• adapted from the film noir stylized cinematography,

techniques

• evocatively lit environments

• classic noir style of lighting

• subtlety

• colour, lighting and framing

• lighting choices are loud and stylized, bold hues heighten the drama and the emotion in a scene

• it has to be colourful to feel the elevation

• primary colours, relying on the orange-blue colour contrast.

• uses old school tungesten lights and skypanels, LED

• The camera seems to float, giving it an ethereal quality

philosophy

• making the internal external, even if it didn't adhere to physical realism

• external manifestation of the story

• achieving an emotional realism

• "How can we create a world that reveals the hopes and wishes of the characters that exist within it?"

film noir

• A style of cinematography tied to the golden age of Hollywood

• German expressionist movement in film

• aesthetics date to German horror films in the 1920s

• expressionist film makers adopted a volatile feel to encompass stories about insanity, madness and betrayal which were translated into lighting and set design.

• revolutionary because it became embedded into the film industry, and is seen as a universal technique

the context for this particular scene

• "Trouble Don't Last Always"

• Jules analyses her own gender performance and femininity

• She tells her therapist that she wants to go off hormones

• she's not scared of the "broadening, deepening and thickening"

• "i want to be as beautiful as the ocean", "the ocean's strong...feminine... both are what make the ocean the ocean

paints by intuition, reverse archaeology

ability to convey the universal structure from something deeply personal