Hollywood Color Code
Sublim Color: Yellow and Blue
We contend that our metaphor “Hollywood Color Code,” as an aspect of the “Image Coverage,” presents a challenge to all who would detect deliberate color designs in a movie or patterns within a body of works, either by an individual or by professional collectives such as the “Hollywood entertainment industry.”
Join us in tracking “terror” imagery in continuity such as “sublim color” of cars in recurrence and contrast to skin color symbolism, by researching contributions relating to these presentations. By so doing we stand to gain insights for striking a balance between the “ridiculous” or “preposterous” and the “sublime” or “sublim”—as to purpose, intent and effect of “what you see is what you get” or “now you see it now you don’t” subliminal messages, real or imagined.
We offer, hereby, an Intersecting Invitation to Anniversary Coverage. The invitation opens with the point metaphor “subliminal racism” announcement in The Daily Variety; and the current anniversary—presented here in counterpoint to Daviau’s contested idea of a “separate agenda”—occurred most recently in Geoffrey Cocks’ article, as follow respectively:
“There are just so many period cars out there.You use what you get. You get a yellow cab for two days and you use it.” Allen Daviau, “Bugsy” cinematographer. (more)
Daily Variety, March 30, 1992.
“Stanley Kubrick’s last film, Eyes Wide Shut (1999), contains a scene in which actor Tom Cruise is elbowed off the sidewalk by a group of college boys. In a block packed with cars, the one Cruise falls against is a blue Mercedes-Benz. The choice of car against which Cruise stumbles—surely unnoticed by almost everyone who has seen the film—is anything but an idle one.” (more)
Excerpts from The Wolf at the Door: Stanley Kubrick, History, and the Holocaust ©By Geoffrey Cocks |
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