The aesthetic of each movie is also drastically different. In the black and white film of Schindler’s List, only a few colors are exposed and specifically to draw attention to the most important aspects of the story. The director, Steven Spielberg offers this technique to draw attention to significant parts of the movie. The specific scenes of the red coated girl and liberation of the Jews, the colors define precise themes. One of the most significant characters presents herself during the liquidation of the ghetto. Oskar Schindler sees a little girl in a red coat strolling through the streets, walking unnoticed by guards. She weaves in and out of the Jews suffering and the Nazis murdering. Later in the film, Schindler is in the concentration
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The yellow hue placed in the scene while Jews running freely allows cheerfulness to finally fill the hearts of the audience. The aesthetic appeal in Inglourious Basterds changes accordingly to the purpose to the movie. In Frida Beckman’s Ambivalent Screens: Quentin Tarantino and the Power of Vision, the discussion of the effects of Tarantino’s visual aspect lean towards the opposite of Schindler’s List. Beckman says, “If Inglourious Basterds is part of a video store aesthetics, it also offers its own twist by employing this pick and mix strategy in the portrayal of a historical war.” Inglourious Basterds aesthetic appeal works in a severely different way than Schindler’s List. The historical quality of Oskar Schindler saving over a thousand Jews seems more desirable and fitting in black and white. Whereas, the bold colors allow Inglourious Basterds to express its unique take on the characters from the Holocaust without impressing a serious tone to the storyline. Tarantino specifically uses his ideas to liven the Holocaust into entertainment rather than another traditional historic film. Beckman explains this further as, “Rather than cold accuracy and empty representation, Tarantino fills his film with disjointed historical and cultural references that do not give us “dead history” so much as raise our consciousness of how we see and access history today.” Younger audiences’ depiction of the Holocaust is through movies and books and as Tarantino’s film makes its way through the generations, it provides a separate illustration of that time
The yellow hue placed in the scene while Jews running freely allows cheerfulness to finally fill the hearts of the audience. The aesthetic appeal in Inglourious Basterds changes accordingly to the purpose to the movie. In Frida Beckman’s Ambivalent Screens: Quentin Tarantino and the Power of Vision, the discussion of the effects of Tarantino’s visual aspect lean towards the opposite of Schindler’s List. Beckman says, “If Inglourious Basterds is part of a video store aesthetics, it also offers its own twist by employing this pick and mix strategy in the portrayal of a historical war.” Inglourious Basterds aesthetic appeal works in a severely different way than Schindler’s List. The historical quality of Oskar Schindler saving over a thousand Jews seems more desirable and fitting in black and white. Whereas, the bold colors allow Inglourious Basterds to express its unique take on the characters from the Holocaust without impressing a serious tone to the storyline. Tarantino specifically uses his ideas to liven the Holocaust into entertainment rather than another traditional historic film. Beckman explains this further as, “Rather than cold accuracy and empty representation, Tarantino fills his film with disjointed historical and cultural references that do not give us “dead history” so much as raise our consciousness of how we see and access history today.” Younger audiences’ depiction of the Holocaust is through movies and books and as Tarantino’s film makes its way through the generations, it provides a separate illustration of that time