In an article published in The Conversation “Why shoot black and white in a world of colour”, lecturer Maria Fitó, along with the Abat Oliba CEU University lecturer Alfonso Freire, reflects on the use of black and white in cinema of the 21st century.
Fitó offers an analysis of the aesthetic and narrative reasons in the use of this technique in the 21st century.
In an audiovisual world where colour productions have become the cinematic standard, Fitó analyses how black and white brings added value beyond nostalgia or evocation of the past. “Black and white is often not simply an aesthetic device to create texture, contrasts of light and shadow or shapes, but rather a way to create unique atmospheres that can resonate more deeply with the viewer,” says Fitó.
The author cites certain filmmakers, such as Andrei Tarkovsky, who were advocates of black and white, seeing it as a tool that allowed them to convey the psychological essence of their works more clearly and directly. Similarly, Fitó mentions films such as Mank (2020), directed by David Fincher, which was shot in black and white as a tribute to the Hollywood aesthetics of the 1930s and 1940s. In this case, black and white is a conceptual decision that helps reinforce the historical environment and give credibility to the story.
Although black and white attracts a niche audience and generates fewer audiences than colour productions, Fitó argues that this film resource offers a different aesthetic and emotional experience that enriches the narrative.
The article by Maria Fitó, lecturer at the Faculty of Communication Sciences, highlights the validity and importance of this film style and invites us to reflect on the complexity of this apparently simple technique in audiovisual art.
