Movie Barcodes

A Movie Barcode of "The Wizard of Oz." Notice the Transition from the Beginning of the Film, which is Sepia-Toned, to the Technicolor World of Oz. (Click Image to Enlarge)

The use of color in cinema has been on my mind in recent days because of a site called Movie Barcode, which offers a new way of experiencing a film. Movie Barcode compresses every frame of a movie into a single image. While these images may be interesting in their own right, they are more intriguing for the glimpse they provide of a filmmaker’s overall vision. While we may not always notice how a director employs color while watching a film, it is impossible not to see a movie’s color palette when viewing these compressed versions. It is a reminder of the myriad of artistic choices any film director must make.

Many serious filmmakers give careful consideration to the color palettes used in their work. Hitchcock was notoriously preoccupied with color. The symbolism of the green, red, and gray costumes and scenery in Vertigo is just one example.

A still from Alfred Hitchcock's "Vertigo"

A movie barcode of Alfred Hitchcock's "Vertigo" (Click Image to Enlarge)

The Coen brothers’ recent film True Grit is another case in point. The film is awash in muted earth tones–browns, whites, blacks, and grays. According to a recent interview with the brothers on Fresh Air, production designer Jess Ganchor, who has worked with the Coen brothers on their last four films, is partly responsible for the color choices used in movies like True Grit and No Country for Old Men. Ganchor has been known to create a palette of approved colors for scenery, props, and costumes, and any color that deviates from this palette is forbidden.

A Still from the Coen Brother's "No Country for Old Men"

The compressed version of "No Country for Old Men." Jess Gonchor's strict color palette is clearly visible. (Click image to enlarge.)

Krzysztof Kieślowski’s wonderful Three Colors Trilogy may be one of the most obvious examples of a director using color effectively. Kieślowski employs the colors of the French flag–blue, white, and red–to set the mood of each film (appropriately named Blue, White, and Red).

Revised Image

Juliette Binoche in Kieslowski's "Blue"

The compressed version of Kieślowski's "Blue," the first part of the Three Colors Trilogy (Click image to enlarge)

A movie barcode of Kieślowski's "Red"

In Cries and Whispers Igmar Bergman makes striking use of a limited color palette of red, white, and black. But it’s not only foreign directors who are concerned with color–so are the directors of more commercial movies. The color red is of central importance in The Sixth Sense, to give one example. And when I think of a classic like Gone With the Wind, it’s not just Clark Gable’s witty comebacks or Vivien Leigh’s drapery dress that I remember, it is also those lush, orange, Technicolor sunsets. And who can forget The Wizard of Oz and the first time that Dorothy opens the door of her storm-wrecked farm house to find a strange, alternate world ablaze in color?

A movie barcode for "Gone with the Wind." The orange and red Technicolor sunsets are clearly visible, as are the opening and closing credits, and intermission. (Click image to enlarge)

Dorothy gets her first glimpse of Oz

Many science fiction films have employed color effectively. Spielberg used high contrast, saturation, and bleach bypassing to create a film noir look for Minority Report. In The Matrix, the Wachowski brothers use color to help the audience understand the complex narrative. Scenes with a green tint indicate that the characters are inside The Matrix (the green palette is reminiscint of the eerie, green glow of the earliest computer monitors), while scenes with a blue tone show the characters inhabiting the real world.

Neo inside of The Matrix

The compressed version of "The Matrix," which clearly shows the use of greens and blues to distinguish between the real world and the alternate world of The Matrix. (Click image to enlarge)

Sometimes it isn’t the use of color that is most significant, but the complete lack of it. Filmmakers as diverse as Spielberg, Tim Burton, the Coen Brothers, and Jim Jarmucsh have deliberately chosen to shoot in black and white, even when color film was available to them. Alfred Hitchcock reportedly chose to shoot Psycho in black and white because he feared the famous shower scene would be too gory in color.

Johnny Depp in Jim Jarmusch's "Dead Man"

The compressed version of "Casablanca" (Click image to enlarge)

Movie Barcode posts new images on a regular basis. Click here to see a full index of compressed films from the Movie Barcode website.

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By | 2016-11-11T21:56:12+00:00 03.28.11|Design, Greatest Hits, Images|Comments Off on Movie Barcodes

About the Author:

I’ve spent almost 20 years helping thousands of successful artists of all disciplines and working to make the arts more accessible. (One friend likes to call me “the arts enabler.”) From 1999-2012 I worked at The MacDowell Colony, the nation’s oldest artist colony, but I've also done time at an arts magazine, a library, an art museum, and a raptor rehabilitation center. In May of 2012 I left MacDowell to pursue writing, speaking, curating, and creative projects full-time. In 2015 I was named a “Top 100 Artist, Innovator, Creative” by Origin magazine. I've appeared as an arts and culture commentator on New Hampshire Public Radio, and in 2017 I was the recipient of the Wampler Art Professorship at James Madison University. I am the founder of the Gwarlingo Salon series, which connects artists like DJ Spooky with rural audiences in the Monadnock region. In 2017 my collaborator Corwin Levi and I will publish our first book, Mirror Mirrored, which combines Grimms’ fairy tales with vintage illustration remixes and the work of contemporary artists like Kiki Smith, Carrie Mae Weems, and Amy Cutler. I grew up in Atlanta, Georgia, but have called New Hampshire home since 1999. My studio is located in the historic, mill village of Harrisville. I miss fried okra, the early southern spring, and restaurants that stay open past 9:00 p.m., but rural life agrees with me. In New Hampshire I can see the stars, go kayaking or snowshoeing, watch bald eagles fish in the lake, and focus on my creative work in silence. I no longer have to worry about traffic jams; deer, wild turkeys, and frost heaves are the primary road hazards here. Although I live in the country, I’m fortunate enough to be part of a vibrant arts community that extends beyond this small New England village. The quiet days are punctuated by regular travel and frequent visits to museums, theaters, readings, arts events, lectures, and open studios around the country. (You can read my full CV here.) Thanks for visiting Gwarlingo. I hope you'll be in touch.