Audio Visual
Module Notes
Compiled by: Akash Sharma Session Topics | Module Member | Roll No. | Colour, TV world milestones till 1956 | Aishwarya Nair | 629 | Role of spectator, Approved channels and Violations of the Code | Yash Thakur | 649 | Production Process | Ujjwal Sen | 625 | Credits, Codes and Guidelines for Downlinking | Sujay Kulkarni | 639 | Script Writing, Ministry of Information and Broadcasting, Prasar Bharati, Codes and Guidelines for Uplinking | Shagun Lidhoo | 711 | Direction | Dev Rohira | 713 | Invention of TV | Abhimanyu Sengupta | 692 | TV in India | Daksha Thakkar | 632 | Internal Emergency in India and advertising | Sagar Deoskar | 633 | Contributions of Nipkow, Baird, Jenkins and Alexanderson to TV | Nikhil Iyer | 707 | TV versus other media | Harsh Piprodia | 703 | Programme and Advertising Code | Nikita Ashok | 612 |
1. Aishwarya Nair
Colour
Colour is a very substantial part of films. It exhibits the mood by enriching the visual authority of the story. It is sometimes used as a theme/idea or to point out something which is imperative to the story. For example, in the movie Don’t Look Now, the colour red is used as a keynote and draws the attention of the audience in a specific direction. This is ‘dramatic use of colour’ the other forms of colour used are naturalistic and also psychological use of colour.
1. Dramatic use of colour
When emotions are brought about by colour, it is called as dramatic usage of colour. Drama has aspects like emotions, actions, tension etc. All these are brought about by usage of colour.
For example, cool colours evoke a relaxed and reviving feeling in the perceiver whereas grim heavy and dull shades evoke a very sloppy feeling.
2. Psychological use of Colour
In psychological use of colour, the ‘perception’ of the film changes with the colour change in the film. A certain character will wear colours suiting the mood/nature of that character. For example, an outgoing and chirpy
Compiled by: Akash Sharma Session Topics | Module Member | Roll No. | Colour, TV world milestones till 1956 | Aishwarya Nair | 629 | Role of spectator, Approved channels and Violations of the Code | Yash Thakur | 649 | Production Process | Ujjwal Sen | 625 | Credits, Codes and Guidelines for Downlinking | Sujay Kulkarni | 639 | Script Writing, Ministry of Information and Broadcasting, Prasar Bharati, Codes and Guidelines for Uplinking | Shagun Lidhoo | 711 | Direction | Dev Rohira | 713 | Invention of TV | Abhimanyu Sengupta | 692 | TV in India | Daksha Thakkar | 632 | Internal Emergency in India and advertising | Sagar Deoskar | 633 | Contributions of Nipkow, Baird, Jenkins and Alexanderson to TV | Nikhil Iyer | 707 | TV versus other media | Harsh Piprodia | 703 | Programme and Advertising Code | Nikita Ashok | 612 |
1. Aishwarya Nair
Colour
Colour is a very substantial part of films. It exhibits the mood by enriching the visual authority of the story. It is sometimes used as a theme/idea or to point out something which is imperative to the story. For example, in the movie Don’t Look Now, the colour red is used as a keynote and draws the attention of the audience in a specific direction. This is ‘dramatic use of colour’ the other forms of colour used are naturalistic and also psychological use of colour.
1. Dramatic use of colour
When emotions are brought about by colour, it is called as dramatic usage of colour. Drama has aspects like emotions, actions, tension etc. All these are brought about by usage of colour.
For example, cool colours evoke a relaxed and reviving feeling in the perceiver whereas grim heavy and dull shades evoke a very sloppy feeling.
2. Psychological use of Colour
In psychological use of colour, the ‘perception’ of the film changes with the colour change in the film. A certain character will wear colours suiting the mood/nature of that character. For example, an outgoing and chirpy