History Main / Chiaroscuro

20th Mar '17 4:50:23 PM bwburke94
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* ''{{RWBY}}'' uses this several times in Volume 4, most notably in the episode "Family" when Qrow is meeting [[spoiler: Raven]] in the tavern. The former is surrounded by brighter, warmer yellow light from a furnace, while the latter is seated in dimmer, poorly-lit shadows, reflecting each individual's nature. Emphasizing the effect is Qrow's white and gray clothing, contrasting [[spoiler: Raven]]'s black and red.

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* ''{{RWBY}}'' ''WebAnimation/{{RWBY}}'' uses this several times in Volume 4, most notably in the episode "Family" when Qrow is meeting [[spoiler: Raven]] in the tavern. The former is surrounded by brighter, warmer yellow light from a furnace, while the latter is seated in dimmer, poorly-lit shadows, reflecting each individual's nature. Emphasizing the effect is Qrow's white and gray clothing, contrasting [[spoiler: Raven]]'s black and red.
11th Mar '17 10:11:26 AM nombretomado
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* Taken to the extreme in ''MadWorld'' for the Wii, where everything is either black or white (or [[{{Gorn}} red]]).

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* Taken to the extreme in ''MadWorld'' ''VideoGame/MadWorld'' for the Wii, where everything is either black or white (or [[{{Gorn}} red]]).
29th Jan '17 5:08:18 PM Goldfritha
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* In ''Webcomic/ThePropertyOfHate'', the contrast between RBG's light and the darkness guarding the market. [[http://thepropertyofhate.com/TPoH/Pitch/174 He explain why brightening in the darkness would not help, it would only make the dark more striking]]. [[http://thepropertyofhate.com/TPoH/Pitch/175 Followed by his realization of how to fix it]].
26th Nov '16 2:00:55 PM Zaptech
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Added DiffLines:

* ''{{RWBY}}'' uses this several times in Volume 4, most notably in the episode "Family" when Qrow is meeting [[spoiler: Raven]] in the tavern. The former is surrounded by brighter, warmer yellow light from a furnace, while the latter is seated in dimmer, poorly-lit shadows, reflecting each individual's nature. Emphasizing the effect is Qrow's white and gray clothing, contrasting [[spoiler: Raven]]'s black and red.
13th Nov '16 4:41:52 PM LongTallShorty64
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* ''Film/{{Brute Force|1947}}'' is a FilmNoir, so it's almost mandatory.
18th Oct '16 3:40:26 PM LongTallShorty64
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* During the roof scenes (and nighttime ones), the lighting is very like what would later be used for FilmNoir, so much so that taking these shots isolated from the entire movie, they look like they could’ve come straight out of a noir. However, for the tone of the film, it creates more of a romantic mood.
5th Oct '16 8:31:04 PM Aiguille
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* Directional contrast of light and shadow is heavily employed in the full video for Music/PoetsOfTheFall's "[[https://youtu.be/xfvtPTvuFTA Drama for Life]]." In the real world and the MentalWorld, where the "[[GhostInTheMachine madman]]" resides, figures are sharply shadowed from the right. In the mental world particularly, the madman spends time leaning out of or retreating into sharply defined shadows, and fussing over his paper-filled RoomFullOfCrazy by candlelight.
18th Sep '16 2:37:20 PM nombretomado
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* ''AlanWake'' is built around this. Since the mysterious "Dark Presence" [[LivingShadow thrives in darkness and shadows]], the majority of the game is spend fleeing between the sparse lighting, and even battle sequences require weakening monsters with flashlights.

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* ''AlanWake'' ''VideoGame/AlanWake'' is built around this. Since the mysterious "Dark Presence" [[LivingShadow thrives in darkness and shadows]], the majority of the game is spend fleeing between the sparse lighting, and even battle sequences require weakening monsters with flashlights.
29th Jul '16 7:52:55 AM MCanter89
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[[folder: Comic Books ]]

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[[folder: Comic Books ]][[folder:Comic Books]]



** In ''Film/BarryLyndon'', special lenses facilitated candlelight filming. The use of light in that film becomes very notable to anyone with knowledge in lighting or photography. Most films use a ton of artificial light in scenes that are only supposed to be lit with a few candles, thanks to the technological limitations on cameras. However, ''Barry Lyndon'' didn't use ''any'' artificial light, with the entire scenes sometimes being lit by a few candles. In order to achieve this, Kubrik had to use cameras intended for ''NASA during the Apollo moon landings.''

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** In ''Film/BarryLyndon'', special lenses facilitated candlelight filming. The use of light in that film becomes very notable to anyone with knowledge in lighting or photography. Most films use a ton of artificial light in scenes that are only supposed to be lit with a few candles, thanks to the technological limitations on cameras. However, ''Barry Lyndon'' didn't use ''any'' artificial light, with the entire scenes sometimes being lit by a few candles. In order to achieve this, Kubrik Kubrick had to use cameras intended for ''NASA during the Apollo moon landings.''



* ''Film/DarkCity'' uses chiaroscuro lighting in spots to achieve a DieselPunk / Film noir effect.

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* ''Film/DarkCity'' uses chiaroscuro lighting in spots to achieve a DieselPunk / Film noir DieselPunk[=/=]FilmNoir effect.



* ''Film/TheGodfather'' films love this trope. To the extent that in many cases it's so dark parts of the film remains un-exposed. This was why it has been problematic to transfer to DVD, as it's very hard for digital media to handle pitch black[[note]] MPEG-2 handles ''completely'' flat black very well. Where it tends to fall apart is when there's a little noise in the black - which tends to happen with under-exposed film or video.[[/note]].
* ''Film/TheSilenceOfTheLambs'' plays with this liberally, mostly in the introduction of Lecter, but rather frighteningly in the climax, where [[spoiler: Starling is illuminated through nightvision goggles, shown desperately lost in the darkness.]]

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* ''Film/TheGodfather'' films love this trope. To the extent that in many cases it's so dark parts of the film remains un-exposed.unexposed. This was why it has been problematic to transfer to DVD, as it's very hard for digital media to handle pitch black[[note]] MPEG-2 handles ''completely'' flat black very well. Where it tends to fall apart is when there's a little noise in the black - which tends to happen with under-exposed film or video.[[/note]].
* ''Film/TheSilenceOfTheLambs'' plays with this liberally, mostly in the introduction of Lecter, but rather frighteningly in the climax, where [[spoiler: Starling [[spoiler:Starling is illuminated through nightvision night-vision goggles, shown desperately lost in the darkness.]]



* Due to the low powered light sources and the pitch-blackness of the coffin, most, if not all of Film/{{Buried}} is shot like this.
* Peter Jackson pulled this off to a frightening degree of success during the scene that introduces Aragorn in his adaptation of ''[[Film/TheLordOfTheRings The Fellowship Of The Ring]]''.

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* Due to the low powered low-powered light sources and the pitch-blackness of the coffin, most, if not all of Film/{{Buried}} ''Film/{{Buried}}'' is shot like this.
* Peter Jackson pulled this off to a frightening degree of success during the scene that introduces Aragorn in his adaptation of ''[[Film/TheLordOfTheRings The Fellowship Of The of the Ring]]''.



* The finale of Film/{{Skyfall}} is this, with [[spoiler: the burning ruins of Skyfall manor]] being the only light source.

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* The finale of Film/{{Skyfall}} is this, with [[spoiler: the [[spoiler:the burning ruins of Skyfall manor]] being the only light source.



* The {{novelization}} of ''Film/RevengeOfTheSith'' has a chapter called Chiaroscuro, and light and shadow come into the description a lot during it.

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* The {{novelization}} [[Literature/RevengeOfTheSith novelization]] of ''Film/RevengeOfTheSith'' has a chapter called Chiaroscuro, and light and shadow come into the description a lot during it.



* ''Series/{{Supernatural}}'', especially in the first two seasons, often had [[FaceFramedInShadow faces framed in shadow]]... even outside in the middle of the day.

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* ''Series/{{Supernatural}}'', especially in the first two seasons, often had [[FaceFramedInShadow faces framed in shadow]]... shadow]]… even outside in the middle of the day.



* ''Series/PushingDaisies'' uses this occasionally, both as a {{Homage}} and AffectionateParody of FilmNoir movies.

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* ''Series/PushingDaisies'' uses this occasionally, both as a an {{Homage}} and AffectionateParody of FilmNoir movies.



* ''Series/TheXFiles'' would occasionally light the scenes in this way. Inevitable for a show featuring dark conspiracies and nasty monsters. A good example of the trope is a very squicky scene in "Leonard Betts". It is set in a storage locker where Betts uses his [[HealingFactor extreme regenerative power]] to create himself -- he creates another Betts. Only his body is lit and some bright, scary light comes through a door into the locker, and the rest of the scene is very dark.

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* ''Series/TheXFiles'' would occasionally light the scenes in this way. Inevitable for a show featuring dark conspiracies and nasty monsters. A good example of the trope is a very squicky scene in "Leonard Betts". It is set in a storage locker where Betts uses his [[HealingFactor extreme regenerative power]] to create himself -- he himself--he creates another Betts. Only his body is lit and some bright, scary light comes through a door into the locker, and the rest of the scene is very dark.



* ''VideoGame/MassEffect2'' is considerably DarkerAndEdgier than its predecessor, and tends to cover [[FaceFramedInShadow character's faces]] and environments in darker shadows. ''Mass Effect 3'' takes it even further, with the inside of the Normandy now looking like a hollywood submarine.

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* ''VideoGame/MassEffect2'' is considerably DarkerAndEdgier than its predecessor, and tends to cover [[FaceFramedInShadow character's faces]] and environments in darker shadows. ''Mass Effect 3'' takes it even further, with the inside of the Normandy ''Normandy'' now looking like a hollywood Hollywood submarine.



[[folder: Western Animation ]]

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[[folder: Western Animation ]][[folder:Western Animation]]



* In ''[[WesternAnimation/{{Thundercats 2011}} [=ThunderCats (2011)=]]]'', this is used in "The Duelist and the Drifter" while introducing the Duelist, and during the Drifter's NamelessNarrative. The figures are backlit, but their fronts (or their head and shoulders) are near-totally concealed in heavy shadow.

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* In ''[[WesternAnimation/{{Thundercats 2011}} [=ThunderCats (2011)=]]]'', ''[[WesternAnimation/Thundercats2011 ThunderCats (2011)]]'', this is used in "The Duelist and the Drifter" while introducing the Duelist, and during the Drifter's NamelessNarrative. The figures are backlit, but their fronts (or their head and shoulders) are near-totally concealed in heavy shadow.



24th Jul '16 2:26:43 AM __Vano
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Not to be confused with the [[IThoughtItMeant ancient desert city of glass]] from the tabletop RPG ''{{Exalted}}''. Or that rat from ''Literature/TheTaleOfDespereaux'' (though he was named for this trope as a joke by his parents).

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Not to be confused with the [[IThoughtItMeant [[AdvancedAncientAcropolis ancient desert city of glass]] from the tabletop RPG ''{{Exalted}}''. Or that rat from ''Literature/TheTaleOfDespereaux'' (though he was named for this trope as a joke by his parents).
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