How to treat the subtle influence of Frozen on the artistic details of the audience?

Frozen II has been playing for a week. Although the Douban score is only 7.3 because of the flaws in the script and storyline, the box office is still strong and has exceeded 440 million at present. I have to say that the current achievement of this film is largely attributed to the great success of Frozen a few years ago, which made the audience's expectation for the sequel soar.

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Once released, "Frozen" broke the previous box office records of North American cinemas and won the highest awards for a series of animated films, such as the best animated feature film in the 86th Academy Awards and the best animated feature film in the 7th1Golden Globe Awards. It is a rare masterpiece in recent years.

This film not only inherits the fine tradition of Disney animated films in story theme, script plot and beautiful music, but also makes new breakthroughs in artistic details such as screen color with the help of cutting-edge technology.

At this point, it has the deepest influence on the audience, but it has never been noticed by the audience, which reflects the extraordinary artistic charm of Disney Company in rendering stories with screen colors. Rendering of character color

Disney animated films mainly focus on fairy tales, with the princess as the protagonist. Throughout Disney's princess movies, the overall color is always bright. Princess and other leading characters are often accompanied by bright colors, while dark colors are often accompanied by negative characters, each with its own merits.

The clear opposition between good and evil and the happy ending of children have also created countless classics in the history of Disney animation. Frozen II is a brand-new presentation that breaks this tradition. Because the setting of characters in movies has changed the simple and direct opposition between good and evil in the past, the performance and image-building of characters are no longer simply realized by the contrast between good and evil, but conveyed by carefully designed color differences.

Sister Anna's chestnut hair contrasts with sister Elsa's light hair, echoing each other, in line with Anna's enthusiasm and openness and Elsa's composure and elegance.

Creative people are also very particular about the color design of the clothes of their sisters who just debuted in childhood. Anna with dark hair wears light linen, and Elsa with light hair wears dark blue and sky blue.

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This complementary color difference is not arbitrary. Its function is not only to balance the picture and create a good visual impression, but more importantly, to hint at the state of the characters and the trend of the plot.

Psychological research shows that dark tones give people a stable psychological feeling, while bright tones are light and lively. Therefore, the color difference of this dress is a hint of personality relationship, indicating that Elsa was in a caring position for Anna in her childhood. Anna and Elsa wore dark clothes until Elsa was crowned and fled.

During this time, they are in an equal position, rather than being taken care of and taken care of. Therefore, the balanced color setting of the two is the embodiment of this relationship. When Anna went to find her runaway sister, their clothes changed color again.

Elsa became the queen of ice and snow, wearing ice-blue clothes, and the color and texture were very ethereal; At this time, Anna kept a dark dress. When she officially embarked on the journey to find her sister, her lower skirt gradually changed from bright grass green to dark blue. This color echoes the color of Elsa's childhood dress, and the color change of the two sisters' dresses at this time also implies their relationship:

Dark color implies Anna's courage and persistence, while ice blue conveys Elsa's loneliness. At this time, Elsa was in the position of being taken care of by Anna, echoing their childhood dress colors and personalities. After Anna successfully saved Elsa, their clothes changed color again.

At this time, the queen Elsa, who was reborn with her sister, is still wearing blue clothes, but it is no longer an ethereal and lonely ice blue, but a bright sky blue, showing Elsa's elegance and brightness at this moment; Anna's clothes are light linen. This is consistent with Anna's childhood dress, which shows that Anna has ended the mission of saving and caring for her sister Elsa and returned to her naive girlhood.

Christopher, who accompanied Anna all the way to find her sister, still kept the dark dress from beginning to end, which was in sharp contrast with Anna around him. It was just a little concern and concern.

From these unnoticed details, it can be seen that the contrast change of this kind of clothing color runs through the whole film.

Without complicated plot and language description, we can only understand the changes of characters' personality and status through simple color contrast.

The transmission of this color change not only makes the whole film have structural symmetry and integrity, but also makes the picture always flow because of this three-level reciprocating of different shades. Through this change of color contrast, the film effectively mobilized the audience's visual perception, stimulated the development and changes of the plot, and kept the audience's interest in watching movies, without aesthetic fatigue and visual rejection due to the static monotony of colors, and also maintained the attraction of the whole film to the audience. The contrast between ice and snow

Although the change of the protagonist's dress color makes the whole film present a complete three-stage classic structure, the audience will not feel stiff and divided during the viewing process. The film can achieve such a smooth transition between the natural changes of structure and color, on the one hand, because of the ingenious use of Disney's superb transition skills, on the other hand, it is also largely due to ice and snow.

With the help of a brand-new technical engine specially developed for this film, the ice and snow effect on the 3D big screen is wonderful.

If the color change mentioned above is only a hint of the story content such as characters and relationships, then as the ice and snow that runs through the whole film, it not only provides the background stage for the story, but also plays an important role in atmosphere rendering, plot development and theme sublimation.

"Frozen" cuts into the picture with a close-up of sparkling snowflakes with shallow depth of field, and turns into a world of ice and snow shrouded in a soft sunset with a deep and lofty background melody, and the picture gradually darkens in the rich and hearty melody of picking ice.

The color of the picture changes from light to dark, which is a complete ice picking operation. This opening picture clearly declares that Frozen is completely different from all previous Disney Princess movies.

The overall gloomy and cold tone at the beginning shows that this film is not the bright princess film in the past; On the other hand, the contrast between vocal singing, smooth working pictures and cool colors not only weakens the gloomy and cool colors, but also implies that the development of the next plot is not gloomy.

The realization of this wonderful unity of opposites depends on the excellent control of the color of ice and snow.

The ice and snow that runs through the whole story is not only the background tone, but also the carrier of other color changes. It is also an important prop to control the overall color effect of the picture, adjust the atmosphere, convey the feelings of the characters and optimize the aesthetic experience of the audience.

When Elsa accidentally hurt Anna when she was a child and thought that Anna was dead, the ice and snow became dignified and the whole picture became dim, conveying Elsa's deep pain.

This method of reflecting characters' inner feelings and plot trends through the change of ice and snow colors has been used many times in movies.

After Elsa learned the news of her parents' death, dignified snowflakes and dim picture colors reappeared, vividly conveying the inner dynamics of the characters with the language of picture colors.

Ice and snow are originally single in color and difficult to describe in shape. However, thanks to new technical means, Frozen shows the color and form of ice and snow to an unprecedented height, and plays an extremely important role in rendering the atmosphere and expressing the inner feelings of characters that are difficult to express in words. When Elsa met Anna in the Ice Palace, the color of ice and snow changed with the dialogue, which intuitively showed Elsa's complex inner activities and emotional ups and downs.

Elsa is happy in her heart, so the whole ice and snow palace presents a crystal blue. When the conversation with Anna made Elsa feel sad, the palace was shrouded in a lavender scene. When Elsa was angered and released the snow monster, the whole palace was shrouded in muddy amber. Through such color changes, the psychological activities of the characters are vividly displayed, and the color cycle on the screen greatly enhances the visual aesthetic pleasure of the audience. The transmission of emotional color

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The effect of color on vision can cause people's psychological ringing, so different colors can convey different emotions.

The color change of the ice and snow palace is not only the rendering of the environmental atmosphere, but also the expression of the inner feelings of the characters.

Expressing emotions with colors is often not done in isolation. In the scene of intense drama conflict, color often works together with a series of expression techniques such as soundtrack and dialogue to convey the emotional appeal of the film.

Elsa reached a climax when she trudged alone on the snowy mountain, accompanied by wanton background music. Color actively participates in expressing the psychological state of the characters, not just suggesting the rendering atmosphere.

Elsa trudged alone with the gradually stagnant snow in the background of gray snow and ice mountains. As the music gradually changed from confusion to high spirits, the snow gradually surpassed the gray mountains. Although the picture is still at night, it is gradually bright because of the increase of snow scenes. This implies that Elsa's mood is getting higher and higher. Without the release of color to emotional expression, it is difficult for us to achieve this effect through language.

When Elsa built an ice bridge full of snow, the soundtrack became more exciting and brighter. When Elsa turned the snow bridge into a smooth and transparent ice bridge, bright colors followed. When Elsa built an ice palace on the snow, the whole picture was colorful with smooth palace ice as the carrier and crystal blue as the primary color.

This series of color presentation not only gives the audience a strong visual shock on the 3D screen, but also successfully conveys the audience's free emotion after Elsa's liberation with the help of the natural connection between color and emotional expression.

Elsa, dressed in ice and snow, is facing the warm morning sun. This contrast is the visual color presentation of Elsa's inner freedom and carefree feelings.

This passage in the film is wonderful because its color changes closely surround Elsa's experience and emotional changes, which is the externalization of the characters' inner feelings. This kind of synaesthesia color expression will produce * * * emotions for the audience, trigger the psychological touch of the audience, and produce emotional * * * sounds. Sisters embrace each other, the storm subsides, and new green reappears in the world. Bright pictures are a true portrayal of new feelings.

To sum up, Disney's use of color in Frozen does not simply stop at the technical level of exquisite picture presentation. The use of color has become an important creative means to express characters and promote plot development.

The charming artistic charm brought by this unique creative style is also perfectly reflected in Frozen II, which is worthy of repeated appreciation by the audience, but it needs to be discovered and tasted by the audience themselves.