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FILMTVM50: Seeing Visual Culture Kathleen Conley, Color Key …

- - - - H.G. Wells constructs a setting where a community of blind individuals has completely adapted to sightlessness.
        
        A sighted man named Nunez enters the community with the intent to imperialize it. He possesses a superiority complex because of his sight. He repeats the phrase, “In the Country of the Blind the One-Eyed Man is King.”
        
        Nonetheless, the community attempts to assimilate Nunez not only through a metaphorical basis, but a literal one by physically taking away his sight.
        
        The story ends when Nunez dies escaping eye removal. The last image he witnesses is a vision of the sky.
        
        The story is anti-imperialist and a cautionary tale about superiority complexes.
        
        Blindness has become a liberation for the society Nunez finds himself in, but it also becomes a tool of oppression in relation to him
      - Connected to Oliver Sacks’, “To See and Not See,” in the way that the blind individuals Nunez encounters have strengthened their other senses.
        
        Connected to Georgina Kleege’s, “Blindness and Visual Culture: An Eyewitness Account,” because it subverts the harmful cultural connotations that come with blindness as Wells place them into positions of power.
        
        Connected to David Batchelor’s, “Whitescapes,” in that Nunez serves as a cautionary tale against assimilation and suffocation against the domineering culture.
        
        Connected to Andrew Dosunmu’s, Mother of George in its themes of assimilation which parallel Adenike's plight in the film.
        
        Connected to David Batchelor’s, “Chromophobia,” in its themes pertaining to forced assimilation into the domineering culture.
        
        Connected to Robin Coste Lewis’, “Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson," in its themes of being seen as an, "other," and being obscured by the dominant majority.
        7.Connected to Trinh Minh-Ha’s, “The Image and the Void,” in that Nunez's character is obscured by the oppressive majority of the story.
    - - In the movie, Persona, Bergman uses abstract imagery to tell the story of the nurse, Alma and her patient, the actress Elisabet who went mute. The two move into a cottage wherein Alma takes after Elisabet and the two confide in one another. The film focuses on dealing with mental health issues and instability.
        
        It is unclear whether or not Elisabet and Alma are two different individuals or two differentiating sides of the same person. One probable interpretation is the idea that Alma could represent Elisabet’s shadow. In other words, Alma is the obscured, imperfect, and dark side of Elisabet’s personality or, “persona.”
        
        The movie is filmed entirely in grayscale, likely to invoke the dreariness of the theme. Dark and Light are both oppressing and liberating.
      - Connected to Plato’s, The Allegory of the Cave, wherein the shadows in the cave represent a sense of dreariness and light is a metaphor for truth.
        
        Also connected to Christopher Turner and Victoria I. Stoichita’s, “A Short History of the Shadow: an Interview with Victor I. Stoichita,” who mentions how shadows are often associated with the idea of evil. Here, shadows showcase the main characters’ mental discontent or discomfort.
        
        The film manipulates the qualities of light using the methods of subtle manipulation discussed in Blumenberg’s, “Light as Metaphor for Truth: At the Preliminary Stage of Philosophical Concept Formation.” Light also may represent realization, peace, or truth.
        
        Connected to James Turrell’s concepts of naturalistic light in, “You Who Look,” wherein he uses light and shadow to manipulate the viewers in his room in the same ways the film does.
        
        Connected to Ralph Ellison’s, Invisible Man where the darkness of the world represents the main characters discontent or, “othering.” The main character also questions her grip on sanity within the film as displayed by the interpretation of her split personalities.
        
        Connected to Hans Christian Anderson’s, “The Shadow,” as the film explores the concept of a dual personality using light and dark colors.
        
        Connected to Paul Lafarge’s idea in, “Colors/Black,” in that black can represent a space of imagination. Often the character explores her personal mental landscape and imagination. In those shots shadowy light is employed.
  - - - In the journal, Trinh Minh-Ha explores the concept of invisibility and visibility by using three social examples:
        
        She explores the inability to see what is coming and the idea of, "What if?" She thinks of photographs taken before natural disasters where individuals remain in total obliviousness.
        
        She explores the Chinese communist party's censorship, wherein they cut out references and pictures to Tibet and the Dalai Lama.
        
        She explores emptiness and absent presence through the image of the empty chair that implies political resistance.
        
        To her, the camera is both a form of oppression and a form of liberation.
      - Connected to H.G. Wells, "Country of the Blind," in that the oppressed class is forced into assimilation and under continuous surveillance like Nunez.
        
        Connected to Michael Foucault’s, “Panopticism,” with the idea that one is being constantly watched as a form of exerting social control.
        
        Connected to Theo Anthony’s, “All light Everywhere,” in that cameras are utilized as a weapon of surveillance.
        
        Connected to Trevor Paglen’s, “Invisible Images (Your Pictures Are Looking at You),” in that images can be manipulated in order to exert subconscious control.
        
        Connected to Monty Python’s, “Monty Python: How Not to Be Seen,” with the idea that individuals can be, "physically," obscured from view.
        
        Connected to Hito Steyerl’s, How Not to be Seen: A Fucking Didactic Educational.MOV File in the way that cameras can manipulate objects into being invisible.
        
        Trinh Minh-Ha touches upon the concept of Heightened visibility which means being magnified at a particular place or time, or by a particular person. In this instance, she means the empty chair which won the Nobel peace prize.
    - - Shadow in Hans Christian Anderson’s work may represent the “human,” soul liberated from its body.
        
        In Hans Christian Andersen’s, “The Shadow,” a man invites his shadow to physically segregate from him and explore the world. As a consequence, the shadow begins to take on a life of its own and eventually takes over the man’s identity. The shadow causes trouble by doing grievous acts, which ends up getting the original man killed while the shadow goes on to marry the princess.
      - Connected to Plato’s, The Allegory of the Cave, wherein the shadows in the cave represent ignorance and oppression or the enemy.
        
        Also connected to Richard Dyer’s, “White,” wherein he mentions how in some fiction shadows and the color black stands as a representation of evil or, “the other.”
        
        Additionally, Anderson’s work is also connected to Ralph Ellison’s, Invisible Man where the darkness of the world represents, “evil.”
        
        Connected to Igmar Bergan’s, Persona where darkness often represents the discontent of the human soul.
        
        Connected to Christopher Turner and Victoria I. Stoichita’s, “A Short History of the Shadow: an Interview with Victor I. Stoichita,” who mention how shadows are often associated with the idea of evil.
        
        Connected to Paul LaFarge’s, “Colors/Black,” wherein he associates black with liberation and freedom. This parallels how the shadow splits away from the main character and roams free in Anderson’s composition.
        
        The dark and shadowy construction of the wicked witch’s dwelling in Fleming’s, The Wizard of Oz represents a similar sense of discord that Anderson’s shadow causes.
  - - - Connected to David Batchelor’s, “Whitescapes,” wherein he mentions the invasive and frightening qualities harsh white instills in its perceivers.
        
        Connected to David Batchelor’s, “Chromophobia,” where he mentions the absence of color being associated with connotations of beauty in the western world.
        
        In Igmar Bergan’s, Persona, blinding white is often used to surprise or instill a sense of ghastliness in the viewer.
        
        In the film, Blonde Venus, Josef von Sternberg associates Marlene Dietrich’s white character with beauty and femininity.
        
        Connected to Hilaria Loyo’s idea of the blinding white blonde being used to represent beauty in, “Blinding Blondes: Whiteness, Femininity, and Stardom.”
        
        Connected to Richar Dyer’s idea that white is associated with positive qualities such as beauty in fictitious works.
        
        Connected to Yves Klein’s, Untitled White Monochrome, wherein he purposely produces a sense of ghastliness through the pure whiteness of his canvas.
      - Within, “The Whiteness of the Whale,” the author, Herman Melville tries to comprehend the various cultural associations of whiteness. He brings up instances where whiteness is associated with beauty, but also with qualities such as ghastliness. This is both suppressive and liberating
    - - Robert Rauschenberg paints seven modular canvases in white. He stands the panels next to one another in each of the paintings in order to reflect the changes in light and shadows in the space that surrounds the canvases.
        
        White contains an invasive and oppressive quality that light seems to liberate to some extent.
      - Similar to Yves Klein’s, Untitled White Monochrome, wherein Klein also attempts to display the qualities of white using a monochrome as a canvas.
        
        Similar to James Turrell’s, “You Who Look,” video wherein he manipulates light across the surfaces of objects much like Rauschenberg does.
        
        Similar to Derek Jarman’s film, Blue, wherein he uses a singular color like Rauschenberg and manipulates the lighting to continuously shift his viewers’ perceptions.
        
        Similar to Hans Blumenberg’s ideas of light being able to manipulate the perceptions of a singular object.
        
        Connected to Joseph Alber’s observations in, Interaction of Color wherein he talks about how one can manipulate the viewer to perceive colors in differentiating ways by toying with the lighting at times.
        
        Connected to David Batchelor’s idea in, “Whitescapes,” wherein white takes on a certain blinding and invasive quality when constructed under a particular lighting.
        
        Similar to Yves Klein’s, Le Vide piece wherein the room is drenched in complete white much like Rauschenberg’s white canvases.
    - - Victor Fleming's, The Wizard of Oz uses color as a literal functioning plot device. Color transports Dorothy into this world and manifests in the important objects she and other characters use, such as the red slippers.
        
        The desaturation of color oppresses the characters while the rainbows of colors liberate them.
      - Connected to Walter Benjamin’s, “A Child’s View of Color,” because the land of Oz uses colors to represent a child’s pure and free spirited view of colors.
        
        Connected to David Batchelor’s, “Chromphobia,” where he talks about how western culture believes in the contimating qualities of color. This surfaces in the poppy scene where red essentially contimates Dorothy and puts her in a deep sleep that only the whiteness of snow saves her from. Also surfaces in the grayscale parts of the film.
        
        Connected to Stanley Cavell’s, “The World as a Whole: Color,” in the way that the land of Oz is a private fantastical place that Dorothy, “falls,” into.
        
        Connected to David Batchelor’s, “Whitescapes,” particularly in the poppy scene where white invades the color red in order to save Dorothy from her slumber.
        
        Fleming’s film uses color theory to subtly manipulate the audience to feeling both wonderment and whimsy as analyzed in Maria Popova’s article, 19th Century Insight into the Psychology of Color and Emotion.
        
        Fleming films in grayscale when Dorothy is outside the land of Oz. This may represent her dreariness and misery as the grayscale coloring symbolizes in Ingmar Bergman’s, Persona.
        
        Glinda represents the archetype of the blinding blonde covered in, Hilaria Loyo, “Blinding Blondes: Whiteness, Femininity, and Stardom.”
    - - Connected to Krzysztov Kieslowski’s film, Three Colors: Blue, where the color blue is exclusively employed to represent loss and harsh truths as Mavor states.
        
        Connected to Walter Benjamin’s, “A Child’s View of Color,” as the bright blue lollipop color is meant to represent unrestrained childhood innocence.
        
        Connected to Yves Klein’s, “The Evolution of Art towards the Immaterial,” in that blue seems to be utilized for a variety of symbolic uses. This plays into Klein’s idea that the color blue is challenging to define.
        
        In Derek Jarman’s, “Into the Blue,” he uses blue to represent most of the topics Mavor covers in her article. One notable one is associating blue with his sexuality.
        
        Connected to Derek Jarman’s film, Blue, wherein he continues to associate the color with the numerous aspects Mavor reflects upon in her article.
        
        Mavor attempts to apply much of the structural and measurable analysis pertaining to the color that Lorraine Daston and Peter Galison mention in, “The Color of Subjectivity.”
        
        Connected to the variety of cultural connotations blue has when it comes to color theory which Maria Popova presents in, 19th Century Insight into the Psychology of Color and Emotion.
      - Carol Covers the variety of forms blue takes both as oppressive and liberating,“From blue to blue. Such crystals of nucleic blue beauty, blue pain, blue memory, blue forgetting, blue childhood, blue old age, blue loss, blue sex, blue candy, blue music are ‘fragments of the truth wich attract to themselves, like a magnet, an inkling of the unknown” (140).
  - - - In Claudia Rankine's Citizen, the main character is also forced to navigate through feelings of invisibility and hypervisibility. She feels as if she is put on display for white people’s viewing.
        
        In Ralph Ellison’s, Invisible Man, the main character also struggles with invisibility and hypervisibility.
        
        In Trinh Minh-Ha’s, “The Image and the Void,” the idea of images being manipulated for the oppressor’s viewing is touched upon.
        
        In Trevor Paglen’s, “Invisible Images (Your Pictures Are Looking at You),” he explores the concept of images being manipulated by the oppressive hierarchy to subtly manipulate how images are perceived.
        
        In Syreeta McFadden’s, “Teaching the camera to see my skin,” she covers how images are manipulated for white people’s eyes.
        
        Again, Franz Fanon also explores the harmfulness of hypervisibility and visibility in, “The Fact of Blackness.”
        
        In Dawound Bey’s, “Night Coming Tenderly, Black,” he tries to subvert the suffering normally pictured in the underground railroad.
      - Within, “Photography, Darkness, and the Underground Railroad: Dawoud Bey’s Night Coming Tenderly, Black,” while it is liberating to see accurate history told, Shawn Michelle opens up a discourse about how the history of African Americans should be displayed historically without delving into problems such as hypervisibility.
    - - Black is associated with the qualities of liberation as Paul LaFarge mentions in, "Colors/Black." Though here, Mcfadden does this on a racial basis in her photographs. She essentially frees herself from whiteness and centers herself in her photos.
        
        .In, "Photography, Darkness, and the Underground Railroad: Dawoud Bey’s Night Coming Tenderly, Black,” Shawn Michelle Smith also discusses how images are exclusively constructed for a white peoples' viewing.
        3 In Carrie Mae Weems', Slow Fade to Black, photo series she liberates her blackness from whiteness just as McFadden does by centering black individuals in favorable lighting settings.
        
        Andrew Donsumu’s, Mother of George also centers black individuals in favorable lighting settings as a counter to centering whiteness.
        
        In Trevor Paglen’s, “Invisible Images (Your Pictures Are Looking at You),” he explores the concept of images being manipulated by the oppressive hierarchy to subtly manipulate how images are perceived. This parallels the way Mcfadden talks about how cameras are constructed to favor white skin as an oppressive device.
        6.The centering of whiteness McFadden reflects upon is also featured in Claudia Rankine’s, Citizen.
        
        In Trinh Minh-Ha’s, “The Image and the Void,” she talks about how the oppressive class tends to obscure images that go against the favored majority. This parallels how Mcfadden talks about how whiteness is favorable to cameras in contrast to blackness.
      - In the article, “Teaching the camera to see my skin,” McFadden talks about how cameras such as ones produced by Kodak possess a racial bias due to their construction. The models utilized as a light meter tended to be white. Therefore, the cameras were made to favor white skin in their shots.
        
        She constructs her own photo series as a form of liberation
    - - In Syreeta McFadden’s, “Teaching the camera to see my skin,” she takes a series of photos that favor black people’s skin similar to how Dosunmu takes shots that favor black people’s skin.
        
        In Dawoud Bey’s, “Night Coming Tenderly, Black,” he takes pictures of large expansive spaces that black people used to escape to their freedom. This centers black individuals as Dosunmu does within his film.
        
        In Carrie Mae Weems', Slow Fade to Black, photo series she liberates her blackness from whiteness just as Dosunmu does by centering black individuals in favorable lighting settings.
        
        The main character Adenike feels forced to assimilate like Claudia Rankine’s narrator does in Citizen when one of her friends tries to dress her in clothing away from her cultural background.
        
        In the film Adenike is pressured to assimilate just as H.G. Wells’ main character does in, “The Country of the Blind.”
        
        The film employs a frequent use of the color blue to demonstrate Adenike’s internal conflict as Derek Jarman does in his film, Blue. Albeit, he uses it to illustrate his emotional conflicts dealing with the AIDs crisis.
        
        Blue tends to ground Adenike to her surroundings like Krzysztov Kieslowski does with his protagonist in the film, Three Colors: Blue.
      - In Andrew Dosunmu’s, Mother of George, the main character Adenike struggles with her attempts to get pregnant to her mother-in-law’s dismay. Her struggle in attempting to get pregnant leads her to believe she may be infertile, but this theory is put to rest when she secretly agrees to conceive a child with her husband’s brother, Biyi. She eventually confesses this to her husband Ayodele who ends up walking out of the marriage. However, the movie ends with Ayodele at the hospital when Adenike is in labor.
        
        The story is about Adenike's suppression but Dosunmu uses this film as a form of black liberation in the way the lighting of the shots are taken.
    - - Connected to Robin Coste Lewis’, “Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson,” as she explores the adaptability to coldness, such as racism being normalized like “climate change,” is normalized. She uses Lorna Limpson’s, Darkening piece as a model.
        
        Connected to Claudia Rankine’s, Citizen in exploring the politics of, “otherness,” in relation to African Americans.
        
        Connected to Seph Rodney’s, Lorna Simpson Searches for Meaning in the Arctic Ice, wherein Rodney pieces together how Simpson uses glaciers as a method of obscuring blackness in her work.
        
        Connected to Franz Fanon’s, “The Fact of Blackness,” wherein he also explores the politics of, “otherness,” and racial normalization he faces in white society.
        
        Connected to Ralph Ellison’s, Invisible Man, wherein he discusses racial normalization to the point where he also feels obscured.
        
        Connected to David Batchelor’s, “Whitescapes,” where the whiteness of the glaciers and the arctic is an invasive quality against the surrounding dark colors.
        
        Connected to Le Corbussier’s, “A Coat of Whitewash: The Law of Ripolin,” wherein white is culturally associated with a false sense of superiority in the image.
      - In her painting, Darkening, a series of images feature black women staring outward from the concealment of glacial blue colors. These individuals are easily obscured by the ice unless one pays close attention to the image and searches for the face. This is Simpson’s way of demonstrating the racial invisibility and obscurity of black people. Simpson uses the paining to show oppression but also introduce concepts of liberation.
    - - Connected to Lorna Simpson’s, Darkening, who uses the arctic background that Lewis is attempting to analyze as an exploration of, “otherness.”
        
        Connected to David Batchelor’s, “Whitescapes,” wherein the color white is so invasive that the colors that surround it remain continuously overlooked.
        
        Connected to Seph Rodney’s, Lorna Simpson Searches for Meaning in the Arctic Ice, wherein Rodney touches upon the blue temporal areas amongst the whiteness in Simpson’s, Darkening.
        
        Connected to Claudia Rankine’s, Citizen, in the ways that Lewis explores the concepts of invisibility and hypervisibility.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” in that Lewis explores the concept of the idea of obscuring being normalized.
        
        Connected to Ralph Ellison’s, Invisible Man, wherein the politics of being, “othered,” by expansive whiteness is also explored.
        
        Connected to the ways in which Derek Jarman uses the color blue to explore his othering in, “Into the Blue.”
      - Lewis explores the adaptability to coldness, such as racism being normalized just as, “Climate change,” is normalized.
        
        However in her poem she uses blue to dismantle the idea of whiteness as a concept and liberate the idea of blackness.
        In her poem, “Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson,” Lewis begins to question the idea of whiteness using the arctic as a backdrop,“The unanticipated shock: so much believed to be white is actually—strikingly—blue. Endless blueness. White is blue. An ocean wave freezes in place. Blue. Whole glaciers, large as Ohio, floating masses of static water. All of them pale frosted azuls. It makes me wonder—yet again—was there ever such a thing as whiteness? I am beginning to grow suspicious. An open window” (Lewis).
    - - Seph Rodney explores the ways in which Lorna Simpson’s, Darkening, pieces use the arctic to exacerbate her themes on racial obscurity and the idea of searching for liberation, “These brutal and brutally lovely landscapes suggest a further shore, one that to be reached, both the viewer and the artist have to negotiate their way by sight, by following the lead of colored pigment, hue, tone, shape, iridescence, and curiosity and then when finally alone, contemplating the vastness of these possibilities we come to know by feeling our way through” (Rodney).
      - Connected to Lorna Simpson’s, Darkening, who uses the arctic background that Lewis is attempting to analyze as an exploration of, “otherness.”
        
        Connected to Robin Coste Lewis’, “Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson,” because she metaphorically talks about racial obscurity in the way Rodney does in relation to the arctic.
        
        Connected to Derek Jarman’s film, Blue, wherein he uses different hues of blue as a form of contemplation over his life and experience with AIDs.
        
        Connected to Yves Klein’s, “The Evolution of Art towards the Immaterial,” who talks about how blue is commonly associated with the expansive vastness Rodney mentions.
        
        Connected to the ideas of blue within color theory that Maria Popova mentions in, 19th Century Insight into the Psychology of Color and Emotion.
        
        Rodney associates blue as a color of contemplation and rumination like Krzysztov Kieslowski does with the mother’s character in, Three Colors: Blue.
        
        Rodney attempts to apply certain objective measurements to the color blue like Lorraine Daston and Peter Galison do in, “The Color of Subjectivity.”
- - - - Georgina Kleege goes on to depict how blindness is depicted within cultural context and how she believes some of these interpretations become, “Problematic," and therefore oppressive.
        
        She believes that using blindness as a metaphor for concepts such as ignorance contributes to the, "Othering," of blind people from the norm.
        
        Kleege examines the idea that sight seems to be linked to empathy in cultural contexts. This leads to an unfortunate assumption that blind individuals possess less empathy than those with sight.
      - Connected to Georgina Kleege’s, “Molyneaux Redux,” wherein she explores the harmful affects of producing this mindset in culture by creating a hypothetical scenario.
        
        Connected to Oliver Sacks, “To See and Not See,” where he explores the diversity of blindness as Kleege does here.
        
        Connected to H.G. Wells, "Country of the Blind," where the tropes Kleege mentions are subverted in that it is the blind society who is able to, "see," better then the ignorant protagonist.
        
        Connected to Claudia Rankine’s,Citizen in the way, "othering," can be oppressive and harmful.
        
        In class, it was noted that blindness in culture is associated with moral depravity. I.E. Phrases such as: "Eye opening," or the idea of, “Enlightenment.”
        
        Richard Dryer’s, “White,” also talks about how films produce bad cultural stereotyping in relation to minority groups.
        
        Lorna Simpson’s, Darkening explores Kleege's idea of, "othering," and its oppressiveness.
    - - Kleege constructs a theoretical tale of a girl snatched up by researchers who propose to fix her site. Through this narrative, the girl’s slow dehumanization and commodification done by the researchers is intensely highlighted.
        
        "...they are not interested in the lived experience of blind and visually impaired people. They only care about the degree to which her brain adapts to her new vision, not the choices she might make about how and when to use it" (Kleege).
        
        While the tale is theoretical, it parallels the social realities blind individuals navigate in a society that oppresses them
      - Connected to Georgina Kleege’s, “Blindness and Visual Culture: An Eyewitness Account,” because this scenario is a result of harmful cultural connotations with being blind.
        
        Connected to H.G. Wells, "Country of the Blind," and its themes of oppressive assimilation.
        
        Connected to Oliver Sacks, “To See and Not See,” in that it explores the diverse feelings of the blind girl about her, "blindness."
        
        Franz Fanon,”The Fact of Blackness,” in the idea that the girl whose being tested on is being, "othered," like Fanon's character.
        
        Seph Rodney, “Lorna Simpson Searches for Meaning in the Arctic Ice,” wherein Rodney explores how to navigate an environment that desires to obscure one's self.
        
        Lorna Simpson, Darkening in terms of exploring the feelings of, "otherness."
        
        Connected to the concept of being hypervisible: That can be seen beyond what is visible; that by its nature is constructed as an excessive object of sight; exposed. The individual in Kleege’s work possesses heightened visibility wherein they are magnified at a particular place or time, or by a particular person. Yet, their subjectivity is often overlooked which makes them feel, “overseen.”
    - - In Kieslowski’s, Three Colors: Blue the protagonist, Julie loses her husband and daughter in a car accident. Throughout the movie, the color blue is the last grounding to Julie’s connection to reality as she navigates her depression. She repeatedly tries to obscure the color blue such as the scene wherein she eats the blue lollipop and buries the memories of her daughter. The boy that witnesses the crash also acts as Julie’s last grounding and connection to reality. Yet throughout the film, Julie tries to oppress the color blue as exhibited through the lollipop eating scene.
      - Connected to the analysis of blue as a symbolic plot device Carol Mavor mentions in, Blue Mythologies.
        
        Connected to the ways in which Derek Jarman explores blue as a grounding device to his reality in, “Into the Blue.”
        
        Connected to Yves Klein’s, “The Evolution of Art towards the Immaterial,” wherein blue retains an undefinable nature to the way the main character relates to the color.
        
        Connected to the variety of cultural connotations blue has when it comes to color theory which Maria Popova presents in, 19th Century Insight into the Psychology of Color and Emotion.
        
        Connected to Derek Jarman’s film, Blue where blue is used to demonstrate emotional turmoil similar to the main character in Kislowski’s film.
        
        Connected to the way the color blue is used in, Mother of George, as a human grounding device for the mother.
        
        Connected to Joseph Albers’, Interaction of Color, in the sense that Kieslowski uses the color blue to create differentiating visual perceptions dependent on lighting settings.
  - - - Rankine goes to great lengths to describe the ways in which society uses the dichotomy between feeling invisible and overexposed to suppress minority groups like African Americans, "Hold up, did you just hear, did you just say, did you just see, did you just do that? Then the voice in your head silently tells you to take your foot off your throat because just getting along shouldn’t be an ambition” (15).
      - Connected to Ralph Ellison’s, Invisible Man where the main character also deals with the conflict of being hypervisible yet also invisible.
        
        Connected to Franz Fanon’s, “The Fact of Blackness,” in terms of dealing with the concept of, "otherness," black individuals face in society.
        
        Connected to Derek Jarman’s, “Into the Blue,” who explores his hypervisibility as a gay man during the AIDs crisis.
        
        Connected to Andrew Dosunmu’s, Mother of George in that Adenike is hypervisible by her husband's family and the surrounding pressure to assimilate into Brooklyn's dominate culture.
        
        Connected to Derek Jarman’s film, Blue wherein Jarman explores the idea of the hypervisibility during the AIDs crisis.
        
        Connected to Plato’s, The Allegory of the Cave in the way that the narrator faces immense pain in discovering the truth of her oppression.
        
        Connected to Michael Foucault’s, “Panopticism,” in the way that the narrator is constantly watched and surveyed by the surrounding white culture as a form of control.
    - - Ralph Ellison uses metaphorical comparisons between invisibility and contradictions of concepts that demonstrate the oppression he faces. These topics include:
        
        Light and Dark
        
        Form and formlessness.
        
        Black and white.
        
        The story is about a struggle to retain one's humanity as a black man amidst the contradictions of white society, “Nor is my invisibility exactly a matter of biochemical accident to my epidermis. The invisibility to which I refer occurs because of a peculiar disposition of the eyes of those with whom I come in contact. A matter of the construction of their inner eyes, those eyes with which they look through their physical eyes upon reality” (3-4).
      - Connected to Claudia Rankine’s, Citizen in the ways that the main narrator struggles with feelings of invisibility and hypervisibility.
        
        Connected to Michael Foucault’s, “Panopticism,” in the idea that the main character always feels like he is being surveyed by the surrounding white culture
        
        Connected to David Batchelor’s, “Whitescapes,” in the ways that whiteness is culturally invasive to the narrator's blackness.
        
        Connected to Plato’s, The Allegory of the Cave in that the narrator experiences near blinding pain upon discovering the truth. This is represented through the light bulbs.
        
        Connected to Franz Fanon’s, “The Fact of Blackness,” wherein the narrator also undergoes an existential crisis due to his constant, "othering."
        
        Connected to Lorna Simpson’s, Darkening in the ways that it explores the concept of racial obscurity.
        
        Connected to Shawn Michelle Smith’s, “Photography, Darkness, and the Underground Railroad: Dawoud Bey’s Night Coming Tenderly, Black,” in the ways in which black suffrage is put on visible display for white society.
    - - 1.Connected to Richard Dyer’s, “White,” wherein white is associated with the idea of purity and qualities of, “Good.”
        
        Connected to Hilaria Loyo’s idea of the archetypal, “Blinding Blonde,” which Marlene Dietrich’s character represents in this film.
        
        The film plays into the oppressing bigoted stereotypes of, “the other,” that Claudia Rankine mentions in, Citizen.
        
        The film also possesses a variety of racial stereotyping that Franz Fanon mentions in, “The Fact of Blackness,” wherein blackness is associated with savagery.
        
        The film plays into the idea that white represents, “purity,” and, “goodness,” shown when Dietrich removes herself from the restrictive gorilla suit.
        
        Whitewashing on a racial basis takes place within this film. The idea of whiteness being associated with superiority over blackness ties into the ideas Le Corbusier presents in, “A Coat of Whitewash: The Law of Ripolin.”
        
        Whiteness is associated with beauty as Herman Melville mentions in, “The Whiteness of the Whale.”
      - In the film, Blonde Venus, Marlene Dietrich represents both a cultural and literal image of whiteness. Particularly, in the, “Hot Voodoo,” sequence Dietrich emerges from an ape suit dressed as a white African queen. Essentially, she is a form of whiteness that unveils itself from a supposed strained black body which is represented through the ape suit. Thus, whiteness takes on an invasive quality in relation to blackness, both culturally and literally.
    - - The problematic tropes Richard Dyer mentions surface in the Sternberg’s, Blonde Venus where whiteness is associated with moral goodness.
        
        Hilaria Loyo’s idea of the archetypal, “Blinding Blonde,” plays into Richard Dyer’s idea of whiteness being associated with, “Good,” and black as, “Bad.”
        
        Richard Dryer mentions that colors of darkness and black are often presented as figures of corruption in the west like Christopher Turner and Victor I. Stoichita both do in, “A Short History of the Shadow: an Interview with Victor I. Stoichita.”
        
        In Hans Christian Andersen’s, "The Shadow,” the shadowy figure that splits off from the main character is seen as a symbol of evil.
        
        Again, this ties into Le Corbusier’s idea of whiteness being associated with a form of purity presented in, “A Coat of Whitewash: The Law of Ripolin.”
        
        In, “The Fact of Blackness,” Franz Fanon talks about how his skin color positions him as an, “Evil,” in society.
        
        Connected to the idea that, “Color,” in the west is associated with corruption as David Batchelor presents in, “Chromophobia.”
      - In Richard Dyer’s, “White,” the author attempts to examine the harmful cultural connotations that come with placing the colors, “white,” and, “black,” in categories that prove to be incredibly binary. For instance, Dyer refers to the idea of associating the color, “black,” with evil and the color, “white,” with safety or security. Other problematic concepts he explores in films include the trouble with referring to, “white,” as orderly and, “black,” as chaotic. By doing this, Richard Dyer tries to encourage a further cultural deconstruction and detachment from these associations.
    - - Josef von Sternberg uses the blinding blonde trope in his film, Blonde Venus. In the film, Marlene Dietrich is a representation of this trope.
        
        Loyo’s topics tie into Richard Dyer’s idea in, “White,” wherein white is associated with being a work of, “Good.”
        
        Again, this ties into Le Corbusier’s idea of whiteness being associated with a form of purity presented in, “A Coat of Whitewash: The Law of Ripolin.”
        
        Connected to David Batchelor’s idea of non-color representing purity in his work, “Chromophobia.”
        
        Connected to Syreeta McFadden’s idea of how whiteness tends to be centered in, “Teaching the camera to see my skin.”
        
        Connected to David Batchelor’s idea of blinding and invasive whiteness in, “Whitescapes.”
        
        Connected to Lorna Simpson’s, Darkening, in that a blinding white glacier is centered amongst its dark surroundings much like the, “blinding blonde,” archetype.
      - In, “Blinding Blondes: Whiteness, Femininity, and Stardom,” Hilaria Loyo deconstructs what she believes to be a harmful archetype known as the, “blinding blonde.” In cinema, the blinding blonde serves as a representation of, “pure,” whiteness.
    - - Jared Sexton explores the cultural discourse pertaining to the idea of owning a color and producing capital off of it, “In ‘The Case of Blackness,’ Moten pursues an extended criticism of Reinhardt’s attempts to contain, to quarantine, blackness and blacks from the color black in order to pursue his creative practice as formal purification: ‘art-as-art.’” (Sexton).
      - Both cultural and visual connotations of blackness are explored, similar to Georgina Kleege’s, “Blindness and Visual Culture: An Eyewitness Account,” wherein she does this with the idea of, “Being blind.”
        
        Reinhardt’s attempt to quarantine black individuals parallels the ideas of obscurity covered in Trinh Minh-Ha’s, “The Image and the Void.”
        
        Attempting to, “other,” black individuals from the color black parallels the feelings of invisibility Claudia Rankine faces in, Citizen.
        
        In a sense, Ad Reindhardt attempts to assimilate the color black by removing it of all cultural connotations which parallel the struggles of the main character in H.G. Wells’, The Country of the Blind.”
        
        In, “The Fact of Blackness,” Franz Fanon’s character feels pressure to assimilate with the majority culture which parallels what Reindhardt wishes to do to the color black.
        
        The main character in Ralph Ellison’s, Invisible Man also feels the pressure of assimilation by the dominant white majority.
        
        LaFarge explores the concepts of cultural subjectivity which Lorraine Daston and Peter Gallison touch loosely on in, “The Color of Subjectivity.”
    - - Attempting to, “other,” black individuals from white society parallels the feelings Claudia Rankine’s main character in, Citizen.
        
        The main character in Ralph Ellison’s, Invisible Man also feels the consuming sense of suffering in his own black body paired with existing as an, “other.”
        
        The main character in H.G. Wells’, “The Country of the Blind,” faces a sense of, “othering,” like Fanon experiences when he stumbles upon a village where the majority of people are blind.
        
        Franz Fanon’s character feels that he is being obscured and censored by those around him, similar to the feelings Trinh Minh-Ha covers in, “The Image and the Void.”
        
        The normalization of, “othering,” is also explored in Robin Coste Lewis’, “Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson.” Similar to Fanon, she explores how racism has been normalized just as concepts such as climate change have.
        
        In Syreeta McFadden’s, “Teaching the camera to see my skin,” McFadden talks about how she suffers from feeling othered by the way that cameras are constructed to favor white skin.
        
        Concepts such as being oppressed by hypervisibility as the narrator of Fanon’s work feels are illustrated in, “Photography, Darkness, and the Underground Railroad: Dawoud Bey’s Night Coming Tenderly, Black.” Here, Smith ponders on the ethics of black suffering being put on display for viewing by other white people.
      - Franz Fanon explores the feeling of being, “othered,” in the story, “The Fact of Blackness," as he reflects, “I wanted to rise, but the disemboweled silence fell back upon me, its wings paralyzed. Without responsibility, straddling Nothingness and Infinity, I began to weep” (265).
  - - - By using the metaphor of prisoners trapped in a cave who can only see shadows along the walls, Plato demonstrates how humans remain in their own ignorance due to the pain truth brings.
        
        Through, The Allegory of the Cave, Plato reflects, “Those with the power to manipulate images moreover though who do not have this power.”
        
        Consequently, the only way who can make it out of this theoretical, “Cave,” is the philosopher. The philosopher is the, “Resistance,” against tyranny.
        
        Both light and dark act as forces of oppression.
      - Connected to Hans Blumenberg’s, “Light as Metaphor for Truth: At the Preliminary Stage of Philosophical Concept Formation,” as light represents truth in Plato’s allegory.
        
        Connected to Claudia Rankine’s, Citizen as seeing the, “literal,” truth causes the narrator a great sense of pain and suffocation as Plato mentions.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” in touching on the concept of how the oppressors disclose the truth by manipulating what the general populace is able to see to keep them in ignorance.
        
        Connected to Michael Foucault’s, “Panopticism,” in the way that what one perceives can be manipulated to benefit oppressive structures.
        
        Connected to Trevor Paglen’s, “Invisible Images (Your Pictures Are Looking at You),” in that the manipulation of images keeps people in a blissful ignorant state.
        
        Connected to Hans Christian Anderson’s, “The Shadow,” wherein the shadows the prisoners are shrouded in essentially consume their identities.
        
        Connected to Ralph Ellison’s, Invisible Man, in that the character retreats to a dwelling wherein he illuminated the entire space in bright light bulbs to keep himself sane from the shadows of the outside world. Light is once again being used as a metaphor for truth.
    - - In the, "Panopticon," the guards can see the prisoner but the prisoner’s cannot see the guard. This ignites the feeling that someone is, “Always,” watching.
        
        This also produces the feeling of a faceless gaze, thus this becomes a way of control through surveillance.
        
        This produces the inequality that it also responds to.
      - Connected to the ideas of being surveyed like Claudia Rankine’s character undergoes in, Citizen.
        
        Connected to the ideas of being surveyed by physical cameras of the oppressor like Theo Anthony presents in the film, All light Everywhere.
        
        Connected to the ways in which Ralph Ellison’s narrator in, Invisible Man, is surveyed upon by white society.
        
        Connected to Trevor Paglen’s, “Invisible Images (Your Pictures Are Looking at You),” who demonstrates the ways in which AIs manipulate images as a subtle means of surveillance.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” wherein she talks about how the oppressors manipulate what individuals below them are allowed to perceive in the media. This is another form of Foucault’s Panopticon.
        
        Connected to Vito Acconci’s, Following Piece, wherein he attempts to the extent individuals can be surveyed in, “public,” spaces. He experiments with this by following women around.
        
        Connected to Sophie Calle’s, Suite Vénitienne, who like Acconci follows a man around except she follows him into private spaces to see how far she can push her method of surveillance.
    - - Within the article, “Invisible Images (Your Pictures Are Looking at You),” Paglen explores the invasiveness of AIs within modern visual culture, “Human visual culture has become a special case of vision, an exception to the rule. The overwhelming majority of images are now made by machines for other machines, with humans rarely in the loop. The advent of machine-to-machine seeing has been barely noticed at large, and poorly understood by those of us who’ve begun to notice the tectonic shift invisibly taking place before our very eyes” (Paglen). Paglen toys with the idea that this invasiveness may be another form of AIs created to oppress, control, and regulate what individuals perceive.
      - Connected to Michel Foucault’s, “Panopticism” as Paglen believes AI’s are being utilized as a subtle form of surveillance and control.
        
        Connected to Syreeta McFadden’s, “Teaching the camera to see my skin,” where she mentions how cameras are constructed around preferring white bodies. This is used as a subtle means of control.
        
        Connected to Theo Anthony’s film, All light Everywhere, wherein he talks about how cameras tend to always be utilized as tools of the oppressing class.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” wherein she talks about how pictures and cameras can be used as a way of obscuring entities as a form of surveillance.
        
        Connected to Hito Steyerl’s, How Not to be Seen: A Fucking Didactic Educational.MOV, wherein he physically explains how the camera can manipulate individuals into being invisible. Or conversely how individuals can hide themselves from the sight of the camera.
        
        Connected to the manipulation of what images are seen in particular as Shawn Michelle Smith covers in, “Photography, Darkness, and the Underground Railroad: Dawoud Bey’s Night Coming Tenderly, Black.” Here, Smith ponders upon how black suffering is seen as a spectacle to gaze at in exhibits within white society.
        
        Connected to feelings of visibility and hypervisibility as discussed in Claudia Rankine’s, Citizen.
    - - In the skit, individuals attempt to hide from the camera, likely to avoid being shot or blown up. Unfortunately, the narrator of the skit seems to know the locations of the people in hiding and blows them up regardless if they choose to reveal themselves to the camera.
      - Connected to Hito Steyerl’s,How Not to be Seen: A Fucking Didactic Educational.MOV, wherein he physically explains how individuals can physically hide themselves from the camera.
        
        Connected to Michel Foucault, “Panopticism” with the idea that the camera is able to see all the individuals even when they are hidden from the frame.
        
        Connected to the concept of optics which is the politics of positioning
        
        Connected to Theo Anthony’s film, All light Everywhere wherein the camera is used as a, “literal,” weapon against individuals in the skit.
        
        Monty Python asks and explores the question, “Can you actually duck out of these technologies of control?” Yet, he explores the concept through physical comedy.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” with how the camera can be used as a literal tool to oppress individuals.
        
        Connected to Sophie Calle’s, Suite Vénitienne, who takes her camera and follows a man around into private and public spaces. She uses the camera as an, “all seeing eye,” like it is presented in Monty Python’s skit.
    - - The filmmaker notes that body cameras distort the world in front of it and obscures the body of the police officer.
        
        The filmmaker gives the Axon individual directions, as a means of showing how individuals’ actions can be manipulated through the camera’s surveillance and oppression.
      - Connected to Michel Foucault, “Panopticism,” as cameras in the film are utilized and weaponized as a way to integrate the feeling that, “someone is always watching.”
        
        Connected to Trevor Paglen’s, “Invisible Images (Your Pictures Are Looking at You),” who also speaks on how the camera is able to manipulate images for forms of control.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” wherein the camera is weaponized by the CCP as a tool of surveillance against the oppressed class.
        
        Connected to the ideas of hypervisibility in relation to black individuals as discussed in Claudia Rankine’s, Citizen.
        
        Connected to the ideas of hypervisibility in relation to black individuals as discussed by Shawn Michelle Smith in, “Photography, Darkness, and the Underground Railroad: Dawoud Bey’s Night Coming Tenderly, Black.”
        
        The camera follows individuals into public spaces like Vito Acconci does in his, “Following,” piece.
        
        The camera follows individuals into public and private spaces like Sophie Calle does in her piece, “Suite Venitienne.”
  - - - Christopher Turner interviews Victor I. Stoichita, a Professor of Modern and Contemporary Art at the University of Fribourg about the complex psychological meanings of shadows in culture. Some of these psychological interpretations remain repressive in nature.
        
        Using a variety of samples, Stoichita specifically reflects, “The representations of the battle with one’s shadow shows once more that in the West’s old symbolic culture, the shadow was the enemy and the other” (Stoichita & Turner).
      - Connected to Hans Christian Anderson’s, “The Shadow,” wherein the shadow represents the enemy.
        
        Connected to Plato’s, The Allegory of the Cave, wherein the shadows in the cave represent ignorance and oppression or the enemy.
        
        Connected to Ralph Ellison’s, Invisible Man, though he somewhat subverts the trope of shadows being, “the other.” In the novel, the shadows of the outside world represent evil in the form of bigotry to the point where the main character escapes into his light bulb shrouded room to retain his sanity.
        
        Connected to Richard Dyer’s, “White,” wherein he mentions how western films use shadows and the color black as a representation of evil or, “the other.”
        
        Connected to Igmar Bergman’s, Persona wherein shadowy objects are often used to symbolize evil or some form of discontent.
        
        Connected to Lorna Simpson’s, Darkening who uses shadows to illustrate her experience being, “othered,” on a literal basis.
        
        In the film, Blonde Venus, filmed in black and white the darker colors are often associated as an, “other.” In a sense, the shadows are painted as a form of savagery.
    - - Connected to Richard Dyer’s, “White,” wherein he mentions troubling concepts such as white being attached to connotations of purity.
        
        Connected to David Batchelor’s, “Chromophobia,” where he also proposes the idea that western culture associates the idea of color with corruption.
        3.Connected to Hilaria Loyo’s, “Blinding Blondes: Whiteness, Femininity, and Stardom,” who brings up the concept of whiteness in films’ female blonde roles retains a troubling association with purity and incorruption.
        
        Connected to Le Corbussier’s idea that white has a moral connotation and is a manifestation of supposed, “high morality.”
        
        Connected to Yves Kleine’s, Le Vide, piece wherein he explores the concept of an invasive white color in a similar empty minimalistic setting.
        
        Connected to Herman Melville’s idea that pure white contains an oppressive or, “ghastly,” quality.
        
        Connected to Syreeta Mcfadden’s idea in, “Teaching the camera to see my skin,” that white contains an all consuming quality that, “others,” darker colors. She also mentions how culture tends to favor whiteness to an oppressive standard.
      - In, “Whitescapes,” Batchelor makes the claim that there may be some problematic cultural issues centering around a specific hue of white in minimalistic designs, “There is a kind of white that is more than white, and this was that kind of white. There is a kind of white that repels everything that is inferior to it, and that is almost everything. This was that kind of white” (10).
        
        There is an oppressive quality to a minimalist version of white.
    - - Connected to David Batchelor’s, “Whitescapes,” wherein he mentions the invasive superiority the color white seems to possess.
        
        Connected to David Batchelor’s, “Chromophobia,” wherein he mentions how Western cultures tend to associate colors that aren’t white with moral depravity.
        
        Connected to Josef von Sternberg’s film, in that Dietrich’s character and her whiteness represent a superiority over the, “savagery,” of darker colors.
        
        Connected to Hilaria Loyo’s idea of blinding blondes as an archetypal representation for moral superiority in, “Blinding Blondes: Whiteness, Femininity, and Stardom.”
        
        Connected to Christopher Turner and Victoria I. Stoichita’s, “A Short History of the Shadow: an Interview with Victor I. Stoichita,” wherein they talk about how shadows represent evil and lighter objects tend to be seen as morally, “good.”
        
        Connected to Richard Dyer’s, “White,” wherein he explores how white tends to be utilized as a symbol for moral purity.
        
        Connected to Yves Klein’s, Le Vide piece wherein he explores the moral authority, superiority, and invasive quality of a whitewashed room.
      - Le Corbussier attempts to make the case that the actions of whitewashing possesses an oppressive moralistic connotation, “Whitewash is extremely moral. Suppose there were a decree requiring that all the rooms in Paris be given a coat of whitewash. I maintain that this would be a police task of real stature and a manifestation of high morality, the sign of a great people” (83).
    - - For Klein, the Le Vide piece is used as a place for him to explore the concept of oppressive whitewashing in the realm of art using a completely void and unfurnished space.
      - Similar to Yves Klein’s other piece, Untitled White Monochrome, wherein he explores the qualities of an object drenched in complete whiteness.
        
        Similar to the oppressive and blinding white room David Batchelor mentions in, “Whitescapes.”
        
        Similar to Ad Reindhardt’s pure black monochromes that seem to overwhelm the viewer like Klein’s room does.
        
        Similar to Derek Jarman’s film, Blue wherein he experiments with one color to produce the feeling of invasiveness. Except Klein uses blue rather then white.
        
        Connected to the idea David Batchelor presents in, “Chromophobia,” wherein there is a moral connotation to the white washed room in the sense that it may seem, “uncorrupted,” to some viewers.
        
        Connected to Le Corbussier’s idea of whitewashing as an invasive sense of moral superiority due to the, “policing,” of furniture.
        
        There is an attempt white makes to keep out shadows, which connects to Christopher Turner and Victor I. Stoichita’s ideas in, “A Short History of the Shadow: an Interview with Victor I. Stoichita,” where shadows exist as figures of moral corruption in western tropes.
    - - Similar to Ad Reindhardt’s pure black monochromes that seem to overwhelm the viewer, except in contrast this monochrome is completely white.
        
        Similar to Yves Klein’s other piece, Le Vide, except he condenses the color white onto a monochrome rather than a completely whitened room.
        3.Also to Derek Jarman’s film, Blue wherein he experiments with one color to produce the feeling of invasiveness. Except Klein uses white not blue.
        
        Connected to Robert Rauschenberg’s, White Paintings, as Rauchenberg also uses white canvases. Yet, instead of using multiple, Klein decides to use one singular color of white to intimidate the viewer.
        
        Similar to the oppressive and blinding white room David Batchelor mentions in, “Whitescapes.”
        6.Connected to the idea David Batchelor presents in, “Chromophobia,” wherein white is all consuming and the lack of color exudes the feeling of prejudice.
        
        Similarly connected to Le Corbussier’s idea of whitewashing as an invasive sense, though here it is more tied to the policing or banishment of other colors.
      - Similar to Klein’s, Le Vide piece is utilized to explore a canvas drenched in complete oppresing whiteness.
    - - David Batchelor argues that color is oppressed within Western Culture, “I want to argue: that colour has been the object of extreme prejudice in Western culture. For the most part, this prejudice has remained unchecked and passed unnoticed. And yet it is a prejudice that is so all-embracing and generalized that, at one time or another, it has enrolled just about every other prejudice in its service” (22).
      - Connected to the topic David Batchelor touched upon earlier in, “Whitescapes,” where the color of minimalist white rooms seems to drive other colors away to reinforce the idea of chromophobia.
        
        Connected to Le Corbussier’s, “A Coat of Whitewash: The Law of Ripolin,” where the idea of no color is associated with a sense of moral superiority.
        3.In Lorna Simpson’s, Darkening the glaciers' overbearing whiteness seems to repel the colors that surround it in an imitation of chromophobia.
        
        Lorraine Daston and Peter Galison in, “The Color of Subjectivity,” explore try to apply thoughts of objectivity to colors just as Batchelor does in an attempt to understand cultural phenomena.
        
        Connected to Yves Klein’s, Le Vide, piece wherein color seems repelled from the room.
        
        Igmar Bergman's Persona is filmed entirely in grayscale despite colored film being available. It is likely that the characters in the film fear the idea of corruption as Batchelor mentions.
        7.In Herman Melville’s, “The Whiteness of the Whale,” he mentions pure white with no color is often associated with beauty and non-corruption.
    - - Acconci selected someone from New York and followed them while taking photos until they entered a private space where Acconci could no longer follow them. Public spaces like cinemas, cafes, etc. he would follow them into.
        
        The camera is used as an oppressive tool of surveillance
      - The camera follows individuals into public spaces like Sophie Calle does in her piece, Suite Venitienne.
        
        Connected to Trevor Paglen’s, “Invisible Images (Your Pictures Are Looking at You),” in that a piece of technology Acconci is holding is following someone around as a form of surveillance.
        
        Connected to Theo Anthony’s film, All Light Everywhere, where the camera is being used as a method of surveillance that follows individuals into public spaces.
        
        Acconci uses Michel Foucault’s methods of, “Panopticism,” to structure the ways he takes his shots.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” in the idea that a camera is always watching individuals as a means of surveillance.
        6.Connected to the uncomfortable sensation of hypervisibility as discussed in Claudia Rankine’s, Citizen.
        
        Connected to the uncomfortable ideas of hypervisibility as discussed in Franz Fanon’s, “The Fact of Blackness.”
    - - Calle follows a Frenchman through the streets of Venice and takes photographs of him. Similar to Acconci’s piece.
        
        She claims she is, “Following the man she loves.” Essentially stalks him and takes repeated photos.
        
        The camera is used an oppressive tool.
      - The camera follows individuals into public spaces like Acconci does in, Following Piece.
        
        Connected to Trevor Paglen’s, “Invisible Images (Your Pictures Are Looking at You),” in that a piece of technology Calle is holding is following someone around as a form of surveillance.
        
        Connected to Theo Anthony’s film, All Light Everywhere, where the camera is being used as a method of surveillance that follows individuals into public and sometimes private spaces.
        
        Acconci uses Michel Foucault’s methods of, “Panopticism,” to structure the ways she takes her shots of the man.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” in the idea that a camera is always watching individuals as a means of surveillance.
        
        Connected to the uncomfortable sensation of hypervisibility as discussed in Claudia Rankine’s, Citizen.
        
        Connected to the uncomfortable ideas of hypervisibility as discussed in Franz Fanon’s, “The Fact of Blackness.”
- - - - Oliver Sacks’ composition centers itself around dissecting differentiating cases of blindness. It reflects the diversity of experiences the people who are diagnosed with blindness interact with the world, "Even though the paths they have followed might seem irreconcilable, both men have "used" blindness (if one can employ such a term for processes which are deeply mysterious, and far below, or above, the level of consciousness and voluntary control) to release their own creative capacities and emotional selves, and both have achieved a rich and full realization of their own individual worlds” (11).
        -Oliver Sacks wants to associate blindness as a form of liberation regarding the other senses.
      - Connected to Georgina Kleege’s, “Blindness and Visual Culture: An Eyewitness Account,” in the way it strips the idea of being blind from being a, "harmful," disability.
        
        Connected to Georgina Kleege’s, “Molyneaux Redux,” in the way it demonstrates that blindness cannot be condensed into a singular experience.
        
        Connected to Franz Fanon’s, “The Fact of Blackness,” in the ways these individuals remain as, "the other," in society.
        
        Connected to Ralph Ellison’s, Invisible Man, in the way that blind individuals are treated as invisible and, "othered."
        
        Connected to H.G. Well’s, “Country of the Blind,” wherein the blind individuals have adapted perfectly well without their sightlessness.
        
        The concept of visual fields not being constituted by site or the ability to see the visual field is constituted by a diverse range of senses and experiences. The way one sees does not necessarily have to mean, “Literal,” sight.
        
        Connected to Claudia Rankine’s, Citizen in that blind individuals' experiences remain obscured by false cultural connotations.
  - - - Connected to John Didion’s, “Los Angeles Notebook,” in the sense of nostalgia one gets for light in Los Angeles.
        
        Connected to the concept of the overbearing brightness that Los Angeles light possesses. When one thinks of light in Los Angeles they think about squinting.
        
        Connected to James Turrel’s, “You Who Look,” who talks about how light is able to manipulate one's perception and feelings in relation to spaces or objects.
        
        Connected to Hans Blumenberg’s, “Light as Metaphor for Truth: At the Preliminary Stage of Philosophical Concept Formation,” in that LA possesses a unique sense of, “...space, distance, orientation, calm contemplation.”
        
        Connected to Maria Popova’s analysis of color theory in, “19th Century Insight into the Psychology of Color and Emotion,” in the ways in which Los Angeles light makes individuals feel a sense of restfulness to its differentiating shades that affect the colors of the sky.
        
        Connected to the concept of LA’s, “golden light,” that’s surfaces in Hollywood films.
        
        Connected to Victor Fleming’s, The Wizard of Oz in that the rainbow colors of the film parallel the rainbow colors of Los Angeles light.
      - LA’s light has a distinctive quality that isn’t found in other cities, which Weschler tries to pointedly state within this New Yorker article that fills individuals with a sense of liberating nostalgia.
        
        From Welchler's perspective, his love of LA's light is derived from a sense of nostalgia for the city's peculiar light scape, "And a weird thing is how that light yields a simultaneous sense of distance and of flatness: things seem very sharp up close and far away, with nothing in between. And the uncanny result is that you lose yourself--some--how not outwardly but, rather, inwardly. Here the light draws you inward” (2).
    - - Connected to Lawrence Weschler's, “LA Glows,” as Didion also taps into the nostalgia of LA’s naturalistic lighting.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” with the way she possesses unique associations with natural disasters.
        
        Connected to James Turrell’s concepts of naturalistic light in, “You Who Look,” in the ways that light can leave unique imprints within the mind.
        
        Also connected to the concept of LA’s, “golden light,” that surfaces in Hollywood films. Though this time, the fires produce that naturalistic lighting hue.
        
        Connected to Maria Popova’s, “19th Century Insight into the Psychology of Color and Emotion,” with how Los Angeles light makes individuals feel a certain way due to its differentiating shades that affect the colors of the sky.
        
        Connected to the idea of Los Angeles light possessing a blinding quality to the point where one must squint.
        
        Connected to Plato’s, The Allegory of the Cave, in terms of light being blinding and invasive to the individual who escaped the cave.
      - Joan Didion describes her social experiences with Los Angeles light through the various burnings of the Santa Ana fires.
        
        Didion observes the same from other individuals who remark that the image of the Santa Ana fires have been ingrained in their minds when they think about Los Angeles' light, "The city burning is Los Angeles’s deepest image of itself: Nathanael West perceived that, in The Day of the Locust; And at the time of the 1965 Watts riots what struck the imagination most indelibly were the fires. For days one could drive the Harbor Freeway and see the city on fire, just as we had always known it would be in the end.”
        
        There is a sense of individualism in the way Didion describes her nostalgic feelings in relation to the Santa Ana fires.
    - - Hans Blumenberg conceptualizes light through a liberating lens, “Light produces space, distance, orientation, calm contemplation: it is a gift that makes no demands, the illumination capable of conquering without force” (31).
      - Connected to James Turrel’s, “You Who Look,” video because he uses the same methods Blumenberg mentions in constructing his architectural piece.
        
        Blumenberg touches upon the concept of light’s inaccessibility and the abilities it possesses to produce elusive qualities despite being an intangible force.
        
        Connected to Stanley Cavell’s, “The World as a Whole: Color,” in that Cavell mentions the similar abstractive qualities Blumenberg mentions with how colors can produce, “space, distance, orientation, calm contemplation.”
        
        Connected to Robert Rauschenberg’s, White Paintings, as Rauchenberg toys with light's ability to create different orientations in his white canvases.
        5.Yves Klein in, “The Evolution of Art towards the Immaterial,” touches upon blue’s immateriality which Blumenberg connects to the qualities of light.
        
        Connected to Yves Klein's Le Vide piece wherein he explores the way light interacts and shapes the orientation with his completely white empty space.
        7.Connected to Igmar Bergman’s film, Persona, wherein he explores the space and orientation light creates with his two main characters.
    - - Daston and Galison attempt to discern the meanings of the subjectivity and objectivity of color as a way of exploring its form, “As in the case of number, Frege attempted to reconquer as much scientific territory as possible from the private realm of the subjective- here venturing into what the late 19th century sciences of mind had staked out as the inner keep of the incommunicable. Other proponents of structural objectivity, however, accepted the psychophysiological account of color as the ineffable personal experience par excellence and sought a science that could open windows for the closed-in self” (283).
      - Connects to the concept that each color has its own constant measurement that is not solely a physical property or quality.
        
        Daison and Gallison’s analysis of color’s structural objectivity in relation to subjectivity helps explain the ideas Maria Popova’s presents in, 19th Century Insight into the Psychology of Color and Emotion.
        
        In Walter Benjamin’s, “A Child’s View of Color,” explores the subjectivity that children apply to all the colors.
        
        In Joseph Alber’s Interaction of Color he explores the objective facets of colors.
        
        In the article, “LA Glows,” Lawrence Weschler explores how the differentiating colors light produces in LA derives specific subjective feelings of nostalgic associations.
        
        In the film, The Wizard of Oz, Victor Fleming uses the subjective associations with color to create a fantastical world of whimsy.
        
        In Stanley Cavell’s, “The World as a Whole: Color,” he explores how Fleming employs subjective associations of color in order to create specific feelings in his audience.
    - - Children possess their own subjective view of color as Lorraine Daston and Peter Galison discuss in, “The Color of Subjectivity.”
        
        Connected to Maria Popova’s, 19th Century Insight into the Psychology of Color and Emotion, in that differentiating colors will create differentiating associations amongst the children that view them through their, “pure eyes.”
        
        Connected to David Batchelor’s, “Chromophobia,” in the idea that children are liberated from this feeling because they do not possess the cultural baggage that makes certain colors uncomfortable.
        
        Victor Flemings, The Wizard of Oz, is constructed off a child’s unrestrained perception of color.
        
        Color possesses a pure and child-like sense of wonderment that Benjamin seems to imply which is why western culture is adamant about, “othering,” it.
        
        The daughter in Krzysztov Kieslowski’s film, Three Colors: Blue, innocently waves around a blue wrapping paper as she has no conception of blue’s cultural connotations of, “Coldness.”
        
        In Carol Mavor’s, Blue Mythologies the striking blue lollipop features in Three Colors: Blue, represents childhood purity and innocence which the mother in the film consumes.
      - In Walter Benjamin’s, “A Child’s View of Color,” the author describes the concept of color from a child’s point of view. He claims that children see through, “pure eyes,” and so they do not feel emotionally discomforted by color. Therefore, children have a spiritual and excitable connection to color with no boundaries or thoughts of restraint. Color is essentially liberation to them.
    - - Connected to Monty Python’s, “How Not to Be Seen,” wherein individuals try to obscure themselves from the camera’s view.
        
        Connected to Theo Anthony’s film, All light Everywhere, wherein the manipulation of the camera’s gaze is also explored.
        
        Connected to Trevor Paglen’s, “Invisible Images (Your Pictures Are Looking at You),” who also speaks on how the camera is able to manipulate images for forms of control.
        
        Connected to Syreeta McFadden’s, “Teaching the camera to see my skin,” who speaks on how images of cameras can be manipulated to obscure the color black as a means of making black individuals invisible.
        
        Connected to Trinh Minh-Ha’s, “The Image and the Void,” who talks about how individuals can physically be taken out of shots for the oppressor’s benefit.
        6.Connected to Michel Foucault's “Panopticism” in the way that the camera retains the gaze of an “all seeing eye,” that individuals attempt to duck away from.
        
        Steyerl also explores the question, “Can you actually duck out of these technologies of control?” He does this through physical means.
      - In Hito Steyerl’s, How Not to be Seen: A Fucking Didactic Educational.MOV File, the robotic sounding narrator explores all the various ways individuals have the ability to disclose themselves from the camera’s field of view. He explores examples such as shrinking a person down to a pixel, hiding themselves away in a green screen, and physically hiding themselves from the shot.
  - - - In the video, "You Who Look," James Turrell creates an architectural structure that manipulates the way individuals perceive light in the sky as a form of artistic liberation.
        
        It is an abstract piece that shifts qualities of the sky, such as color and visibility, "So, this is something of taking the nature of perception into nature. Telling the story of how we see the sky and how our perception of seeing forms the sky” (03:35-03:41).
      - Connected to Hans Blumenberg’s, “Light as Metaphor for Truth: At the Preliminary Stage of Philosophical Concept Formation,” as Turrel constructs his architectural designs that produce the feelings Blumenberg mentions dealing with, “...space, distance, orientation, calm contemplation.”
        
        Connected to Maria Popova’s, “19th Century Insight into the Psychology of Color and Emotion,” as Turrell manipulates the light to produce differentiating colors that make the viewers feel certain emotions that parallel color theory.
        
        Connected to Lawrence Weschler’s, “LA Glows,” in the way Turrell mentions that naturalistic facets have the ability to stir up different senses such as the feeling of tranquility.
        
        Connected to Andrew Dosunmu’s, Mother of George with how Turrel also uses a variety of blues and golds in his architectural designs.
        
        Connected to Robert Rauschenberg’s, White Paintings, who uses white canvases to manipulate the way light interacts with color much like Turrell
        
        Connected to the way Victor Fleming uses colors in, The Wizard of Oz, to create a fantastical and unreal expectation.
        
        Connected to Joseph Albers’, Interaction of Color, in the ways he uses colors and light to create illusions.
    - - Essentially, Lafarge does a lot of work to associate the color black with freedom and the quality of being unrestrained, “The space of refusal is also the space of imagination. You can sit in the darkness for as long as you like, staring blindly at nothing, and see what you will” (LaFarge).
      - Carrie Mae Weems in, Colored People, Slow Fade to Black, racially liberates blackness through her series of photos that center black individuals. This contrasts the usual centering of whiteness and possesses a sense of freedom that LaFarge mentions.
        
        Dawoud Bey also uses black to visually and culturally represent freedom in his series of photos showing grayscale paths of the roads African Americans took for freedom in, “Night Coming Tenderly, Black.”
        
        In Hans Christian Anderson’s, “The Shadow,” the figure of the black shadow represents a being of unrestrained prowess when it segregates itself from the man.
        
        Connected to Shawn Michelle Smith’s, “Photography, Darkness, and the Underground Railroad: Dawoud Bey’s Night Coming Tenderly, Black,” in that on a racial basis an unrestrained detailing of the Underground railroad has been put on display without obscurement.
        
        In Giorgio Agamben, Potentialities (200) it is stated, ““The greatness—and also the abyss—of human potentiality is that it is first of all potential not to act, potential for darkness.”
        
        LaFarge attaches a liberating and healthier cultural connotation to black like Kleege does in, “Blindness and Visual Culture: An Eyewitness Account.”
        
        The color of blackness is associated with freedom as opposed to white’s blindness as presented in, “Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson.”
    - - In Maria Popova’s, “19th Century Insight into the Psychology of Color and Emotion,” she goes in depth in explaining Goethe’s color theory, “...ideas derived by the poet's intuition, which are part entertaining accounts bordering on superstition, part prescient insights corroborated by hard science some two centuries later, and part purely delightful manifestations of the beauty of language.”
        
        A way of creating artistic freedom.
      - Links to Joseph Albers’ Interaction of Color wherein he uses color theory to construct his deceptive illusions with color.
        
        Lorraine Daston and Peter Galison’s, “The Color of Subjectivity,” talk about how colors carry differentiating subjective connotations for differentiating individuals which color theory attempts to examine.
        
        Victor Fleming’s film, The Wizard of Oz, uses the concepts found in color theory to create feelings of whimsy and fantasy.
        
        Krzysztov Kieslowski’s film, Three Colors: Blue employs color theory in associating the color blue to symbolize coldness and an earthly grounding.
        
        The film, Mother of George, uses a variety of colors such as blue and gold to subconsciously affect the viewers. For instance, Andrew Dosunmu uses blue to ground the characters while gold creates a regal effect as explored in color theory.
        
        The film, Blue, by Derek Jarman also uses blue as a cold color as associated in color theory.
        
        James Turrell plays with the idea of color theory when he manipulates the way light reflects colors in, “You Who Look.”
    - - Joseph Albers uses his color exercises and illusions as a form of artistic liberation, “Practical exercises demonstrate through color deception (illusion) the relativity and instability of color. And experience teaches that in visual perception there is a discrepancy between physical fact and psychic effect."
      - Albers uses Maria Popova’s ideas she presents about color theory in, 19th Century Insight into the Psychology of Color and Emotion.
        
        Joseph Albers uses colors to an elusive effect like Victor Fleming does in his film, The Wizard of Oz.
        
        Joseph Albers manipulates colors to construct illusions like James Turrell does with the way light bounces off his architecture designs in, “You Who Look.”
        
        In the film, Blue, Derek Jarman plays with illusions to make the color blue appear in differentiating ways.
        
        In Carrie Mae Weems’, Colored People, Slow Fade to Black, she uses differentiating color schemes to create different visual perceptions of the people in her photos.
        
        In Syreeta McFadden’s article, “Teaching the camera to see my skin,” she also manipulates the colors of the shot in order to manipulate how her audience perceives her photos along with the people in them.
        
        In Mother of George, Andrew Dosunmu uses lighting to change the visual perception of the blues and golds evident in the film.
    - - Connected to Victor Fleming’s, The Wizard of Oz, as Cavell states that in the film color establishes a powerful feeling of the fantastical and whimsy.
        
        Connected to the feelings color theory enacts as analyzed by Maria Popova in, 19th Century Insight into the Psychology of Color and Emotion.
        
        Stanley Cavell tries to analyze colors in film through an objective and measured analysis that Lorraine Daston and Peter Galison use in, “The Color of Subjectivity.”
        
        Stanley Cavell talks about how color is manipulated to derive feelings of whimsy and fantasy like James Turrell uses in his architectural designs in, “You Who Look.”
        
        Connected to the ideas that Joseph Albers explores in, Interaction of Color, wherein Cavell also plays with the idea that the placement of colors retains the ability to change one's sense of perception.
        
        Cavell touches upon the idea of color being used as a device of entrapment which David Batchelor loosely mentions in, “Whitescapes.”
        
        In the film, Three Colors: Blue, the color blue is used as a plot device as well that entraps the mother to reality.
      - In, “The World as a Whole: Color,” Cavell argues that, The Wizard of Oz, constructs a total world. Consequently, it is color that allows the make-belief world of Oz to exist because of the schemes’ insistence upon it.
    - - Within, “The Evolution of Art towards the Immaterial,” Yves Klein states, “Blue has no dimensions, it is beyond dimensions, whereas the other colours are not. They are pre-psychological expanses, red, for example, presupposing a site radiating heat. All colours arouse specific associative ideas, psychologically material or tangible, while blue suggests at most the sea and sky, and they, after all, are in actual, visible nature what is most abstract” (122).
        
        Essentially, Klein tries to make the case that blue is more abstract than other colors. He claims that it is a color that is beyond other colors and ultimately undefinable.
        
        Specifically, blue is a fairly liberal color.
      - Connected to Derek Jarman’s film, Blue, wherein he continues to associate the color with the numerous aspects Klein reflects upon in his article.
        
        Connected to “Into the Blue,” in which Derek Jarman explores the expansiveness of blue in relation to his life.
        
        Connected to Krzysztov Kieslowski’s film, Three Colors: Blue wherein blue is used and applies to objects to represent an expansive number of symbols.
        
        Connected to Lorna Simpson’s, Darkening wherein she uses the immateriality and expansiveness of the color blue to ponder upon aspects of racial politics.
        
        Carol Mavor applies the expansiveness of the color blue to a variety of symbols as Klein loosely touched upon in, Blue Mythologies.
        
        Connected to the, “Vastness,” quality of blue that Seph Rodney mentions in, Lorna Simpson Searches for Meaning in the Arctic Ice.
        
        Connected to the ideas of the diversity of blue that color theory mentions which Maria Popova analyzes in, 19th Century Insight into the Psychology of Color and Emotion.
  - - - Dawoud Bey uses his photo series to center the underground railroad around black people's liberation, like Carrie Mae Weems does to reclaim the camera's centering of blackness in Slow Fade to Black.
        
        Similarly, Syreeta McFadden talks about producing a feeling of liberation for black individuals in their relationship to photographs in her, "Teaching the camera to see my skin," article.
        
        Bey also produces a sense of empowerment in empty spaces like the empty chair that won the Nobel peace prize covered in Trinh Minh-Ha’s, “The Image and the Void."
        
        Black is associated with the qualities of liberation as Paul LaFarge mentions in, "Colors/Black." Though here, Bey does this on a cultural basis.
        
        Shawn Michelle Smith covers the historical topic of the underground railroad.
        
        Dawoud Bey presents the politics of black liberation as Lorna Simpson does in, Darkening.
        
        In Robin Coste Lewis' article, “Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson,” she equates her blackness with a sense of liberation as Bey touches upon.
      - Dawound Bey produces a collection of photographs that showcase the homes and patches of land that are rumored to have been part of the invisible railroad that led African Americans to freedom.
    - - Carrie Mae Weems takes a series of photos that favor dark skin as an act of retaliation against shots favoring white skin as a form of liberation.
      - 1, In Syreeta McFadden’s, “Teaching the camera to see my skin,” she takes a series of photos like Weems in order to rebel against cameras tending to favor whiteness.
        
        Connected to Andrew Dosunmu’s, Mother of George who also uses the film to center black individuals in favorable lighting settings.
        
        Carrie Mae Weems uses her images to present the politics of black liberation as Lorna Simpson does in, Darkening.
        
        In Robin Coste Lewis' article, “Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson,” she centers her blackness as a means of liberation.
        
        In Dawoud Bey’s, “Night Coming Tenderly, Black,” he takes pictures of large expansive spaces that black people used to escape to their freedom. This centers black liberation over black suffering as Weems attempts to do.
        
        In Georgina Kleege’s, “Blindness and Visual Culture: An Eyewitness Account,” she talks about liberating blindness from harmful associations due to the unique ways blind individuals, “see.” She desires a liberation and centering of blindness like Weems.
        
        In Trinh Minh-Ha’s, “The Image and the Void,” she talks about how centering objects of liberation like the empty chair aids in empowering individuals against their oppressors.
  - - - In Derek Jarman’s, “Into the Blue,” he uses a mixture of metaphorical and literal comparisons to explain why he believes the color blue is significant. He also relates the color blue to his experience as a gay man in society who deals with the AID’s crisis. Thus, blue is a color he feels the most humanly connection to out of the colors.
        
        Jarman uses the color blue to heal himself from society's, "othering," of him.
      - Connected to Derek Jarman’s film, Blue, wherein he translates his life associations with the color blue into a visual form.
        
        Connected to Krzysztov Kieslowski’s film, Three Colors: Blue wherein blue is used and applied to objects to represent facets of the mother’s life.
        
        Connected to the ideas of the diversity of blue that color theory mentions which Maria Popova analyzes in, 19th Century Insight into the Psychology of Color and Emotion.
        
        Connected to Lorna Simpson’s, Darkening, wherein she uses the color blue to help explore her sense of otherness.
        
        There is no great spectacle of suffering that Derek attaches to the color blue as seen in Dawoud Bey’s photo series, “Night Coming Tenderly, Black.”
        
        Robin Coste Lewis uses the color blue as a metaphor for her life journey just as Derek Jarman does in, Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson.
        
        Connected to the quality of expansiveness blue possesses as seen in Yves Klein’s article, “The Evolution of Art towards the Immaterial.”
    - - The film, Blue, explores Jarman’s personal journey as a gay man diagnosed with AIDs. Blue in the film is meant to transcend the viewer to a visual/spiritual plane of existence. The color blue is also meant to make the viewer uncomfortable to parallel the AIDs crisis that was going on at the time which made Collins feel the same way. Thus, this discourse and theme is reflected within the film. Blue, “becomes,” a waiting room in the film. The viewer is waiting for the environmental conditions of the blue lit room to change. Additionally, there is no spectacle of suffering in the film such as no gaunt figures or weary eyes.
        
        There is no spectacle of suffering as the color blue is used as Jarman's way of liberating himself.
      - Connected to Derek Jarman’s, “Into the Blue,” reading wherein he also attaches the color blue to his identity.
        
        Connected to Kieslowski’s, Three Colors: Blue movie because blue serves as a grounding device to Jarman's living reality.
        
        Connected to Carol Mavor’s, Blue Mythologies as Derek uses blue to convey a number of symbolistic qualities.
        
        Connected to Yves Klein “The Evolution of Art towards the Immaterial,” because Jarman uses the expansiveness of the color to manipulate the audience's perception.
        
        Connected to Bergman’s, Persona in that Jarman manipulates light to create differentiating hues that reflect his experiences
        
        Connected to Dosunmu’s, Mother of George, wherein blue also serves as Adenike's grounding device.
        
        Connected to Lorna Simpson’s, Darkening as Jarman tends to explore similar temporal blue colors to reflect his experience.