-----Original Message-----
From: darw_n <[EMAIL PROTECTED]>
To: [EMAIL PROTECTED] <[EMAIL PROTECTED]>; [EMAIL PROTECTED]
<[EMAIL PROTECTED]>; [email protected] <[email protected]>; darw_n
<[EMAIL PROTECTED]>
Date: Tuesday, January 09, 2001 12:11 AM
Subject: Re: [313] Tone Shfting


>I brought up movies, and I'll keep this brief.  Ever watch Schindler's
List?
>If you did, you know that if it were color, it would be ruined, destroyed,
>and indeed, no longer realistic.  Why?  Because if it was color, it would
be
>the director telling us exactly how he sees it, his interpretation of what
>reality looks like.  Now, we all know that our visual interpretation of
>reality varies.  So with Black and white film, we, the viewer, are allowed
>to project onto the film whatever interpretation of visual reality we want.
>Because there is little color info, our mind adds it, and because our mind
>is adding it, the film becomes *very* real, and very personal - you visual
>shift it, the film becomes partly your piece as much as it is the director
>(Spielberg in this case).  And with that movie, that is crucial for you to
>truly feel for the situation presented, in order to truly understand, you
>need to be intimately involved...

Not to turn Tone Shifting into a film theory debate, but I had to jump in.
Keep in mind, a major factor in using Black and White film is the red girl.
To stretch this specific analogy to music is difficult, but I think that the
clever use of effects is similar, in that sound takes on new life beyond the
range of the pallette (as defind by the song before effects were added). As
far as the other reasons why Spielberg chose Black and White, I think there
were many, but clearly he had the Red girl in mind the whole time. Not to be
overly critical of an analogy, but I don't think this is necessarilly the
best example you could choose.

Tristan
==========================================
Ten mixes, one album, various tracks, pics and info here:
http://phonopsia.tripod.com/
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"Deserve's Got Nothing to Do With it".
-Clint Eastwood, Unforgiven


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