Topics: The Wizard of Oz, Land of Oz, The Wonderful Wizard of Oz Pages: 4 (1471 words) Published: January 13, 2013
The 1930s was the decade of the sound and color revolutions and the advance of the 'talkies'. The so-called "natural" or photographic colour processes became institutionalised at approximately the same time as sound, although, like sound, colour had been a component of the film experience for a long time. (David A. Cook, 2003: P.220) In the early 1900s, most films were made in black-and –white and many directors preferred to use black-and-white shock as some color film processes (including hand coloring) were experimented with and in limited use from the earliest days of the motion picture and therefore, colour in film didn't become commercially widespread until the 1930s. In 1932, Technicolor perfected the three-colour system whose predictability and accuracy was to give it a virtual monopoly over the production of colour in motion pictures for the next twenty years. And Walt Disney became the first to use Technicolor in his cartoon Flowers and Trees (1932) and The Three Little Pigs (1933), which were so successful. In 1937, the Disney-produced Snow White and the Seven Dwarfs (1937) was the first feature-length animated film - a milestone. The colorful Grimm fairy tale was premiered by Walt Disney Studios - becoming fast known for pioneering sophisticated animation. Because of the improved three-colour system, by the end of 1939, Technicolor had twenty-five features in production including MGM’s The wizard of Oz (1939) which was expensively produced with Technicolor and has become one of the best known of all films and part of American popular culture. After a short introduction of the history of early film color development, this essay then will focus on Snow White and the Seven Dwarfs (1937) and The wizard of Oz (1939), analysis how colour is used to signify good /evil and magic /reality in those colour films in 1930s.

According to the article was written as a letter to film director L. Kuleshov by Eisenstein, he mentioned that “all elements of cinematic...
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