Incursões cromáticas em filmes a preto e branco

The inclusion of chromatic elements or short coloured scenes in black and white cinematographic productions is something that, though not frequent, will seldomly happen along the history of cinema in films such as, for example, Sergei Eisenstein’s Battleship Potemkin (1925), all along films such as, among others, Francis Ford Coppola’s Rumble Fish (1983), Wim Wenders’ Wings of Desire (1987) or even Steven Spielberg’s Schindler’s List (1993). Through the specific use of colour in a black and white film, one seeks to objectivate and potentiate a clear distinction that underlines narrative lines capable of evidencing, to the spectator’s understanding, a clear distinction between opposing senses, be they factual or dreamlike, past or present or even, for example, reality and fantasy. One seeks, equally, in this way, actualize a diferenciating cataloguing of different states wherein the effect of the simultaneous presence of black and white and colour may alternatively guide the spectator towards environments of latent tension, utopian, unusual or fantasy universes or even, maybe, distinct forms of living. In this work, from the analysis of several cinematographic pieces, we seek to showcase, analyse and reflect upon the potentialites of chromatic incursions in a cinematographic language that’s black and white.