanges and empathy among a variety of
subject matters is something that films do well. Movies have the ability to reach
audiences far and wide to educate whole populations about different periods of time,
people and exploration of new ideas. If a filmmaker has a solid design background and
understands the importance of organization and clarity of information, his or her film will
be a masterpiece in both the arts and visual communication. For the purpose of this paper,
research will be conducted regarding the relationship of graphic design and filmmaking
by thoroughly analyzing design techniques used within the 2015 Academy Award
nominations for Best Picture. In order to understand the overarching narratives in films, it
is crucial to recognize basic design elements such as color, composition and
communication techniques that the former elements present. In what ways are these
particular design elements incorporated into films, and, most importantly, how does this
affect their quality and visual meanings?
Chapter Three: Methodology
Art, though also dependent on innate ability, is a skill that is performed through a
thorough education in design principles. For a work of art to become a unified whole that
has the greatest amount of visual meaning, technical training in the form is essential.
Having a foundation built upon how the visual arts operate make the transition to other
artistic mediums easier. It is in this way that a filmmaker can learn valuable techniques
based solely on that of two dimensional design principles.
39
Steven Heller, "Mike Mills," Print 60.5 (2006): 36-38, Academic Search Premier, accessed
February 7, 2015,
http://lynx.lib.usm.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=iih&A
16
Graphic design and filmmaking often overlap in their individual utilization of
design methods. The two are usually separated in the public eye due to technical
dissimilarities. The difference between the two is mainly in format, with graphic design
employing a two dimensional, non-moving surface while the cinema is a moving art form
that can capture action in real time. Filmmakers are able to deploy design techniques
throughout the creation of their films for the most impactful visual meaning. It is possible
to examine a variety of design techniques used in cinema including pre-production
design, color, composition and overall visual significance dictated by the former design
techniques across cinematic history.
The focus of this study consists of examining design practices used in film by
studying images from particularly poignant moments within films. The films I analyzed
are the 2015 Academy Award nominees for Best Picture: Birdman, Boyhood, The Grand
Budapest Hotel, The Theory of Everything, The Imitation Game, Selma, American Sniper
and Whiplash. Each of the eight films creates a formidable selection of the most current
cinematic creations. By observing single images of the films from a design standpoint,
one can make accurate analyses on the visual meaning of each film.
Chapter Four: Film Analyses
The 2015 Best Picture nominees offer a diverse selection of films that served my
observations of color and composition. Each film was utilized for examining the
differences in the design approach by the filmmaker to best convey the narrative at hand.
For example, Wes Anderson’s usage of storyboarding techniques prior to filming The
Grand Budapest Hotel allowed him to speed up the process of production as well as
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faithfully transpose the symmetrical compositions to screen. (See Figure 3)
Figure 3. Grand Budapest Storyboard
Another example of exemplary design from the 2015 Best Picture nominees is
Whiplash. Composition and color play a vital role in Whiplash. The film utilizes a dingy
color scheme to convey the bleak environment in which the main character, Andrew
Neiman, has been placed. The juxtaposition between dirty blue green and warm gold
tones throughout the film create an interesting atmosphere for the characters to interact.
The exterior environments, such as New York City and Andrew Neiman’s dorm room are
tinted with blue green. This cool color indicates the apathy and overall depression
Andrew is experiencing outside the world of jazz. Once the focus is shifted onto the
music room and concerts held by Fletcher— the overbearing jazz instructor—the color
scheme changes to a heavenly golden color. This color is meant to mimic the several
brass instruments within the jazz group, as well as a glorification of Andrew’s desire: to
impress Fletcher. The warmth of the gold directly contrasts the anxiety and emotional
trauma that Andrew experiences within the areas dominated by Fletcher. (See Figure 4)
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Figure 4. Contradictory Color in Whiplash
To further the study, I analyzed the remaining 2015 Best Picture nominees:
Birdman, Boyhood, The Theory of Everything, The Imitation Game, Selma and American
Sniper. Each of these films offered substantial evidence of visually meaningful design.
By thoroughly analyzing the design elements within this selection of films, I show that
the base of great cinema is built upon fundamental graphic design principles.
Results garnered from the study of images from the 2015 Academy Awards Best
Picture nominees support the concept that elements of design greatly affect the
initialization of a film, as well as its finished product. Thus, it is possible to form an in
depth discussion of why film can be considered a design discipline and how fundamental
design principles influences its foundation. A thorough understanding of color and
composition develops a vocabulary that communicates the message of a film to its
intended audience. Through basic design principles, film becomes a legitimate art form
within itself.
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American Sniper
American Sniper gives viewers a chance to experience the life of Chris Kyle, a
sniper with the most recorded kills in American military history, and as a result saved
countless lives while in the Middle East fighting the War on Terror. The film, directed by
Clint Eastwood, not only shows Kyle’s heroism on the battlefield, but also the
vulnerability that the veteran faces when he returns home. Kyle’s mental health was
affected during his four tours in Iraq, putting a strain on his family life and his overall
well-being. American Sniper demonstrates that, while combat seems most prevalent in
the soldier’s life at war, the battle continues long after the fight has ended.
American Sniper exhibits a classical approach to filmmaking by remaining
consistent with color and composition throughout. Coloring in the film is dictated by
green, which is typically an unusual color choice for any film, while compositional
strategies are more traditional but are cleverly used to draw the audience into the
scenarios experienced by Kyle.
Color
The majority of American Sniper takes place in the deserts of the Middle East.
Kyle’s story revolves around his time spent in the war during four tours in Iraq. The
colors that represent these tours are a dusty green and an overall white balance. This color
palette can be related to Ridley Scott’s similar coloring in Black Hawk Down. In the 2001
film, Scott’s cinematographer employed the use of green and warmer colors to indicate a
grungy and intensely treacherous setting, which proved to be an effective representation
of war that had not been experimented with before.40 In both Black Hawk Down and
40
Isaac Botkin, Color Theory for Cinematographers, Outside Hollywood, accessed October 11,
2015, http://www.outside-hollywood.com/2009/03/color-theory-for-cinematographers/.
20
American Sniper, the blinding washout of color lets the viewer understand that the war
being fought on foreign soil is far from home and indicative of danger. In American
Sniper, however, the palette is taken even further. The wash of white and muted tans and
greens gives no comfort; rather, it creates an atmosphere of stark detachment that can be
related to Kyle’s indifference that allows him to be an effective shot. This desaturated
color palette is not limited to scenes taking place during the war. It often continues in
Kyle’s life with his wife and family. This reinforces the narrative that the sniper is
affected more by warfare than he would like to believe. The battlefield is bleeding into
his home life as represented by the coloring. (See Figure 5)
Figure 5. American Sniper Desaturated Color
Composition and Image Systems
As previously stated, the filmmakers of American Sniper chose a familiar route as
far as technique in composition and image systems to tell Kyle’s story. Most of the shots
21
are traditional, following the rule of thirds or centering the camera when needed. The
most effective shots, however, come straight from the eyes of Kyle himself.
Because a majority of the film makes it clear that Kyle’s position in the war was
that of a sniper, the audience is allowed a unique glimpse into the role themselves. Before
Kyle makes a shot, the camera frame is transformed into the sight of the gun. This gives
each viewer the sense that they are the ones handling the weapon and making the difficult
choices that Kyle made throughout his time as a soldier. This form of framing, called a
subjective shot, heightens the intensity of the scene at hand, causing suspense before the
gun is fired.41 (See Figure 6)
Figure 6. American Sniper Subjective Shot
Another technique used to amplify suspense and urgency are the extreme close-
ups of Kyle before, during and after he fires his weapon. Similarly to the aforementioned
compositional technique, the growing close-ups remove all surrounding distraction in
order for the audience to focus on Kyle and his increasingly difficult decisions. It also
detaches the audience from the horror of war after the trigger has been pulled, removing
them from the situation once more. (See Figure 7)
41
Mercado, The Filmmaker’s Eye, 83-84.
22
Figure 7. American Sniper Close-ups
Birdman: (Or the Unexpected Virtue of Ignorance)
Birdman is a modern age story of middle-aged actor, Riggin Thomson that
explores the mental state of the main character while commenting on the culture of the
instant celebrity. Throughout the film, the audience is taken on a journey through
Riggin’s attempt to redeem himself as an actor by writing, directing and starring in his
first Broadway play in order to make a name for himself other than the one acquired by
his massively successful comic book flick in the 1990s, Birdman.
The filmmaking style of Birdman is exceptional. Looking beyond the beauty
found within the natural use of lighting and dramatic stage aesthetic, the amount of
technical planning to create one long running shot with minimal edits is a feat in and of
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itself. This technique is utilized in order to create a seamless look into the life and mind
of Riggin, making it a suitable choice for the narrative.
Color
Color throughout Birdman is dictated heavily by the environment and mental state
in which Riggin is present. The film takes place in the heart of New York City with the
theatre, stage and city as focal points of the story. The color of the environment outside
the stage is natural, while stage lighting is the exact opposite.
When Riggin is seen in areas such as his dressing room, bars or the city, lighting
and color within the shots are natural, indicating the fact that the main character has
stepped into the real world. The use of practical lighting, or light from the actual sources
on set, give these sections of the film a warm undertone that is friendly, yet retains the
darkness of the environment. The sun also dictates the lighting and color in select
scenes.42 The extreme sunlight in one of the final scenes featuring Riggin and his
daughter serves as one of the lightest shots and moments in the film. Rather than the
typically dark or harshly lit scenes throughout Birdman which denote Riggin’s
dissociative personality that often isolates his daughter, the fuzzy, yellow quality, along
with the lens flare in this final scene become the cue that father and daughter have
forgiven each other and are ready for a clean start.43 (See Figure 8)
The scenes that occur on the Broadway stage, however, represent a completely
different facet of Riggin’s mind. They give insight into the dramatic and disturbed aspect
42
“Emmanuel Lubezki ASC, AMC on Birdman,” ARRI Group, accessed September 24, 2015,
https://www.arri.com/news/news/emmanuel-lubezki-asc-amc-on-birdman/.
43
Johann Wolfgang von Goethe, Theory of Colours, (London: Albemarle Street, 1840), 310-311,
accessed October 11, 2015, http://www.painting-course.com/wp-
content/pdf/Goethe_theory_of_colours.pdf.
24
of Riggin’s fragile mental state. The stage is heavily lit in an extreme blue and red light
during the suicide scene of the play. The neon brightness of the color reinforces the part
of Riggin that believes he does not exist in the real world: he is a character in his own
life. Blue represents depression and the drowning sense that Riggin is constantly battling
throughout the film, whereas the red light of lamps and signage represent Riggin’s anger
and many transgressions. The final scene of the film returns to the use of blue as an
oversetting color to reinstate the sadness and magical realism of the narrative.44 (See
Figures 9-10)
Figure 8. Birdman Practical Lighting
Figure 9. Birdman Saturated Color
44
Ibid., 310-311.
25
Figure 10. Birdman Blue Overlay
Birdman is unique in the use of camera operating style. The film functions on an
extreme level of technical difficulty by creating seamless shots called “running shots” or
a single take, made famous by Alfred Hitchcock in his 1948 film, Rope. With only eleven
shots throughout the entire movie, Hitchcock was experimenting with an approach to
filmmaking that followed more closely along the lines of reality.45 With advancements in
camera technology, Birdman allowed for much longer takes than 1940s equipment
allowed. The single take effect of Birdman allows the audience to travel with the film’s
main characters in a way that makes the viewer feel like they are following them in real
time. This creates an intimate atmosphere, giving the audience a one-of-kind experience
that is not found in many films today.
Though the technicality of Birdman is astounding, it often chooses to use
traditional compositional techniques when the camera settles. This is an intelligent
choice, seeing as though the audience needs a technique that is familiar in an otherwise
unfamiliar style. The most striking compositional strategy is the central focus of
characters in emotionally charged scenes. Birdman begins with Riggin on an emotional
45
Chris Wisniewski, “Hidden in Plain Sight: Rope,” Reverse Shot: Museum of the Moving Image,
July 9, 2007, accessed September 24, 2015, http://reverseshot.org/symposiums/entry/1312/rope.
26
high, literally and figuratively. Throughout the film, however, Riggin experiences several
lows. One of the lowest points Riggin’s reaches is seen when he chooses to enter a liquor
store to drink away his problems. These scenes focus the main character directly in the
center for stability and power, in an otherwise unstable moment.46 (See Figure 11)
Figure 11. Birdman Central Composition
Boyhood
Richard Linklater’s Boyhood generated the most hype among the 2015 Oscar
Nominees. The story of a boy named Mason, who grows up on screen in a span of twelve
years, was newly explored territory in filmmaking. With twelve years in the making,
audiences experienced Mason’s adolescence and the challenges everyone faces during
46
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youth. From his first crush to his parent’s divorce, the story of Mason is one that many
can relate to.
Boyhood’s greatest achievement is the consistent look of the film. In a span of
twelve years, it could have been extremely difficult to create a cohesive film style due to
the advancement of camera technology. A part of this consistency is not only the choice
to shoot film rather than digital, but also to keep the film as natural looking as possible.
This lends to the overall mood of a documentary, allowing audiences to experience his
story as if it were real life.47
Color
Lack of color in Boyhood lends to the natural aspect of the film. Without using an
experimental approach with color and light in the movie, the filmmakers created a
cohesive scheme that could be implemented across a span of twelve years. Not only does
natural coloring allow for consistency in such a long shoot, it also creates a “home
movie” aesthetic, which is befitting for this particular coming of age story. When color is
accentuated, however, it falls mostly into the realm of greens.
Green is the most prevalent color utilized throughout the film. Green dominates
the majority of scenes, not to mention the poster as well. It is a color seen on Mason’s
clothing and his surroundings. In Boyhood, green serves to reinforce the idea of youth
and growth. It is also most prominently featured in scenes that Mason feels his calmest
and happiest—features of the color green as well.48 (See Figure 12)
47
Jack Egan, “Contenders- Cinematographers Shane Kelly and Lee Daniels, Boyhood,” Below the
Line, January 7, 2015, accessed January 1, 2016, http://www.btlnews.com/awards/contenders-
cinematographers-shane-kelly-and-lee-daniel-boyhood/.
48
“Psychology and the Meaning of Colors,” ColorPsychology.org, accessed February 14, 2016,
http://www.colorpsychology.org.
28
Figure 12. Boyhood Color Usage
Color is non-experimental in Boyhood because of consistency over a twelve-year
period. Composition is also traditional. The filmmakers utilized medium shots and the
rule of thirds to keep the scenes from becoming stale.

29
The most striking compositions in the film occur as part of the image system. The
image system in all films is based around the core meaning and ideas in the narrative.49
This is extremely apparent in Boyhood. The first repeated imagery that is easily
recognized by audiences is when Mason lies on the grass looking up at the sky as a child.
This shot is repeated a couple of years later when Mason has progressed to his early
teenage years. These scenes are progression shots, reminding viewers that he is growing
up but still a dreaming child. (See Figure 13)
Figure 13. Boyhood Image System- Growing Up
The second use of repeated imagery, and perhaps the most metaphorical, is the
continuous shots of Mason and his many road trips. This shows the several journeys he
has taken to become the college freshman he is now. Toward the end of the film, the
49 Mercado, The Filmmaker’s Eye, 22.

30
empty road signifies the continued journey he will take that the audience will not
experience. (See Figure 14)
Figure 14. Boyhood Image System- Road Trips

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The Grand Budapest Hotel
The Grand Budapest Hotel tells the comedic yet loving story of Zero, the new
lobby boy, at the esteemed Grand Budapest Hotel. Through the years, Zero learns
valuable, if not hilarious, life lessons through his mentor, Gustave H. Told from Zero’s
point of view, The Grand Budapest Hotel leads the audience on adventure after adventure
of Gustave H. through three different time periods. The film was the only comedy in the
2015 nominees and was as stunningly beautiful as it was heartwarming.
Director Wes Anderson is known for his quirky scripts, fun films and his specific
filmmaking style. Graphically speaking, The Grand Budapest Hotel represents a movie
shot on the basis of almost every design principle. Anderson planned every shot through
storyboarding and created unique color palettes for the different eras in the movie giving
it a distinctive look to match its story.
Color
The use of color in The Grand Budapest Hotel is fascinating. By not adhering to
natural color rules for film, Anderson heightened the fairytale enigma of the story. A
color palette was created for each era of the film: the 1930s, the outbreak of World War
II, referred to as “The Lutz Blitz” and the 1960s.
The 1930s is where a majority of the story takes place when Zero is a young boy
working for Gustave. The majority of his adventure occurs during this era, likewise it is
here that the most unique and highly saturated coloring of the film is found. Taking
inspiration from the pink of the baker boxes instrumental in the film’s plot, Wes
Anderson’s palette for these sections are unapologetically pink. This color highlights the
innocence and youth of the young Zero and the flamboyant personality of Gustave by
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placing importance on triggering the taste of sweet on the audiences’ tongues that
correlate with the baker boxes seen throughout the film. The skies, the building, the
wardrobe all have hints, or are completely, pink during the day. Likewise, during night
scenes, the palette changes from feminine to masculine. Night scenes are awash with
royal blues. Much like German silent movies at the time, Anderson chooses to color
moments of day and night in these juxtaposing colors. Silent films of the era would use
tints and tones of colors such as blue to indicate night. Not only do these rich color
choices for both day and night make The Grand Budapest Hotel one of the most
aesthetically pleasing films in the Best Picture category, it gives the film a historical
background based in color.50 (See Figures 15-16)
Figure 15. Grand Budapest Vintage Pink
50
Bregt Lameris, "On the Restoration History of Colored Silent Films in Germany," Moving
Image (15323978) 15, no. 1 (Spring2015 2015): 103-108, Art & Architecture Complete,
EBSCOhost, accessed March 14, 2016.
33
Figure 16. Grand Budapest Nighttime Blue
The adventures of Gustave H. end with the beginning of “The Lutz Blitz,” Wes
Anderson’s fictional name for the start of World War II. The final scene in which Zero is
together with his new wife, Agatha, and Gustave occurs in a train car. It is also the only
scene in the overtly colorful film that is devoid of all color. By choosing to make what
one could call the epilogue of Gustave’s story in black and white, the filmmakers are
specifically leading the audience into the saddest and darkest moment of the tale. It is in
the train car that Gustave defends his lobby boy and is shot by the enemy soldiers. Black
and white completely separates this scene from others making not only the action shown
shocking, but the color choice as well. (See Figure 17)

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Figure 17. Grand Budapest Black and White
The last major color change in the life of Zero occurs when the lobby boy, now a
grown man, is telling his story to an author in the 1960s. These scenes are characterized
by mustard yellows and dim, reddish lights. These scenes are lit and colored more to the
style of the era. The dinginess and yellow corduroy aesthetic of the 1960s that is
recognizable in films and photographs from the era is placed in juxtaposition of the bright
and colorful past when the Grand Budapest was in full function. By the 60s, the hotel is
nearly closed. The coloring represents the muted death of the hotel and finally laying
Gustave to rest. (See Figure 18)

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Figure 18. Grand Budapest Mustard Yellow
Prior to filming The Grand Budapest Hotel, Wes Anderson storyboarded the
entire film, sequence by sequence. This helped Anderson and his cinematographer know
exactly where the camera should be before, during and after the shot, thus speeding up
the filming process. Storyboarding is a pre-production technique used by many
filmmakers, famously Alfred Hitchcock, who was just as obsessive with this method of
filmmaking as Anderson.51 (See Figure 19)
51
Horton, The World of Hollywood Art Design, 18.
36
Figure 19. Grand Budapest Storyboarding
Perhaps one of the most famous design techniques that set Wes Anderson’s films
apart from any other is the excruciating attention to symmetry within the frame. One of
his filmmaking idols during Hollywood’s Golden Age, Ernst Lubitsch, once said, “There
are a thousand ways to point a camera, but really only one.”52 Anderson takes this quote
to a new level with the compulsive centering of his focal points. Most filmmakers, and
artists for that matter, avoid using a perfectly symmetrical design. The reason being that
symmetry focused in the center can often become stagnant and uninteresting to the
viewer’s eye. However, in respect to Anderson’s films, centered symmetry becomes a
mainstay and creates a beautiful image system making each frame of the movie worthy of
a film still. (See Figure 20)
52
Stevens, “The Anderson Touch,” 34.
37
Figure 20. Grand Budapest Image System
Interestingly, as the storyline moves through different eras in Zero’s life, the
aspect ratio of the camera changes as well. The aspect ratio, or the ratio of the frame’s
width to its height, changes three times throughout the film. From 1985 to the present, the
aspect ratio is set at 1.85:1, or the typical format in which moviegoers are accustomed to
today. Once the narrative switches to the 1930s, however, the screen shrinks to reveal a
square format, 1.37:1, representative of studio films at that particular time. In the late
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1960s, the camera frame is lengthened into a widescreen, 2.35:1. This was the standard
for films in the 1950s and 1960s.53 Though the lens size may change throughout The
Grand Budapest Hotel, the centered compositional technique Anderson is known for does
not. (See Figure 21)
Figure 21. Grand Budapest Aspect Ratio Changes
53
David Haglund and Aisha Harris, “The Aspect Ratios of The Grand Budapest Hotel,” Slate,
March 6, 2014, accessed December 30, 2015,
http://www.slate.com/blogs/browbeat/2014/03/06/grand_budapest_hotel_aspect_ratios_new_wes
_anderson_movie_has_three_different.html.
39
Selma
Selma chronicles Dr. Martin Luther King Jr.’s campaign to end inequality and
bring about equal voting rights for African Americans by leading one of the most famous
marches in history across the Edmund Pettus Bridge in Selma, Alabama. The film takes
audiences on a journey through the latter years of segregation at the height of the Civil
Rights movement. A biographical account of Dr. King’s daring and leadership, Selma is
an inspirational film dedicated to one of the most fundamental moments in American
history.
The filmmaking style of Selma is appropriate for the storyline. Filmmakers opted
for a vintage look. The majority of the colors are muted with pops of primary colors that
are indicative of the 1960s.54 Although coloring in the film is kept to a mid-century
aesthetic, the compositional strategies are kept intimate in a style similar to documentary
filmmaking, making the historical narrative closer to the viewers’ heart.
Color
Throughout a majority of Selma, warm tones—mostly golds—dominate the
palette. Gold becomes a color related to exaltation and nobility, which is appropriate for
the martyr status of Dr. King.55 When gold is not used, however, typical strategies
employed in filmmaking, such as blue overtones for melancholic scenes, are utilized.
(See Figure 22)
54
Patricia Thomson, “Bradford Young Discusses the Cinematography of Ava DuVernay’s Selma
and J.C. Chandor’s A Most Violent Year,” The American Society of Cinematographers, February
2015, accessed January 2, 2016, https://www.theasc.com/ac_magazine/February2015/
QandAwithBradfordYoung/page1.php.
55
Goethe, Theory of Colours, 307.
40
Figure 22. Selma Color Usage
What gives Selma such an elegant vintage look, however, is its utilization of
heightened saturation in primary colors. Cinematographer Bradford Young explained that
this strategy is symbolic of a Kodachrome, or Kodak film most would see in a family
photo album.56 The Kodachrome aesthetic allows audience members to transport
themselves into the time period, as well as experience a beautiful filmmaking technique
meant to enhance a violent time in history. (See Figure 23)
56
Thomson, ““Bradford Young Discusses the Cinematography of Ava DuVernay’s Selma and
J.C. Chandor’s A Most Violent Year.”
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Figure 23. Selma Kodachromes
As mentioned previously, Selma takes a traditional approach to the majority of the
composition throughout the film. The most striking compositional strategy comes in the
form of extreme close-ups during intense sequences of violence, such as the beating of
Annie Lee Cooper. The camera’s close proximity to the face of Cooper creates a space
that is completely filled by the atrocity. The filmmakers wanted viewers to witness the
horrid real life actions firsthand.57 (See Figure 24)
57
“A Most Vibrant Year for Cinematographer Bradford Young,” National Public Radio, March
1, 2015, accessed January 2, 2016, http://www.npr.org/2015/03/01/389481636/a-most-vibrant-
year-for-cinematographer-bradford-young.
42
Figure 24. Selma Extreme Close-ups
Though image systems in Selma are downplayed, this does not result in a
complete absence of the technique. Selma not only tells the story of Dr. King, but it also
shows the importance of every participant involved in the Civil Rights movement. The
film demonstrates that it is through community that change happens, therefore, several
shots are dedicated to the resolve of men and women involved in the fight for equality.
(See Figure 25)

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Figure 25. Selma Image System- The March
Lastly, perhaps the most prominent imagery found in Selma comes from scenes
where Dr. King is speaking to a crowd. Rather than only show close ups of his face, the
filmmakers opted to take views from the back of Dr. King’s head, allowing the audience
to see the multitude of people listening to his message. This technique, similar to the one
mentioned above, takes the power of Dr. Martin Luther King’s words and conveys them
to the masses. The importance of his words is given to the crowd in front of him. History
changed for the better because of one man and those inspired by his words and actions.
(See Figure 26)

44
Figure 26. Selma Image System- Speeches
The Imitation Game
The Imitation Game, directed by Morten Tyldum, is the incredible true story of
mathematician and father of the modern computer, Alan Turing. During WWII, Turing
was part of a selected group of Britain’s greatest mathematicians whose job was to break
the Nazi German Enigma code—a machine that encoded German military orders every
twenty-four hours.58 The film takes the viewer through moments of Turing’s childhood
and last years, but mainly concentrates on his advanced technological invention and
precursor to the modern computer, the machine named Christopher, that cracked the
Enigma code.
The film is traditional in aspect to its methods of cinematography, yet it serves the
historical record of Turing’s life extremely well. By creating a film based upon one of the
most significant figures in WWII, the non-experimental nature of The Imitation Game
allows for the story of Alan Turing to become the focal point. Óscar Faura,
cinematographer for the film, utilizes established rules for composition and color to
58
“Breaking Enigma,” Bletchley Park, accessed September 19, 2015,
http://www.bletchleypark.org.uk/content/hist/worldwartwo/enigma.rhtm.
45
create a period piece whose aesthetic matches that of the generalized idea of World War
England.
Color
Color is the main visual key allowing the audience to understand the three
different sections of Turing’s life: childhood, WWII and his final years. By
differentiating each era of Turing’s story through color, the audience is given a clear
indication of where the film is in his life. It also clues the audience in to the overall
ambience of the period, thus giving a deeper visual meaning that dialogue could not
accomplish. An example of this exact technique is found in Soderbergh’s Traffic and has
been used frequently in films to guide the audience through the story.59 The color
schemes in The Imitation Game, explained below, establish a well-designed visual
narrative for the viewer.
In the 1920s, the film shows the early influence of young Turing’s best friend,
Christopher Morcom. In the 1920s, the eccentric young Turing was in his early teens.
This was a bright time for the often ostracized Turing, for Christopher inspired him to
accept himself and encouraged him when no one else would. Christopher, in turn, also
became Turing’s first love. Because these youthful schooldays were some of the best for
Turing, the color focus of the 1920s is bright and has an overall white balance that
indicates youthful clarity during this part of his life. By focusing on the color white in
these areas of the film, the viewer is able to connect Turing’s childhood with youth,
innocence and purity, particularly in the case of his love for Christopher. (See Figure 27)
59
Botkin, Color Theory for Cinematographers.
46
When the film transitions into the late 1930s and 40s, the color grading of the era
is warm and more highly saturated than any other era of Turing’s life. Surrounded by
warm reds and yellows, the majority of the film takes place in this expansive and
important part of Turing’s life and achievements. This color choice for wartime is quite
unusual for movies. Most war films employ a darker, grittier color scheme to denote the
horrors of war; however, The Imitation Game does exactly the opposite. Though warm
colors are often not associated with “war” films, The Imitation Game is not a film about
the action of the war itself. It is a biographical story of Turing, thus by choosing a palette
steeped in color, the humanistic quality of the film is center stage. By employing a warm,
vintage palette through light, lens colors and wardrobe, the filmmakers are directly
connecting the audience to Turing’s most active time as an inventor and his
accomplishments, rather than the terrifying war stretching across the European landscape
at the time. (See Figure 28)
Lastly, the 1950s are represented by a lowly saturated blue scheme. The colors all
range in the areas of blue and grey and indicate the melancholic final years of Turing’s
life. Often shot with rain as the physical aspect of these scenes, the 1950s are in direct
contrast with the light, innocence of Turing’s childhood. The heavy subject of his last
years, being arrested for the crime of “gross indecency” because of homosexuality, is
represented through the dark blue that dominates these scenes. This color palette helps to
further the fact that Turing committed suicide at the age of forty-one after being found
guilty of the crime and ordered to take government mandated hormones to fix his
“condition.” (See Figure 29) By the use of color schematics, one can easily follow and
understand on a deeper level the three areas of Alan Turing’s life in the film.
47
Figure 27. Imitation Game White
Figure 28. Imitation Game Warm Tones
Figure 29. Imitation Game Cool Tones
Compositional layouts in The Imitation Game are traditional in the respect that the
camera mostly operates within the rule of thirds throughout the film. By using the rule of
thirds, the filmmakers give the audience the negative space needed while utilizing a more
48
interesting and active composition. The image system in The Imitation Game is intriguing
throughout the film. Very similarly to Park Chan-wook’s Oldboy, The Imitation Game’s
image system is thorough with individual shots that use symbolic representation to unite
completely different parts of the film.60 The connection between the shots helps deepen
the visual meaning of Turing’s life and serves to connect audiences to overarching
narratives not explicitly mentioned through dialogue.
Crossword puzzles and cryptic messages on paper are used as repeated imagery
throughout the film. Part of this reason is not only that a crossword puzzle created by
Turing himself is how the team of mathematicians was chosen, but this imagery also
reinforces the idea of “the game.” Focus on Turing’s love for puzzles begins in his
schooldays with Christopher Morcom and continues to Turing’s final days when he is no
longer able to complete the games due to decreased mental activity from the hormones he
was forced to take. By showing the progression from his young, agile-minded schooldays
to Turing’s final days of mental impairment, the crossword puzzle game becomes a
symbol of Turing’s life visually indicating solvability to losing “the game.” (See Figure
30)
60
49
Figure 30. Imitation Game Image System- Crosswords
One of the most striking usages of a compositional image system is the central
shot which is employed only twice in exactly the same manner in the film. The repetition
of the scene is used toward the beginning of the film and at the very end. This is a more
typical usage of an image system as the audience can easily recall it.61 The initial
occurrence of this technique is seen when Turing turns his desk chair around to face the
overwhelming birth of the code-breaking machine, Christopher. The scene allows the
viewer to be overtaken by the complexities of such an advanced machine. This
compositional imagery is only repeated once more in the film. At the end of the film,
Turing turns to face his fully developed machine, yet it has been unused for years. He
explains that he cannot be left alone without Christopher, which serves to speak for
Turing’s invention as well as his love. The shot, with Turing being in the center once
again, indicates the overwhelming sensation he felt at the birth of his miraculous
machine, however, it has now turned into an overpowering sense of loss both for Turing
and the viewer. (See Figure 31)
61
Ibid., 24-25.
50
Figure 31. Imitation Game Image System- Christopher
The Theory of Everything
In one of the most emotional and inspiring films in the nominee list, The Theory
of Everything brings audiences the life story of world famous physicist, Stephen
Hawking, and his wife Jane Wilde. Beginning in the 1960s before Hawking was
diagnosed with motor neuron disease, the film takes a journey through his college days at
Cambridge where he meets Wilde. As The Theory of Everything progresses, so does
Hawking’s disease as well as the deterioration of his relationship with Wilde. Though it
is a movie filled with emotional highs and lows, it is hard to leave the sprawling
biographical account not feeling utterly inspired.
Visually, The Theory of Everything, is the most stunning as far as color usage.
Cinematographer Benoit Delhomme did not contain his use of color to a particular
palette. The vibrancy of the film keeps the viewer’s eyes in awe throughout the
remarkable narrative. Not only are the highly saturated scenes to be noted, but also the
51
ability of the filmmakers to use a soft focus throughout a majority of the film. By creating
soft edges in certain moments of the film, the audience is immersed into a dreamlike state
that perhaps helps soften the blow of the enormous obstacles both Hawking and Wilde
overcome.
Color
As stated above, color in The Theory of Everything is not limited to a specific
palette; rather, it is used to expressively indicate the very active mind of Hawking.62
Though this approach to color in film could easily become chaotic in the wrong hands,
the filmmakers expertly handled the vibrancy of the colors in certain moments by
breaking up the film with sections of neutrals.
Cinematographer, Delhomme, stated, “I wanted to show his brain was so alive.
For me, it's not about a man who cannot move. His brain is going so fast, it can imagine
so many things. I wanted the emotions to be there on screen."63 In fact, conveying the
mood of Hawking is a largely important factor in the color choices made in the film.
Below, the color choices are broken down by mood and meaning.
Yellow
A large majority of the film takes on a yellow hue. Yellow is indicative of
happiness and warmth.64 This color is most often seen when Hawking and Wilde are
62
Kristopher Tapley, “How Theory of Everything DP Benoit Delhomme Told Hawking’s Story
with Color and Light,” Hit Fix, October 27, 2014, accessed December 31, 2015,
http://www.hitfix.com/in-contention/how-theory-of-everything-dp-benoit-delhomme-told-
hawkings-story-with-color-and-light.
63
“Benoit Delhomme Q&A: The Theory of Everything Cinematographer,” Gold Derby, October
27, 2014, accessed December 31, 2015, http://www.goldderby.com/videos/77/952/
benoit-delhomme-qa~-'the-theory-of-everything'-cinematographer.html.
64
Goethe, Theory of Colours, 307.
52
together. Not only does yellow represent love and friendship, it is also a helpful color
when trying to convey the 1970s, which audiences associate with vintage yellow tones.
(See Figure 32)
Figure 32. Theory of Everything- Yellow
Green
Green is typically seen as the color of nature, but in the case of Hawking’s life it
is representative of energy, youth and new ideas. The color is used in scenes that exhibit
new creation or problem solving, as well as when he is surrounded by his children. It is
not often that such bright greens are used in film, making The Theory of Everything
unique in that aspect. (See Figure 33)

53
Figure 33. Theory of Everything- Green
Red
Red is used the least amount in the film. It is only utilized when Hawking is
feeling anger or detached from those he loves. Delhomme made a point to make red seem
like Hawking was retreating inside of himself, almost like the color of a womb.65 (See
Figure 34)
Figure 34. Theory of Everything- Red
Blue
Blue is used as often as yellow in The Theory of Everything. Though it
predictably represents depression or fear, what makes the use of blue in the film
interesting is the heightened chroma. It is used several times when Hawking’s health is at
its worst. (See Figure 35)
65 Ibid.
54
Figure 35. Theory of Everything- Blue
Neutrals
As previously mentioned, though the vast amount of color in the movie could
easily become overwhelming, it is not due to the use of strategically placed neutral
scenes. Natural colors most often occur in the academic environment, which not only
gives the audience’s eyes a break from highly saturated colors but also represents
academia as some of the calmest moments of Hawking’s life. (See Figure 36)
55
Figure 36. Theory of Everything- Neutrals
The compositional framework of The Theory of Everything is much more
traditional in comparison to its unique color scheme. Using mostly the rule of thirds to
give the frame the appropriate breathing space and making certain moments centered are
the typical strategies for composition throughout the film.
The image system throughout The Theory of Everything is found in particular
scenes that are centered. Most often this occurs when the universe is mentioned or
Hawking has discovered a new idea. They are also some of the only extreme close-ups
found within the entire film. Extreme close-ups of this sort are used to bring attention to
small details in the film that no other style of shot could bring about.66 By choosing to
show seemingly ordinary milk swirling in a cup of coffee and the utter beauty of the
human eye, the audience is given insight into the active universe that is Hawking’s mind.
Because these shots are of such a different composition, it is easy for audiences to
recognize their importance in the overall narrative of The Theory of Everything. (See
Figure 37)
66
56
Figure 37. Theory of Everything Central Compositions
Whiplash
A college freshman at the prestigious Shaffer Conservatory in New York City,
Andrew Neiman, shows extreme talent and prospect as a future professional musician.
When chosen to join a selective group of jazz musicians lead by Terence Fletcher, an
overbearing master conductor, Andrew finds himself subject to verbal abuse and mental
torment by the professor in search of perfection. Whiplash portrays the time Andrew
spends with Fletcher and the irreparable damage it has not only on his health, but also his
personal relationships with friends and family.
Whiplash was one of the most impeccably filmed Best Picture nominees. It
exhibits every factor that leads a film to its full potential visually. The movie never slows
down, much like the jazz music that drives its force. Part of this steady momentum is the
way in which the cinematographer decided to color and frame the narrative. Bouncing
back and forth between grimy blues, warm golds and extreme close-ups,
57
cinematographer, Sharone Meir, creates an intense environment in which the characters
can interact.
Color
Color in Whiplash serves to narrate the two parts of Andrew’s story: his normal
life and the young musician’s search for the ultimate glory. By extensively utilizing blues
and golds, the filmmaker subconsciously allows the audience to register what events are
occurring and why. Perhaps most unusual for a film, the role of the cool and warm colors
are reversed. Cool colors are mostly reserved for scenes that indicate depression, fear or
aloofness. Warm tones, on the other hand, are a source of comfort for the character, often
used in romantic situations or scenes within the home. In Whiplash, cool and warms tones
are used in the opposite manner to allow insight into Andrew’s point of view.
Blue and green tones are used in Whiplash to indicate the home or outside
environment for Andrew. The city, time spent with his girlfriend, and practice rooms are
all coated in dingy blue. For viewers, this color scheme represents moments that would
cause fear or harm to the character. In Andrew’s eyes, however, anywhere outside of
Fletcher’s grip and the promise of musical glory is melancholic. This coloring suggests
how much apathy Andrew displays for normal life that is displayed through the dialogue
of the film. (See Figure 38)
Gold and warm hues are reserved for the music rooms, concert halls and any area
in which Fletcher is present. Oftentimes, the camera angle is focused so lights create a
golden halo over Fletcher’s head. The warm color choice shows the audience the high
regard in which Andrew holds his oppressive teacher. The deep golds, which dominate
these scenes, reflect the colors of the brass instruments surrounding Andrew. It is in this
58
way the viewer comes to understand the love Andrew has for jazz music, if not question
his worship of Fletcher and becoming a jazz deity.67 (See Figure 39)
Figure 38. Whiplash Cool Tones
Figure 39. Whiplash Warm Tones
67
Goethe, Theory of Colours, 306-312.
59
To respect to the rhythmic music featured throughout Whiplash, the camera
movement and composition is instrumental in reflecting this central theme. Variations
between medium shots, close-ups and extreme close-ups keep the audience’s eye moving
along with the music. In this aspect, Whiplash creates intense sequences fueled by music
and Andrew’s determination.
Extreme close-ups in the film serve to heighten the anxiety the audience should
experience whilst watching the nuances of the powerful performance sequences.68 These
shots often focus on the most minute details of the film to aid in the storytelling of
exactly what stresses Andrew is experiencing. Extreme close-ups of drops of blood
dripping from cymbals and band aided hands cause the viewer to cringe at the sight of the
pain Andrew is putting himself through by obsessively practicing. Several shots zoom in
to include the beads of sweat pouring from Andrew’s forehead as he is giving the most
passionate performance of his life at the end of the film. The extreme close-ups also show
communication between the two main characters, Andrew and Fletcher. By choosing to
only display the characters’ eyes in certain moments, the filmmaker gives the audience a
style of communication that Andrew is experiencing in real time. Throughout the film,
these shots are edited in a way that close-up stacks upon close-up. This is a unique
technique used to show the intensity of the moment. Most filmmakers opt to give the
audience a rest from such detail. The quick quality of the shots, however, reinforce the
68
60
fast paced music and heighten the anxiety experienced by Andrew as well as the
overbearing aspect of Fletcher’s mentoring. (See Figure 40)
Figure 40. Whiplash Close-ups
The next factor of the image system used throughout Whiplash is an obvious
pitting of character against character. Rather than show a normal relationship of mentor
and student, Fletcher and Andrew are featured through several shots in the film as
opponents. This setup of the image system supports the strain of the relationship
throughout the film, as well as it never allows the audience to become comfortable.
Though the composition is balanced, by placing the main characters opposite each other
on each side of the frame, the director of photography is creating tension that is further
61
exaggerated through dialogue.69 In ways, Whiplash becomes a battleground of jazz greats
rather than simply a story of a new musician and his teacher. (See Figure 41)
Figure 41. Whiplash Image System
Chapter Five: Conclusion
Filmmaking is heavily dependent on structural practices commonly found in
graphic design. The analyses of the 2015 Oscar Nominees for Best Picture reveal that
filmmaking and graphic design are thoroughly connected at the base of every arts
education, even though both mediums operate within a different set of technical skills.
Once research was finalized, it was easy to understand how successful each of the 2015
69
Ibid., 8.
62
Oscar Nominees were depending on their attention to design principles. Although each
film tackled the concept of design based on its narrative, certain films are far more
successful as pieces of art. Below, I will discuss which films were the most creative and
effective based on design techniques.
Each nominee presented was beautifully filmed and represented the story at hand;
however, Whiplash, The Grand Budapest Hotel, Birdman and The Theory of Everything
were impeccably experimental in their approach to storytelling through design elements,
making them standouts among 2015 films. Use of color, compositional strategies and
image systems separate these films from traditional storytelling methods in filmmaking.
Color usage in the aforementioned films takes the opposite direction of standard
practices. By fitting color palettes to each individual story, Whiplash, Grand Budapest,
Birdman and The Theory of Everything make the experience unexpected and more
subversive. Experimentation with extreme color and limited palettes allowed the
filmmakers to speak to audience members on a purely visual basis. Therefore, the
dialogue becomes supported by graphic stimulation and color cues in unique ways.
Both composition and image systems found in these four films create the same
effect as their color schemes. Whiplash, Birdman and The Grand Budapest Hotel feature
the most experimental approach to composition. Much like a designer’s grid that keeps
elements within the picture plane cohesive and organized, the image systems within these
particular films serve a similar purpose. Their image systems and compositional
strategies give each story a foundation built upon visually meaningful imagery. Whether
in terms of extreme angles or an obsessive attention to symmetry within the frame, these
63
films exemplify the methods that can be used in filmmaking to bring cinema closer to the
world of design.
In conclusion, graphic design is a form of art whose sole purpose is to
communicate a message to audiences large and small, utilizing visual techniques such as
color and composition. If done properly, the piece of design has a lasting effect on
viewers and becomes recognizable throughout lifetimes. The same principles are true of
filmmaking. A film based on the essential elements of design has a base to become a
cinematic masterpiece that will be watched and appreciated for several years to come.
64
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The University of Southern Mississippi

The Aquila Digital Community

Graphic Design and the Cinema: An Application of

Follow this and additional works at: http://aquila.usm.edu/honors_theses

Graphic Design and the Cinema:

Kacey Brenn Holifield

reliance on technological innovation, communication and public consumption. Even

Graphic design, filmmaking, cinema, art, color, composition, Academy Awards

List of Figures .................................................................................................................... vi

1. Graphic Design and Film ...........................................................................................3

2. Design Principles .......................................................................................................5

3. Communication in Relation to the Visual Arts ........................................................11

4. Existing Literature ...................................................................................................13

Film Analyses ....................................................................................................................16

1. American Sniper ......................................................................................................19

4. The Grand Budapest Hotel ......................................................................................31

6. The Imitation Game .................................................................................................44

7. The Theory of Everything ........................................................................................50

Figure 1: Color in Schindler’s List.....................................................................................10

Figure 2: Image Systems in Oldboy ...................................................................................12

Figure 3: Grand Budapest Storyboard ...............................................................................17

Figure 4: Contradictory Color in Whiplash .......................................................................18

Figure 5: American Sniper Desaturated Color ...................................................................20

Figure 6: American Sniper Subjective Shot .......................................................................21

Figure 7: American Sniper Close-ups ................................................................................22

Figure 8: Birdman Practical Lighting ................................................................................24

Figure 9: Birdman Saturated Color ....................................................................................24

Figure 10: Birdman Blue Overlay......................................................................................25

Figure 11: Birdman Central Composition..........................................................................26

Figure 12: Boyhood Color Usage .......................................................................................28

Figure 13: Boyhood Image System- Growing Up..............................................................29

Figure 14: Boyhood Image System- Road Trips ................................................................30

Figure 15: Grand Budapest Vintage Pink ..........................................................................32

Figure 16: Grand Budapest Nighttime Blue ......................................................................33

Figure 17: Grand Budapest Black and White ....................................................................34

Figure 18: Grand Budapest Mustard Yellow............................................................... 34-35

Figure 19: Grand Budapest Storyboarding .................................................................. 35-36

Figure 20: Grand Budapest Image System ........................................................................37

Figure 21: Grand Budapest Aspect Ratio Changes ...........................................................38

Figure 23: Selma Kodachromes ................................................................................... 40-41

Figure 24: Selma Extreme Close-ups ........................................................................... 41-42

Figure 25: Selma Image System- The March .............................................................. 42-43

Figure 26: Selma Image System- Speeches ................................................................. 43-44

Figure 27: Imitation Game White ......................................................................................47

Figure 28: Imitation Game Warm Tones ...........................................................................47

Figure 29: Imitation Game Cool Tones .............................................................................47

Figure 30: Imitation Game Image System- Crosswords .............................................. 48-49

Figure 31: Imitation Game Image System- Christopher ....................................................50

Figure 32: Theory of Everything- Yellow ..........................................................................52

Figure 33: Theory of Everything- Green ...................................................................... 52-53

Figure 34: Theory of Everything- Red ...............................................................................53

Figure 35: Theory of Everything- Blue ..............................................................................54

Figure 36: Theory of Everything- Neutrals .................................................................. 54-55

Figure 37: Theory of Everything- Central Compositions...................................................56

Figure 38: Whiplash Cool Tones .......................................................................................58

Figure 39: Whiplash Warm Tones .....................................................................................58

Figure 40: Whiplash Close-ups ..........................................................................................60

Figure 41: Whiplash Image System ...................................................................................61

Chapter One: Introduction