Filmmakers use colors as storytelling tools, and visually-minded directors create color palettes almost as memorable as the films themselves. Hitchcock is no exception. Few films use bright color palettes like Vertigo (Hitchcock) and there may be no other film that evokes such a powerful impression of a red and green color palette. Almost everything about Madeleine and Judy is in red and green. Lacking that strong color palette, emotions are missing. In some circumstances the color palette stands out particularly. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The title sequence of Vertigo (Hitchcock) is a three and a half minute microfilm designed by a young graphic designer, Saulo Basso. For Bass, the title sequence provides a great opportunity to set the mood for the film itself and capture viewers' attention right from the start. In Vertigo (Hitchcock), he aims to create an anxious and dizzying atmosphere. It begins with an extremely close-up shot of an unnamed woman's face in black and white. Then, the camera focuses from the mouth to the eyes and stops on the left eye. At this moment, the frame is completely covered in blood red. This color instability creates a more intense nervousness. While the image was in black and white, it is difficult for viewers to immediately read what messages are being left by the director. But when it turns red, things change. Red is a color that often suggests pressure, desire, danger and even death. The entire frame filled with red makes viewers unsure and curious about what kind of feeling they can expect from the film. Within this three and a half minute title sequence, there is also a strange spiral image spinning inside one of the woman's eyes. As it spins, the color repeatedly shifts from red to green and gets bigger and bigger, as if it's about to suck everything in. Eventually, he returns to the same old, blood-red covered eye. Red and green in the chromatic principle are the contrasting colors. They are quite strong and perhaps represent completely opposite ideas. In this case, such a strong color palette, red and green, sets the mood for viewers and captures our attention directly and immediately. A similar motif is repeated in Scottie's nightmare. In his nightmare, the portrait of Carlotta (an ancient relative of Madeleine's family) is again covered by a layer of red “curtain” and the image flickers several times, adding a sort of mystery and danger. As he walks to Madeleine's grave in the dream, he discovers that she wasn't there at all. It represents Scottie's fear and remorse. He might regret his dizziness (Hitchcock) and shyness is what actually causes Madeleine's death, or it might be something else. Viewers can watch the same color palette repeat itself again and again between the two mysterious female figures and Scottie, except Scottie's old friend, Midge. . Midge never wears anything green or red. He always wears a white t-shirt and his house decoration is neither green nor red. It makes her insignificant or almost invisible in the film. In one scene Midge is sitting by the window, almost blending into the background. She is also a female figure, but has nothing to do with an object of male desire or sexual attraction. Viewers can identify by looking at the story of the film, but also by reading the color palette. That doesn't mean she isn't good enough. He's a smart person who likes Scottie. She investigates him and tries to please him by helping to investigate.