Thanks for your patience during our recent outage at scalar.usc.edu. While Scalar content is loading normally now, saving is still slow, and Scalar's 'additional metadata' features have been disabled, which may interfere with features like timelines and maps that depend on metadata. This also means that saving a page or media item will remove its additional metadata. If this occurs, you can use the 'All versions' link at the bottom of the page to restore the earlier version. We are continuing to troubleshoot, and will provide further updates as needed. Note that this only affects Scalar projects at scalar.usc.edu, and not those hosted elsewhere.
Paris, Texas: In ColorMain MenuIntroductionMethod and FindingsColor Film: A (Very) Brief HistoryColor Galleries: Red, Green, and BlueFilm TimelineThe Film in FramesCarly Barnhardt2635ecd6a977fbde0eb8c468ea50848f342d8337
Blue
1media/Untitled design (3).jpg2024-12-10T16:30:55-08:00Carly Barnhardt2635ecd6a977fbde0eb8c468ea50848f342d83374644711structured_gallery2024-12-23T18:14:20-08:00Carly Barnhardt2635ecd6a977fbde0eb8c468ea50848f342d8337Film TimelineIn If It's Purple, Someone's Gonna Die: The Power of Color in Digital Storytelling, Patti Bellantoni calls Blue "The Detached Color." "Blue can be a tranquil pond or a soft blanket of sadness," she writes (81). It can be "Powerless, Cerebral, and Warm" or "Melancholy, Cold, and Passive."
In Paris, Texas, melancholy is perhaps the dominant emotion. Travis's melancholic wandering through the desert-- from which he emerges him mute and amnesic-- is framed by an expansive blue sky. He and Walt road trip back to Los Angeles ina blue car which disappears into that same sky. Later, in the artificial light as he first re-encounters Jane, the deep, blue glow which surrounds him represents Travis's powerlessness and his deep sense of loss.