By: Keaton Marcus

SECONDARY COLOR INFO:

As with the first analysis on primary colors, it is mandatory to give readers a little bit of a lesson on a tangible scheme for secondary colors:

The monochromatic color palette is a single base hue used to create minor shifts in shades, tones, and tints. It establishes a lulling, undivided, and almost harmonious atmosphere, complete and peaceful in its appearance.
The analogous color palette comprises one primary color, supporting color, and a mix between the two or an accent color.
The triadic color palette can contain three equally spaced colors on the color wheel. One must be more aggressive, and the remaining two should be complementary. An example could include red, blue, and yellow mashed together in one frame.
The tetradic color palette includes four colors evenly spaced out in a frame from the color wheel. Bold and uncompromising, this scheme uses one primary color and three accent colors.
The discordant color palette is more of a diversion from the other ones, distracting viewers to focus on a particular object in the frame.
The associative color palette is the recurrence of a specific color to connect a character, theme, or past event to create an emotional reaction from the audience.
The transitional color palette is more or less the antithesis of an associative one, changing throughout a film's story, showing a character's journey through color.

SECONDARY COLOR: GREEN

First, the secondary color to start with, a mesh of yellow and blue, is green. This color represents almost everything straightforward and joyous, quite similar to yellow in that respect. However, it can also be evocative of mental clarity or anything reminiscent of a revelation. A general list of redolent feelings that green may spark in audiences includes healing, soothing, perseverance, tenacity, self-awareness, pride, unchanging nature, environment, health, good luck, renewal, youth, and vigor. Our principal example is Todd Phillips' Joker, which uses green effectively and with meaning, although it isn't necessarily the most underground movie. Even though the film is about a raving, evil mad man, in the various shots that use green, they never feel sinister. No, all tell a story of healing from past trauma—someone going through an experience of sheer mental precision and therapeutic remembrance. The wicked actions Arthur Fleck has committed are lost in a sea of this color, and he bathes in every single inch of it, embracing everything. Secondly, Terrence Malick's works, including A Hidden Life and The Tree of Life, make green their middle names. It's all around in most frames, and generally, it becomes representative of life and renewal. Nature is a common theme both films share, and the main characters wade around in the lush environments and eventually discover rehabilitation within them. Thirdly, Lars von Trier's Melancholia takes the color to a wholly different level. Instead of choosing the positivity route, he makes his entire opening sequence filled with earthly tones and luscious greenery to evoke destruction. Both mental and physical devastation create the feeling of breaking point from depression and emotional anxiety.

SECONDARY COLOR: PURPLE

A perplexing mix of red and blue light, purple is unbelievable, making characters go through a metaphysical sensation that will change them forever. Despite blue also being somewhat mystical, this color seems even more detached from reality. To give a list, the color mainly represents eroticism, royalty, nobility, spirituality, ceremony, mystery, transformation, wisdom, enlightenment, cruelty, arrogance, mourning, power, sensitivity, and intimacy. Ryan Gosling's debut film, Lost River, was undoubtedly a gorgeous examination of purple color palettes despite its shakily middling reception with critics and audiences. One-shot, in particular, has been catching my attention since viewing, and it's of a temptress, seductive and alluring in a soothing, mellow purply backlight. She's engulfed in fantastical elements, a magical, ethereal figure beyond our capacity to understand. Speaking of Gosling, Damien Chazelle's La La Land is another that transcends the boundaries of reality with the color purple. Commonly used in sequences that almost feel too good to be true or an outright fantasy, cinematographer Linus Sandgren manipulates the audience's emotions with a larger-than-life feel. The romance, sexual tension, and, yes, eroticism felt in these scenes leave audiences in awe and bewilderment while watching. These feelings are perhaps the most primary purpose of the color. Finishing off this excellent, emotional color, Nicolas Winding Refn's The Neon Demon is too gorgeous, not to mention. The intimacy with hints of brutality and cruelty seduce Jesse into the temptations of inhumanity, providing a distinctive glance at savagery, something not often portrayed in the film.

SECONDARY COLOR: ORANGE

The final secondary color that I will be covering is orange, a combination of red and yellow. This color, among many others, can be highly versatile. For one, it can make a frame welcoming, idyllic, and even friendly. But, on the other hand, it can accentuate fire, destruction, a sense of desolation in sheer chaos. Humor, energy, warmth, enthusiasm, vibrancy, expansiveness, fire, destruction, devastation, and even anger are among the spectrum while examining the color. It's similar to red in the negative aspects but also has a more temperate, happier side. In George Miller's Mad Max: Fury Road, orange is commonly used to denote a sharp sense of loneliness in a post-apocalyptic environment. Usually scorching astonishingly stunning wide shots, the emphasis on surroundings versus subjects allows audiences to detach from a character. Orange is the perfect substitute here. To mention Terrence Malick again, Days of Heaven will employ color to evoke emotional solitude and harmony. It's quiet, peaceful, and above all, breathtakingly beautiful in a few of the frames. The elegance and artistically refined work of art that this film only gives birth to more meaning to explore from the color. Thirdly, Wes Anderson's Fantastic Mr. Fox is simply a burst of vibrance and positive energy. Orange gives the film an electric vigor that injects a sense of entertainment value in audiences, extending their attention span and leaving them wanting more. Every single frame doesn't only look edible, but the ones with an orange feel...nice. It makes one feel pleasant just staring at a few, perhaps even getting someone to forget all of their troubles.