Abstract
The study of color in the cinema has reached relevant research dimensions throughout the first decade of the 00’s. Several publications have mapped the broadest theme in which color is put in film analysis. Therefore, it is possible to revisit some past works and move on to new looks and interpretations. Under the domain of the color, I propose the analysis of Pierrot le fou (Jean-Luc Godard) and Le bonheur (Agnès Varda). In the investigation of the chromatic system of these moviemakers, it is possible to evaluate interdisciplinary questions like the representation of France in the 60’s and gender relations.
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