Document Type : Original Article
Authors
1
Associate Professor, Department of Television, Radio and Television Production Faculty, IRIB University, Tehran, Iran.
2
lighting designer and instructor at the islamic republic of iran broadcasting (irib)
3
IRIB university
10.30480/dam.2024.5002.1835
Abstract
This article examines the approach of lighting design in dealing with the positive and negative transformation of the main character. The main objective is to understand the way in which the quality of lighting design influences the portrayal of the main character's upward or downward trajectory. The films “Verdict” (1982) and “Godfather” (1972) are analyzed to achieve this goal. The research method employed is qualitative-observational data analysis. The analysis of both films is conducted in parallel, first by identifying the main steps of the main character's transformation using Jennie Jarvis's theory of personality development, and then by examining the lighting design from the perspective of its mood-setting function. Based on the conducted analysis, it can be said that the cinematographers have paid attention to the world before and after the main character's transformation and have crafted their lighting states in a way that enhances the transformation experienced by the character throughout the narrative within a visual landscape. In the positive transformation, the character overcomes their inner flaws, leaves behind bitter memories and false beliefs, and evolves by the end of the story. Therefore, throughout the film, the lighting quality for the character and the surrounding environment transitions from semi-hard light, positioning the key light in shadowed positions, low light intensity, and fast fall-off (high contrast), to increasing softness and intensity of the key light, using fill light, reducing shadows, and adopting slow fall-off (low contrast), thus inducing the positive transformation of the character. However, in the negative transformation, the character is unable to abandon their false beliefs. Consequently, instead of moral growth throughout the narrative, they experience a downfall. Therefore, the lighting state induces the character's downfall by placing the key light in shadowed positions, reducing the softness of the key light, not using eye light, eliminating fill light, and employing fast fall-off (high contrast).
Keywords
)