SUSPERIA, (1977)
I decided to intensively utilize primary colors — blue, green and red — to identify the normal flow of life and then apply a complementary color, mainly yellow, to contaminate them. A [horror] film brings to the surface some of the ancestral fears we hide deep inside us, and Suspiria would not have had the same cathartic function if I had used the fullness and consolatory sweetness of the full color spectrum. To immediately make Suspiria a total abstraction from what we call “everyday reality” I used the usually reassuring primary colors only in their purest essence, making them immediately, surprisingly violent and provocative. This brings the audience into the world of Suspiria.
- Cinematographer Luciano Tovoli
INFERNO, 1980
In 1980, technicolour was at it's prime. In Inferno, Dario Argento drenched his characters in vivid colour. These hues interact with the main characters to cinematically illustrate the horror of physical, psychological, and supernatural chaos in motion. Viewing these colours results in a chaotic mental state due to our distracted focus of the colours and the emotions it portrays. The use of coloured lighting is unnatural and gives the film a dreamlike aesthetic,
My aim from the very beginning is to create images with vivid colour in a filmic aesthetic; Dario Argento's work is the perfect example of the coloured lighting that I want to achieve in my images, specifically the use of contrasting hues of red and blue.
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American Cinematographer, The International Journal of Motion Imaging, 2010, Vol 91 No. 2, Pg. 68
Cristine Sellin, Film Theory and Criticism: http://mahara.cs.lewisu.edu/view/artefact.php?artefact=4363&view=554
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