简介：本文探讨了电影色彩的美学价值及其与绘画艺术的共通性，并深入分析了色彩的心理学作用及其在叙事和情感塑造中的功能。作者认为，电影工作者应培养色彩意识，有意识地运用色彩来提升电影的表现力和观众体验。
出处：Journal of the Society of Motion Picture Engineers, August, 1935, pages 139-147
作者：娜塔莉·卡尔穆斯（1878-1965）是美国彩色电影技术先驱，曾担任特艺色（Technicolor）公司的色彩艺术总监。作为公司创始人赫伯特·T·卡尔穆斯（Herbert T. Kalmus）的前妻，她在 1934 年至 1949 年间担任几乎所有 Technicolor 影片的色彩顾问，对彩色电影的发展产生了深远影响。她强调在电影中谨慎而和谐地运用色彩，避免过度使用鲜艳色调，以增强影片的艺术性和观众的情感共鸣。尽管她的严格要求有时引起导演和制片人的不满，但她的工作确保了彩色电影的质量和艺术水准。
译者：Horace Lu
Summary — Color constitutes another step in the steady advancement of the motion picture toward realism, the same principles of color, tone, and composition applying to the motion picture as to the art of painting. In order fully to appreciate the color picture, a “color consciousness” must be adopted, the lack of which is tantamount in a degree to color blindness.
Monotony is the enemy of interest, a fact that argues for the color picture; but a superabundance of color is unnatural. Psychologically, colors fall into the “warm” and “cool” groups, and each color and shade has its psychological implications: red — danger, blood, life, heat; green — nature, outdoors, freedom, freshness; etc. To build up personalities and to harmonize emotions and situations, these principles must apply, even to the extent of “color juxtaposition,” or the psychological relation of the various colors to each other. For example, of two adjacent or contiguous colors, each tends to “throw” the other toward its complement, considerably affecting the emphasis or import of the color.
色彩的应用标志着电影在通向现实主义道路上的又一重要进展，其在电影中的运用遵循与绘画艺术相同的色彩、色调与构图原则。要充分理解彩色电影的艺术价值，必须具备“色彩意识”（Color Consciousness），而缺乏这种意识在某种程度上相当于“色盲”，会导致对电影视觉表现力的理解受限。
单调性是观众兴趣的天敌，这一点为彩色电影的必要性提供了有力的论证。然而，过度的色彩运用同样是不自然的。在心理学上，色彩可大致分为“暖色系”与“冷色系”，且不同颜色及其色调都具有特定的心理暗示。例如：红色——象征危险、血液、生命、热度；绿色——象征自然、户外、自由、新鲜感；其他颜色同样具备特定的情绪和象征意义。在电影叙事与人物塑造中，必须遵循这些原则，以调和情绪与戏剧情境，甚至包括“色彩并置”（Color Juxtaposition），即不同色彩之间的心理关系。例如，当两种颜色相邻或相接时，彼此会在视觉上趋向其互补色，从而极大地影响色彩的强调程度及其所传递的意涵。
On the walls of the cave in Altamira in Spain are found paintings, boldly sketched in three colors by Paleolithic man some fifty thousand years ago. These prehistoric paintings are quite artfully executed, and show that the artist possessed a fine sense of color and a desire to indicate motion as well as form. Various animals are depicted with the use of a red clay, an ochre earth, and a black pigment. One picture shows a wild boar in a standing position. In another picture, nearby, to show the same animal in a gallop, two sets of legs have been used. This ingenious method of showing action indicates the inherent desire of the artist to show motion in color. This ambition has come down through the intervening years to the present day. Now we see the culmination of that idea — motion pictures in color.
在西班牙阿尔塔米拉（Altamira）洞穴的壁画中，可以看到距今约五万年前旧石器时代人类以三种颜色所绘制的艺术作品。这些史前绘画技法娴熟，不仅展现了远古艺术家敏锐的色彩感知能力，同时也表达了其通过色彩表现运动感的意图。例如，他们使用红色黏土、赭石土及黑色颜料描绘动物，其中一幅作品刻画了一只站立的野猪，而在另一幅表现奔跑状态的画作中，艺术家巧妙地绘制了两组腿部，以模拟动物运动的动态感。这种展现运动的早期尝试，正是人类艺术表达的一种本能追求，而这一愿景最终在彩色电影中得以实现。
From a technical standpoint, motion pictures have been steadily tending toward more complete realism. In the early days, pictures were a mere mechanical process of imprinting light upon film and projecting that result upon a screen. Then came the perfection of detail — more accurate sets and costumes — more perfect photography. The advent of sound brought increased realism through the auditory sense. The last step — color, with the addition of the chromatic sensations, completed the process. Now motion pictures are able to duplicate faithfully all the auditory and visual sensations.
从技术发展的角度来看，电影一直在向更完整的现实主义演进。电影发展的早期阶段，仅仅是利用光学机制将影像记录于胶片上，并将其投射到银幕之上。随后，电影开始在细节方面不断完善，如更加精确的布景、服装以及更为精准的摄影技术。声音的出现使电影通过听觉感官增强了现实感。而色彩的引入，作为最后一环，使电影叙事得以融合色彩感知，从而完成了电影媒介对视觉与听觉感官的全方位再现。
This enhanced realism enables us to portray life and nature as it really is, and in this respect we have made definite strides forward. A motion picture, however, will be merely an accurate record of certain events unless we guide this realism into the realms of art. To accomplish this it becomes necessary to augment the mechanical processes with the inspirational work of the artist. It is not enough that we put a perfect record upon the screen. That record must be molded according to the basic principles of art.
这种增强的现实主义使我们能够如实再现生活与自然，从而在电影表现的真实感方面取得了显著的进步。然而，若仅仅将电影视为对特定事件的精准记录，它仍然只是机械化的再现，而非真正的艺术表达。因此，电影创作必须在机械过程之外，融入艺术家的灵感与创造力。仅仅将完美的影像呈现在银幕上并不足够，电影必须遵循艺术的基本原则。
The principles of color, tone, and composition make painting a fine art. The same principles will make a colored motion picture a work of art. The precision and detail of Holbein and Bougereau, the light effects of Rembrandt, the atmosphere and arrangements of Goya, the color of Velasquez, the brilliant sunlight of Sorolla, the mysterious shadows of Innes — all these artistic qualities can eventually be incorporated into motion pictures through the medium of color. The design and colors of sets, costumes, drapes, and furnishings must be planned and selected just as an artist would choose the colors from his pallette and apply them to the proper portions of his painting.
色彩、色调与构图的原则使绘画成为一门高级艺术，同样，这些原则也能使彩色电影升华为真正的艺术作品。电影可以借鉴霍尔拜因（Holbein）和布格罗（Bougereau）的精准细节、伦勃朗（Rembrandt）的光影效果、戈雅（Goya）的氛围与画面布局、委拉斯开兹（Velázquez）的色彩表达、索罗拉（Sorolla）的耀眼阳光以及英尼斯（Inness）的神秘阴影等经典绘画技法，通过色彩这一媒介，将这些艺术特质引入电影创作之中。布景、服装、帷幔及道具的色彩设计，必须如同画家在调色板上选择颜色并精准涂抹于画布之上那样经过精心规划与运用。
In order to apply the laws of art properly in relation to color, we must first develop a color sense — in other words, we must become “color conscious.” We must study color harmony, the appropriateness of color to certain situations, the appeal of color to the emotions. Above all, we must take more interest in the colorful beauties that lie about us — the iridescent brilliance of the butterfly’s wing, the subtle tones of a field of grain, the violet shadows of the desert, the sunset’s reflection in the ocean. By such observation and study we develop a sense of color appreciation and train our eye to notice an infinite variety of hues.
要正确地将艺术法则应用于电影色彩之中，首先必须培养色彩感知能力，换言之，我们必须具备色彩意识（Color Consciousness）。这需要我们深入研究色彩的和谐美、色彩在特定情境中的适配性以及色彩对情绪的感染力。最重要的是，我们应当更加关注身边世界的色彩之美——例如，蝴蝶翅膀的绚丽虹彩、麦田的微妙色调、沙漠中淡雅的紫色阴影、夕阳倒映于海面的光辉……通过这些观察与研究，我们可以培养色彩鉴赏能力，训练视觉去捕捉无穷无尽的色彩变化。
Serious cases of color blindness are comparatively rare; yet, because the average person is not trained in color appreciation, a decided lack of color consciousness is not at all uncommon. In order to appreciate operatic or classical music, people study music appreciation. Color appreciation, as a study, is almost entirely neglected, although color plays a most important and continuous part in ourlives. The average person listens to music for only a short portion of the time, but every moment of the day he looks upon some form of color.
真正严重的色盲病例相对罕见，然而，由于多数人缺乏系统的色彩审美训练，对色彩的敏感度不足的情况却十分普遍。为了欣赏歌剧或古典音乐，人们会学习音乐欣赏（Music Appreciation）；然而，尽管色彩在我们生活中占据着至关重要且持续的作用，色彩欣赏（Color Appreciation）作为一门学科却几乎完全被忽视。事实上，相较于音乐，人们每日所接触的色彩信息远远超过听觉体验，视觉对于色彩的感知是持续不断的。
In the study of color appreciation we have two classes of objects. On the one hand, we have Nature, with its flowers, skies, trees, etc.; on the other hand, we have man-made objects of all kinds, including art pictures. In the first class the color is already created, and it remains for us only to enjoy and appreciate. In the second class we can exercise a certain amount of selectivity. Because of the general lack of color knowledge, that selectivity is not always tempered with wisdom. If the color schemes of natural objects were used as guides, less flagrant mistakes in color would occur. The use of black and white, however, to the complete exclusion of all color, is decidedly not in keeping with Nature’s rules.
在色彩鉴赏的研究中，我们可以将观察对象分为两大类。一类是自然界的事物，如花朵、天空、树木等；另一类则是人类创造的各类物品，包括艺术作品。对于前者，色彩已然存在，我们只需去欣赏和理解。而对于后者，我们可以在一定程度上进行选择。然而，由于人们普遍缺乏色彩知识，这种选择往往缺乏审慎考量。如果能以自然界的色彩搭配为指导，许多明显的色彩错误便可以避免。值得注意的是，完全排除色彩，仅使用黑白灰，并不符合自然的规律。
Natural colors and lights do not tax the eye nearly as much as man-made colors and artificial lights. Even when Nature indulges in a riot of beautiful colors, there are subtle harmonies which justify those colors. These harmonies are often overlooked by the casual observer. The most brilliant flower has leaves and stem of just the right hue to accompany or complement its gay color.
相比于人工色彩与人造光源，自然界的色彩和光线对人眼的负担要小得多。即便自然界展现出极为绚丽的色彩，也总是存在微妙的色彩和谐，使这些颜色的运用显得合理。然而，这些色彩的和谐性往往容易被粗略的观察所忽视。例如，最艳丽的花朵，其叶片和茎干的色调都经过自然的协调，与花朵的亮丽色彩相辅相成，形成视觉上的平衡。
As we grow in the understanding of color and its uses, we find that our color appreciation develops simultaneously. All the better things in life require a color consciousness for their fullest appreciation and enjoyment.
当我们对色彩及其运用理解得越深入，我们的色彩鉴赏能力也会同步提升。生活中所有更高层次的审美体验，都需要色彩意识的参与才能获得最充分的理解与享受。
The eye is the organ of perception. The impulses of light received by the retina are transferred over the optic nerve path to the brain, and we become conscious of light and dark, motion, form, and color. Vision is a sense of ancient lineage and of early development in the individual life. Its characteristic is the clearness and precision of the data it furnishes the mind. Compared to sight, the other senses are dull and groping. It is the sense by which we receive the greatest number of stimuli from the world about us. It is the sense which most frequently affects the nervous system, dominates the attention, and stimulates the mind.
视觉是人类最重要的感知器官。视网膜接收光信号后，通过视神经传输至大脑，使我们得以意识到光暗、运动、形态及色彩的存在。视觉不仅在人类个体生命的早期便已高度发育，而且在所有感官中提供的信息最为清晰与精准。相比之下，其他感官的感知较为模糊且依赖探索。视觉是人类接收外界信息的主要渠道，它最频繁地影响神经系统，主导注意力，并激发思维活动。
It is a psychological fact that the nervous system experiences a shock when it is forced to adapt itself to any degree of unnaturalness in the reception of external stimuli. The auditory sense would be unpleasantly affected by hearing an actor upon the screen speak his lines in a monotone. The mind would strive to supply the missing inflections. The same is true, but to a greater degree, of the visual sense. A super-abundance of color is unnatural, and has a most unpleasant effect not only upon the eye itself, but upon the mind as well. On the other hand, the complete absence of color is unnatural. The mind strives to supply the missing chromatic sensations, just as it seeks to add the missing inflections to the actor’s voice. The monotony of black, gray, and white in comparison with color is an acknowledged fact. It is almost a psychological axiom that monotony is the enemy of interest. In other words, that which is monotonous will not hold our attention as well as that which shows more variety. Obviously, it is important that the eye be not assailed with glaring color combinations, nor by the indiscriminate use of black and white. Again taking our cue from Nature, we find that colors and neutrals augment each other. The judicious use of neutrals proves an excellent foil for color, and lends power and interest to the touches of color in a scene. The presence of neutrals in our composition adds interest, variety, and charm to our colors. On the other hand, the presence of color in our picture gives added force to the neutrals, emphasizing the severity of black, the gloominess of gray, the purity of white.
从心理学角度来看，神经系统在适应外界刺激时，如果遇到不自然的感官输入，会产生一定程度的不适。例如，在听觉方面，如果电影中的演员用单调的语调念出台词，观众会不自觉地试图填补缺失的音调变化。同样的现象在视觉感知中体现得更为明显。过度使用色彩是不自然的，这不仅会对眼睛造成刺激，还会对大脑产生负面影响。然而，完全消除色彩也是不自然的。人脑会本能地试图补充缺失的色彩感知，就像它试图填补演员声音中缺失的语调变化一样。相比于丰富的色彩，黑白灰的单调性是一个公认的事实。几乎可以说，单调是兴趣的敌人——换句话说，单调的事物难以维持人们的注意力，而富有变化的事物则更能吸引观众。因此，在电影色彩设计中，既不能让眼睛受到过于刺目的色彩冲击，也不能随意使用黑白灰构成画面。同样地，如果我们借鉴自然界的色彩搭配，会发现色彩与中性色相辅相成。合理运用中性色（如黑、灰、白）可以成为色彩的绝佳衬托，使画面中的色彩更具表现力和感染力。同时，画面中色彩的存在也能加强中性色的作用，突出黑色的肃穆、灰色的沉郁以及白色的纯净。
From a broader point of view, the psychology of color is of immense value to a director. His prime motive is to direct and control the thoughts and emotions of his audience. The director strives to indicate a fuller significance than is specifically shown by the action and dialog. If he can direct the theatergoer’s imagination and interest, he has fulfilled his mission. The psychology of color is all-important in this respect, and we shall now show the manner in which certain colors upon the screen will give rise to certain emotions in the audience.
从更广义的角度来看，色彩心理学对于电影导演而言具有极高的价值。导演的核心目标是引导和掌控观众的思想与情感。通过画面与对白之外的表现手段，导演致力于赋予影像更深层次的意义。如果他能够成功引导观众的想象力与关注点，那么他的创作目的便得以实现。在这一过程中，色彩心理学起到了至关重要的作用，接下来我们将探讨屏幕上的特定色彩如何激发观众的特定情绪。
We have found that by the understanding use of color we can subtly convey dramatic moods and impressions to the audience, making them more receptive to whatever emotional effect the scenes, action, and dialog may convey. Just as every scene has some definite dramatic mood — some definite emotional response which it seeks to arouse within the minds of the audience — so, too, has each scene, each type of action, its definitely indicated color which harmonizes with
that emotion.
通过对色彩的深入理解，我们能够巧妙地传达戏剧化的情绪和氛围，使观众在心理上更容易接受场景、动作和对白所传递的情感信息。正如每一个场景都蕴含特定的戏剧性氛围，并试图在观众的意识中激起某种明确的情感反应一样，每个场景、每种动作类型也都有相应的色彩搭配，以强化与之相契合的情绪表达。
The usual reaction of a color upon a normal person has been definitely determined. Colors fall into two general groups. The first group is the “warm,” and the second the “cool” colors. Red, orange, and yellow are called the warm or advancing colors. They call forth sensations of excitement, activity, and heat. In contrast, green, blue, and violet are the cool or retiring colors. They suggest rest, ease, coolness. Grouping the colors in another manner we find that colors mixed with white indicate youth, gaiety, informality. Colors mixed with gray suggest subtlety, refinement, charm. When mixed with black, colors show strength, seriousness, dignity, but sometimes represent the baser emotions of life.
对于普通观众而言，色彩所引发的心理反应已被明确界定。色彩大致可分为两大类：暖色系与冷色系。其中，红色、橙色和黄色被归类为暖色或前进色（advancing colors），它们能够引发兴奋、活力和热度的感知。而绿色、蓝色和紫色则属于冷色或后退色（retiring colors），这些色彩通常带来宁静、舒适与清凉的感受。如果按照色彩与明度的关系进一步分类，则可以得出更细致的心理学影响：加入白色的颜色，象征青春、欢乐和随意的氛围；加入灰色的颜色，表现微妙、优雅与魅力；加入黑色的颜色，强调力量、庄重、威严，同时在某些情境下也可能代表人性的阴暗面。
As to the use of a single color alone, each hue has its particular associations. For example, red recalls to mind a feeling of danger, a warning. It also suggests blood, life, and love. It is materialistic, stimulating. It suffuses the face of anger, it led the Roman soldiers into battle. Different shades of red can suggest various phases of life, such as love, happiness, physical strength, wine, passion, power, excitement, anger, turmoil, tragedy, cruelty, revenge, war, sin, and shame. These are all different, yet in certain respects they are the same. Red may be the color of the revolutionist’s flag, and streets may run red with the blood of rioters, yet red may be used in a church ritual for Pentecost as a symbol of sacrifice. Whether blood is spilled upon the battlefield in an approved cause or whether it drips from the assassin’s dagger, blood still runs red. The introduction of another color with red can suggest the motive for a crime whether it be jealousy, fanaticism, revenge, patriotism, or religious sacrifice. Love gently warms the blood. The delicacy or strength of the shade of red will suggest the type of love. By introducing the colors of licentiousness, deceit, selfish ambition, or passion, it will be possible to classify the type of love portrayed with considerable accuracy.
单独使用某种颜色时，其本身便携带特定的象征意义。例如，红色往往会让人联想到危险和警示，同时也暗示着血液、生命与爱情。它是物质性的、刺激性的，能够令人兴奋、充满激情。红色渗透愤怒之人的脸庞，曾引领罗马士兵冲锋陷阵。不同色调的红色可以象征生活的不同方面，例如爱情、幸福、体能、酒精、激情、权力、兴奋、愤怒、动荡、悲剧、残酷、复仇、战争、罪恶与耻辱。这些概念虽各不相同，但在某些层面上却有相似之处。红色可以是革命者的旗帜，也可以是街头暴动者鲜血染红的街道；但在教堂仪式中，红色又可以作为五旬节（Pentecost）的象征，代表牺牲。无论是在战场上因正义而流血，还是刺客的匕首滴落鲜血，血的颜色始终是红色。若在红色之中引入其他色彩，便可暗示犯罪的动机，例如嫉妒、狂热、复仇、爱国主义或宗教献祭。爱情能够温暖血液的流动，而不同深浅的红色则能表现不同类型的爱情。例如，柔和的红色代表温柔与浪漫，而深浓的红色则可能暗示炽烈的激情。通过引入代表放荡、欺骗、自私野心或欲望的色彩，我们可以更加准确地界定屏幕上所呈现的爱情类型。
Proceeding to the other colors, orange is bright and enlivening; it suggests energy, action.
橙色明亮且富有活力，象征能量与行动力。
Yellow and gold symbolize wisdom, light, fruition, harvest, reward, riches, gaiety; but yellow also symbolizes deceit, jealousy, inconstancy in its darker shades, and particularly when it is tinged with green.
黄色与金色象征智慧、光明、成熟、丰收、回报、财富与欢乐。然而，在较深的色调，尤其是掺杂绿色时，黄色也可能象征欺骗、嫉妒与反复无常。
Green immediately recalls the garb of Nature, the outdoors, freedom. It also suggests freshness, growth, vigor.
绿色立即让人联想到大自然、户外环境与自由，同时也暗示清新、生长与活力。
Dark green, blue, violet, and indigo are cooling, quiet colors. They are tranquil and passive. They do not suggest activity, as do the reds and orange. Blue is suggestive of truth (“true blue”), calm, serenity, hope, science, also cold steel, melancholy (we have the expression “blue as indigo”).
深绿色、蓝色、紫色和靛蓝属于冷色调，它们具有冷静、安宁与被动的特性。这些颜色不会像红色与橙色那样传递活动感。蓝色通常暗示真理（如“忠贞不渝的蓝”），平静、安详、希望与科学，同时也联想到冰冷的钢铁以及忧郁（如短语“忧郁如靛蓝”）。
Purple is a color which does not occur in the spectrum. It is a combination of warm red and cool blue. It will be aggressive and vital if the red predominates, or dignified and quiet if the blue overbalances the red. Purple denotes solemnity, royalty, also pomp and vanity.
紫色并非光谱中的颜色，而是由温暖的红色与冷静的蓝色混合而成。当红色占主导时，紫色表现出侵略性与活力；当蓝色更强时，则显得庄重而沉静。紫色象征庄严、皇室，同时也带有炫耀与虚荣的意味。
Magenta is the combination of purple and red. It is very distinctly materialistic. It is showy, arrogant, and vain.
洋红色由紫色与红色混合而成，带有明显的物质主义色彩，表现出张扬、傲慢与虚荣。
The neutrals, white, gray, and black, while theoretically not in the category of colors, also stimulate very definite emotional responses. Black is no color, but absorption of all color. It has a distinctly negative and destructive aspect. Black instinctively recalls night, fear, darkness, crime. It suggests funerals, mourning. It is impenetrable, comfortless, secretive. It flies at the masthead of the pirate’s ship. Our language is replete with references to this frightful power of black — black art, black despair, black-guard, blackmail, black hand, the black hole of Calcutta, black death (the devastating plague of medieval Europe), black list, black-hearted, etc.
白色、灰色与黑色虽然在理论上并不属于色彩范畴，但它们同样能够引发强烈的情绪反应。黑色本质上并非一种颜色，而是所有颜色的吸收。它具有明显的负面与破坏性特征，直觉上让人联想到黑夜、恐惧、黑暗与犯罪。黑色暗示葬礼、哀悼，具有深不可测、令人不安且充满隐秘感的特性。它飘扬在海盗船的桅杆上，象征死亡与威胁。语言中也充满了对黑色负面力量的隐喻，例如“黑魔法”（black art）、“黑暗绝望”（black despair）、“恶棍”（blackguard）、“勒索”（blackmail）、“黑手党”（black hand）、“加尔各答黑牢”（the black hole of Calcutta）、“黑死病”（black death，中世纪欧洲的毁灭性瘟疫）、“黑名单”（blacklist）以及“黑心”（black-hearted）等。
Even the poets recognized this symbolism. Shelly, in his dramatic Alaster tells how,
即使是诗人也认识到了这种色彩象征意义。诗人雪莱在其戏剧作品《阿拉斯托耳》（Alastor）中写道：
“ I have made my bed
In charnels and on coffins, where black death
Keeps record of the trophies won — “
“我已在尸骨遍布的墓穴和棺木之上安身，
在黑死病记录其战利品的地方——”
The poet Keats, in The Prisoner of Chilian, says,
诗人济慈（译者注：应为拜伦勋爵）在《西庸的囚徒》（The Prisoner of Chillon）中写道：
“ I, only, stirred in this black spot,
I, only, drew the accursed breath of dungeon-dew.”
“唯有我，在这片黑暗之地微微颤动，
唯有我，呼吸着这可诅咒的地牢湿气。”
We are speaking a potent language to our audience when we make use of black.
当我们在电影中运用黑色时，实际上是在向观众传递一种极具力量的视觉语言。
Gray suggests gray skies and rain. It is gloomy, dreary, and represents solemnity and maturity. From its complete neutrality and lack of any color or distinctiveness, it represents mediocrity, indecisiveness, inaction, vagueness.
灰色让人联想到阴沉的天空与绵绵细雨，它带有忧郁、沉闷的情绪，同时也象征庄重与成熟。由于灰色完全中性，缺乏鲜明的色彩特征，它还代表着平庸、优柔寡断、无所作为与模糊不清。
White reflects the greatest amount of light, it emanates a luminosity which symbolizes spirit. White represents purity, cleanliness, peace, marriage. Its introduction into a color sublimates that color. For example, the red of love becomes more refined and idealistic as white transforms the red to pink. White uplifts and ennobles, while black lowers and renders more base and evil any color. To the degree in which colors are lightened or darkened will the qualities that the color exemplifies be altered.
白色反射最多的光线，散发出一种光辉，象征精神性。白色代表纯洁、清洁、和平与婚姻。将白色引入其他颜色能够使之升华，例如，象征爱情的红色在掺入白色后转变为粉色，使其更显精致与理想化。白色能够提升与高贵化色彩，而黑色则会降低色彩的纯度，使之趋向邪恶或堕落。色彩的明暗程度越高，其所传达的特质也会相应发生变化。
Thus we see that all the colors in the spectrum speak their particular language. The flush of anger, the vigor of a sun-tanned skin, the richness of gold velvet, the violet mystery of distant mountains, the serenity of blue sky — these colors alone speak with more eloquence than could be described by words.
由此可见，色谱中的每一种颜色都拥有自身独特的语言。愤怒时脸上的潮红、被阳光晒出的健康肤色、金色天鹅绒的华贵、远山紫罗兰色的神秘、晴朗蓝天的宁静——这些颜色本身所传递的信息，往往比语言更具表现力，更能打动人心。
The modification of a positive color by the introduction of another hue modifies the mental reaction to the degree of the intensity of that hue which is introduced. For example, a positive blue is a cool color, but to the extent in which a red hue is introduced, the coolness of the blue will be altered by the warmth of red. However, these complexities do not alter the basic principles of color or the general reactions which we have outlined.
当一种纯色被引入另一种色调时，它所引发的心理反应也会随之改变，其变化程度取决于所加入色调的强度。例如，纯蓝色是一种冷色调，但如果加入红色成分，蓝色的冷感就会被红色的温暖属性所削弱。然而，这些复杂的色彩变化并不会改变色彩的基本原则，或我们之前所概述的色彩心理反应。
In the preparation of a picture we read the script and prepare a color chart for the entire production, each scene, sequence, set, and character being considered. This chart may be compared to a musical score, and amplifies the picture in a similar manner. The preparation of this chart calls for careful and judicious work. Subtle effects of beauty and feeling are not attained through haphazard methods, but through application of the rules of art and the physical laws of light and color in relation to literary laws and story values. In the first place, this chart must be in absolute accord with the story action. Again, it must consider the art, principles of unity, color harmony, and contrast. Again, it must consider the practical limitations of motion picture production and photography. The art director, however, in handling a color picture, must be forever mindful that the human eye is many times more sensitive than the photographic emulsion and many times greater in scope than any process of reproduction. Therefore, he must be able to translate his colors in terms of the process.
在影片制作过程中，我们首先阅读剧本，并为整个作品制定色彩设计图表，涵盖每个场景、段落、布景及角色的色彩规划。这张色彩设计表可以类比为电影的音乐配乐，通过色彩的层次与变化增强影片的叙事表现力。制定色彩表需要细致而精准的规划，画面的美感与情感的微妙表达并非偶然形成，而是通过艺术法则、光与色彩的物理规律，结合文学结构与叙事价值精心设计的。首先，色彩表必须完全符合故事情节的发展，其次，它必须遵循艺术原理，包括统一性、色彩和谐与对比。此外，它还必须考虑到电影制作与摄影技术的实际限制。然而，在彩色电影的制作中，艺术指导必须时刻牢记：人眼的感知能力远远超过胶片感光乳剂的范围，并且比任何现有的影像再现技术更为敏锐和广泛。因此，艺术指导需要能够将现实色彩有效地转译到影像呈现中。
When we receive the script for a new film, we carefully analyze each sequence and scene to ascertain what dominant mood or emotion is to be expressed. When this is decided, we plan to use the appropriate color or set of colors which will suggest that mood, thus actually fitting the color to the scene and augmenting its dramatic value.
在收到剧本后，我们会仔细分析每个段落和场景，以确定其所要表达的核心情绪或主导氛围。在明确这些要素后，我们会选择适当的色彩或色彩组合，以强化该场景的情绪表达，使色彩真正融入叙事，提升戏剧张力。
We plan the colors of the actor’s costumes with especial care. Whenever possible, we prefer to clothe the actor in colors that build up his or her screen personality. In a picture which we recently completed, two young girls play the parts of sisters. One is vivacious, affectionate, and gay. The other is studious, quiet, and reserved. For the first we planned costumes of pink, red, warm browns, tan, and orange; for the second, blue, green, black, and grey. In this way the colors were kept in unison with their film characters.
演员服装的色彩搭配尤为重要。我们尽可能让服装色彩契合演员的银幕角色，以增强其人物塑造。在一部近期完成的电影中，两位年轻女孩饰演一对姐妹。其中一位性格活泼、亲切、开朗，另一位则好学、内敛、沉静。为此，我们分别为她们设计了不同的服装色彩方案：活泼的姐姐穿着粉色、红色、暖棕色、褐色和橙色，以凸显其热情洋溢的个性；文静的妹妹则穿着蓝色、绿色、黑色和灰色，以体现她的沉稳与理性。
One very important phase of making color pictures is the necessity of obtaining distinct color separation. The term “color separation” means that when one color is placed in front of or beside another color, there must be enough difference in their hues to separate one from the other photographically. For example, there must be enough difference in the colors of an actor’s face or costume and the walls of the set to make him stand out from the colors back of him; otherwise, he will blend into the background and become indistinguishable, as does a polar bear in the snow. If the colors are properly handled, it is possible to make it appear as though the actors were actually standing there in person, thus creating the illusion of the third dimension. Because of the general warm glow of flesh tints, we usually introduce the cooler tones into the backgrounds; but, if we find it advantageous to use warmer tones in the set, we handle the lighting so that the particular section in back of the actor is left in shadow. This gives a cool contrast to the faces, even though we have a general feeling of warmth in the room. When there are a number of players, all wearing differently colored costumes, it is necessary to disregard those playing relatively unimportant parts, and make the background in contrast to those whose
action is most significant to this particular scene.
在彩色电影制作过程中，一个极为重要的环节是确保清晰的色彩分离。所谓“色彩分离”是指：当一种颜色位于另一种颜色的前方或旁侧时，二者必须在色相上具有足够的差异，以便在摄影过程中能够清晰地区分。例如，演员的面部肤色或服装颜色必须与布景的墙面色彩存在明显的区别，以使其从背景中凸显出来，否则，演员的形象将会与背景融为一体，导致视觉上的不可辨识，就如同北极熊在雪地中难以分辨一样。如果色彩运用得当，可以创造出一种视觉错觉，使观众感觉演员真实地站在场景之中，从而增强三维空间的立体感。由于人物肤色通常具有温暖的色调，因此背景常采用较冷的色调来形成对比。然而，在某些情况下，如果布景需要使用较暖色调，我们会通过灯光调整，使演员身后的特定区域保持在阴影之中。这样，即便整体场景呈现温暖氛围，人物面部仍然能够在暖色与冷色的对比下获得突出的视觉效果。当场景中有多位演员，且他们的服装颜色各不相同时，色彩设计需重点突出在该场景中承担重要戏剧任务的演员，而无需过度关注相对次要的角色。为此，背景色应当与主要演员的服装色形成对比，以确保观众的注意力聚焦于关键的表演对象。
It is important that the sets have interest and variety. They must not be flat. When the sets have depth it is much easier to introduce interesting shadows and colored lights for special effects. Unless the dramatic aspect dictates to the contrary, it is desirable to have all the colors in any one scene harmonious. Otherwise, we strike an unpleasant, discordant note.
布景的设计应当富有层次感和变化，避免单调扁平的视觉效果。当布景具有深度时，导演和摄影师可以更轻松地引入富有表现力的阴影和色彩光效，以增强画面的戏剧性和视觉冲击力。除非剧情需求另有规定，否则同一场景中的所有色彩应当保持和谐，以避免形成令人不适的色彩冲突和视觉不协调。
A point to be considered in set dressing depends upon one of the rules of composition in art. The law of emphasis states in part that nothing of relative unimportance in a picture shall be emphasized. If, for example, a bright red ornament were shown behind an actor’s head, the bright color would detract from the character and action. Errors of this nature must be carefully avoided.
布景装饰的色彩运用需要遵循艺术构图的基本原则之一——强调法则。该法则部分规定，在画面中，任何不具有重要叙事功能的元素都不应被过度强调。例如，如果在演员头部背景处放置了一个鲜红色的装饰物，那么其高亮度的色彩可能会分散观众对演员和剧情的注意力。这类错误必须在布景设计和摄影构图时加以严格规避。
Color juxtaposition also plays a large part in the selection of colors for the screen. The effect of “color juxtaposition” is an apparent change of hue when different colors are placed one over the other, or side by side. If two cards, one orange, the other blue-green, are placed side by side, the orange will appear more red than it really is, the blue-green more blue. Each color tends “to throw” the other toward its complement. In other words, the complement of orange is blue; therefore, the orange makes the blue-green appear bluer. When any two colors are placed together, the first emphasizes in the second the characteristics which are lacking in the first.
色彩并置（Color Juxtaposition）在银幕色彩选择中也占据重要地位。色彩并置的效应指的是当不同颜色彼此叠加或并列时，它们的色相会在视觉上产生变化。例如，当一张橙色的卡片与一张蓝绿色的卡片相邻放置时，橙色会显得比实际更偏红，而蓝绿色则会显得更加偏蓝。这是因为每种颜色都会促使相邻颜色向其补色方向偏移。换句话说，橙色的补色是蓝色，因此橙色会使蓝绿色显得更加蓝。同理，当任何两种颜色相邻时，前者会强调后者中自身所缺乏的特性。
It can readily be seen from this how exceedingly important it is to consider the movement in the scene in determining its color composition because the juxtaposition of colors is constantly changing due to this movement. Quite a different problem from that of an artist, who paints a still scene where the characters remain in their set places, and whose color values, therefore, are not subject to frequently changing contrast.
由此可见，在电影画面的色彩构图中，动态因素至关重要。由于角色和场景元素在镜头中的不断移动，色彩的并置关系会不断变化，这使得色彩规划成为一个动态调整的过程。这一挑战与绘画创作截然不同，后者的画面是静态的，角色的位置固定，色彩对比关系不会频繁变动，因此色彩的控制相对稳定。
We must constantly practice color restraint. In the early two-color pictures, producers sometimes thought that because a process could reproduce color, they should flaunt vivid color continually before the eyes of the audience. This often led to unnatural and disastrous results, which experience is now largely eliminating.
在电影色彩运用中，我们必须始终保持克制。早期的双色电影中，一些制片人认为既然彩色影像技术已经实现，就应当尽可能地在银幕上展示强烈的色彩。这种过度炫耀色彩的做法往往导致画面不自然，甚至破坏了观众的沉浸体验。如今，通过长期的实践和经验积累，这种误区已经在很大程度上被摒弃。
The synthesis of all these factors entails many conferences with directors, art directors, writers, cameramen, designers and others. Technicolor color directors, cameramen, and technicians act in a consulting and advisory capacity to the various studio departments during both the preparation and the shooting of the picture.
电影色彩的最终呈现，是导演、美术指导、编剧、摄影师、设计师等多个部门反复讨论和协作的结果。Technicolor 的色彩指导、摄影师及技术人员在电影制作的筹备阶段和拍摄过程中，都会以顾问和技术支持的身份参与，为各个制作环节提供建议。
Music, graphic art, and acting have now been united, and become one expression of more ultimate art. Now for the first time a perfect expression of the combined inspirations of producer, writer, artist, actor, and musician can be adequately presented to an audience. Color has touched the sound picture and it fairly lives.
如今，音乐、绘画艺术和表演在电影中实现了真正的融合，成为更高层次的综合艺术表达。制片人、编剧、美术师、演员和音乐家共同的创作灵感，终于能够通过电影这一媒介完整地展现于观众面前。色彩的加入，使得有声电影焕发出真正的生命力。
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