Contents & References of The visual effect of color on film titles
List:
Abstract
Chapter One: General Research
1-1 Definition of the problem. 3
1-2 The necessity and importance of research. 3
1-3 research questions. 3
1-3 research questions. 3
1-4 research hypotheses. 3
1-5 main and secondary objectives. 4
1-6 methods of collecting information. 4
1-7 application of research. 4
1-8 research background. 5
1-9 How to do a practical project. 6
10-10 research methods. 6
Chapter Two: Light and Color
2-1 Definition of Light 9
2-2 Definition of Color. 10
2-3 color background. 11
2-4 The relationship between light and color. 13
2-5 Effects of light 14
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2-6 Color value. 15
2-7 harmonious colors. 15
2-8 color temperature. 16
2-9 textures. 16
2-10 color composition. 17
2-11 background and colors on the background. 17
2-12 Color and Form Relationship (Figure) 18
2-13 Means of Form Emphasis (Color Mood) 18
2-14 Affective Colors and Affective Colors. 19
2-15 Color space effect 20
2-16 Color space effects 20
2-17 Decreasing, increasing color. 21
2-18 color rhythm. 21
2-19 Color psychology. 22
2-19-1 Definition of psychology. 22
20-20 color from the point of view of psychology. 22
2-20-1 Meanings of colors 22
2-20-2 Color symbolism. 27
2-21 Feeling of light in terms of physiological psychology. 28
2-22 feeling and perception. 28
2-23 mental preparation. 30
2-24 indoctrination. 30
2-25 vision error, movement, visual errors, illusions 30
Chapter three: audience theory
3-1 audience theory. 33 3-2 Defining the audience. 33
3-2-1 Different reasons for being an audience. 33
3-3 audience classification. 34
3-3-1 Classification of contacts based on demographic characteristics. 34
3-3-2 Categorizing the audience according to beliefs 34
3-3-3 Categorizing the audience based on attitudes 34
3-3-4 Categorizing the audience based on access. 34
3-3-5 Classification of contacts based on behavior. 35
3-3-6 Classification of audiences based on the description and use of media 35
3-4 Factors related to the audience. 35
3-4-1 Social issues and problems of the audience. 36
3-4-2 Individual differences. 36
3-4-3 personality. 36
3-4-4 sex. 37
3-4-5 age groups. 37
3-4-6 lifestyle. 37
3-4-7 Ethnicity. 38
3-4-8 Education. 38
3-4-9 taste. 38
3-4-10 The importance of knowing the audience. 38
3-5 reasons for choosing color from the point of view of the audience in psychology. 39
3-5-1 gray. 39
3-5-2 blue. 39
3-5-3 green. 39
3-5-4 red. 39
3-5-5 yellow. 39
3-5-6 purple. 40
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3-5-7 brown. 40
3-5-8 black. 40
3-6 psychological effects of color on personal and mental characteristics of people. 41
3-6-1 The psychological effect of color in the elderly. 42
3-6-2 Psychological effect of color in children. 42
3-7 Attracting the audience through color. 43
Chapter Four: Titles
4-1 Definition of Titles (Titles) 45
4-2 Definition of Titles from Professors' point of view. 45
4-3 The need to design titles for the film. 47
4-4 The history of titling in the world. 48
4-5 types of headings. 49
4-5-1 Initial title. 50
4-5-2 Final title. 51
4-5-3 credit titles. 51
4-5-4 Differences between initial and final titles. 52
4-6 Title categories. 53
4-7 points that according to Morteza Memeez are necessary for making good titles: 54
4-8 types of techniques for making titles. 54
4-9 optimal composition. 56
4-10 genres. 57
4-10-1 Definition of genre 57
4-10-2 Types of genre. 57
4-11 Application of genre in the discussion of film production. 60
4-11-1 Developments of genres 61
4-11-2 Genesis of genres 62
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4-11-3 Function of genres in film analysis. 63
4-12 Characteristics of a good title. 65
4-12-1 Good and appropriate heading. 65
4-12-2 Creativity. 67
4-12-3 Spatialization. 67
4-12-4 Connecting the title to the film. 67
4-12-5 compatibility of the type of letters with the space of the film. 68
4-12-668
4-12-6 coordination of initial and final titles. 68
4-12-7 Title timing. 69
4-13 famous people in the field of titling. 70
4-13-1 Saul Bass. 70
4-13-2 Work style. 72
4-13-3 List of films for which Saul Bass designed titles. 73
4P13-4 Title analysis of the film "Dizzy" by Saul Bass. 76
4-14 characteristics of the works of Saul Bass. 79
4-15 The history of titling in Iran. 80
16-4 famous people in the 40s-60s title making. 82
4-16-1 Heading designers in Iran. 83
4-18 Statistics 101
Sample questionnaire. 102
The last conclusion. 114
Sources and sources. 122
Description of practical work. 122
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List of graphs and tables
4-17 analysis of titles of Iranian films. 85
4-17-1 Constituent elements of film titling based on table number 1-5. 96
4-17-2 General genre of Iranian movies based on table number 5-1. 96
4-17-3 Classification of colors in Iranian titles. 97
4-17-4 Checking the titles of movies in table number (5-1) 98
4-17-5 Font. 98
4-17-6 Iranian titles, Table No. (5-1) 99
4-17-7 Film title design. 99
4-17-8 tissue. 100
4-17-9 Camera angle. 100
4-17-10 construction technique. 100
4-17-11 titling time. 100
4-17-12 by examining the titles of the films in table number (1-5) 101
Table 4-2: frequency of respondents' age. 103
Chart 4-2: The graph of respondents' age preferences. 103
Table 4-3: frequency of respondents' gender. 104
Chart 4-3: Pie chart of respondents' gender. 104
Table 4-4: frequency of respondents' education. 105
Chart 4-4: Chart of respondents' education preferences. 105
Table 4-5: Frequency of respondents' academic field. 106
Chart 4-5: Chart of respondents' academic field preferences. 106
Table 4-6: frequency of respondents' jobs. 107
Chart 4-6: Chart of job preferences of the respondents. 107
and
Table 4-7: Frequency of respondents' cities. 108
Chart 4-7: Pie chart of the respondent city. 108
Table 4-8: frequency of respondents' social class. 109
Chart 8-4: Pie chart of respondents' social class.