“THIS IS MY DESIGN.”
THE TRANSFORMATIVE POWER OF COLOUR
IN BRYAN FULLER’S HANNIBAL (2013)
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26TH APRIL 2016
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ACKNOWLEDGEMENTS
I would like to thank Hannibal’s Director of Photography, James Hawkinson, for letting
me interview him about the cinematography of the show.
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CONTENTS
INTRODUCTION 4 - 8
I: RED, RITUAL, AND HEAT 9 - 21
II: GREEN, ROT, AND MONSTROUS GODS 22 - 37
CONCLUSION 38 - 40
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INTRODUCTION
Upon their first official meeting in “Aperitif”, Hannibal Lecter asks Will Graham if
he has trouble with taste. Will looks visibly uncomfortable, before replying; “My thoughts
are often not tasty.” So begins Bryan Fuller’s three-season extravaganza of vivid colour,
hypnotic food, and sensuous imagery. Hannibal (2013) arguably began its journey as a
visual experimentation by Fuller and his production team, with the goal of creating a show
that would exhibit some of the most striking and visceral imagery in the rich history of re-
imaginings of Thomas Harris’ Hannibal Lecter character. The story of Hannibal is at once
a look at one of the most psychologically complex serial killers in literary history, and an
exploration of cannibalism, spirituality, the division between human and beast, and all the
spaces in between. As one of the series’ most distinguished characteristics is its uniquely
acclaimed cinematography, throughout the course of this essay, I will focus on the
presentation of colour in conjunction with the show’s employment of specific cultural
symbols to elicit an emotional connection with the audience.
Due to filming in black and white being the predominant form until the late 1930s,
the introduction of Technicolor technology marked a new opportunity for filmmakers to
experiment with symbolism and heightened reality to mark aesthetic change. Kindem says,
“almost all technological, economic, and aesthetic factors favored the use of color
cinematography for feature films” (30) – filmmakers began to use colour to depict changes
from reality. One of the first mainstream examples of this was The Wizard of Oz (1939),
where Dorothy’s Kansas is filmed in black and white to depict its miserable nature in
contrast to the bold, colourful fantasy world of Oz. As such, the presence of colour in film
has often been a signal that the natural planes of reality and its various subtextual
meanings are being emphasised.
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In Hannibal, perhaps one of the most significant mediums for conveying the
gruesome and beautiful world of the show lies in the presentation of food and organic
material in the context of cooking. In order to better understand the way in which food and
its temperature manifests as an important signifier, it is useful to first present an
anthropological theory1 of how cuisine operates in culture. The importance of food in
every culture around the world is as universal as the presence of language; Claude Lévi-
Strauss states, “if there is no society without language, nor is there any which does not
cook in some manner at least some of its food” (40). In order to present a more
comprehensive understanding of food and its position in society, Levi-Strauss proposes
what he terms ‘the culinary triangle’, a “triangular semantic field whose three points
correspond respectively to the categories of the raw, the cooked, and the rotted” (41).
fig. 1, The culinary triangle in its primary and developed forms as proposed by Levi-Strauss
In fig. 1, we see the interconnectivity of the three main states of food and the
methods of cooking that transform it into these states. The triangle contains binary
oppositions that are diametrically opposed in certain instances, whilst complimentary in
1 Lévi-Strauss’ work on the culinary habits of different tribes is highly technical in its report, so for the purposes of this essay I have selected only the most pertinent data to explore the themes in the Hannibal series.
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others. For example, the compatibility of roasting and the rawness of food results from
“incomplete cooking” (Strauss 482), as the degree of rawness differs from the exterior to
the interior of the food, i.e., charring on meat compared to the softly cooked inside.
Boiling and rotting correspond due to both processes involving the retention of water,
either through induction of heat or hydrolysis in decomposition. The process of
transformation between one state and the other can be considered a liminal space, where
the subject of transformation is no longer in its original position, yet has not entered the
post-transformation (or post-ritual) position either. This liminality occurs throughout the
show in an array of visual symbols, often to denote the presence of Hannibal’s influence
and the deification of his character.
This definition of states is bound up in the presence of coloration on the food,
wherein the presence of red (a signifier for blood) might indicate rawness, and in many
cultures, a state of vulnerability or “incompleteness” (Davis). The presence of red and
green can have different connotations; in meat, the presence of green indicates a rotted
state, whilst in vegetables, this would indicate rawness. Assigning different colours to each
of the three states enables a metaphorical exploration of how cultural traditions in cooking
and food are represented – and in some instances personified – in Hannibal, as shown in
fig. 2. Strauss references the “red singe” (42) when talking about roasting, and associates
the colour black with what has been charred, or cooked. Conversely, for the colour green,
Kalmus states “green immediately recalls the garb of Nature” (27), and so if we take the
rotted state to be one which occurs by natural intervention, it seems appropriate to assign
green to it. This may also represent the colour of mould, or decomposition. It must be
remembered that the interpretations of colours and their psycho-social significance in
cinematography are varied, and dependent on their hue and combinations with others.
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fig. 2, The culinary triangle by Lévi-Strauss with proposed assigned colours
Following on from the importance of colour - and the culinary triangle as a
metaphorical device - in Chapter 1 this dissertation will explore the symbolism of the
colour red in Hannibal. The chapter will look at the connotations of red and its relevance
to ‘roasting’ and ‘rawness’ in the series, as seen in fig. 2; this includes both a
psychological reading of how audience’s respond to the way red is produced in the show,
as well as an anthropological analysis of the symbolic imagery and how it lends emotional
and realistic credence through its attachment to common cultural tropes. It will also
introduce the theme of transformation via colour as a predominant force within the
characters and their surroundings, based on the principles of heating and cooling.
Chapter 2 will continue the discussion of colour as a catalyst for the induction of
subjects into liminal spaces, through adjustments in temperature. The hallucinations of the
Ravenstag and the Wendigo will be explored in the context of their colourscapes, as they
play an important role in establishing certain mental states that Will and Hannibal are
experiencing. The chapter will also examine the role of ‘incomplete’ deities and worship
within the show, and how the nature of colour and temperature affects the way the
audience views growth, decay, and transformation.
(RED)
(BLACK) (GREEN)
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Through an analysis of some of the show’s most memorable and striking visuals,
this essay hopes to establish the power of the colours red, green, and black and their
individual meanings as the strongest signifiers in the show. These specific aesthetic
choices by the producers and cinematographers of Hannibal have created a semiotic
system that perpetuates the constant transformation of its characters. I will conclude that
the main driving force for change in Will Graham’s psyche, and the entire trajectory of the
narrative, is the dominating presence of colour in its diversity of forms.
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I
RED, RITUAL, AND HEAT
The relationship the colour red has with the characters and symbols in Hannibal
can be read through two different kinds of lens: the psychology of contemporary
filmmaking and the impact it has on audiences, and the anthropological interpretation
through which we experience red, not only as a base colour, but in its various
manifestations in cultural minutiae. The psychology of the colour red is one that has been
used in new and innovative forms within the medium, as audiences have become exposed
to its significance either through its prominence or absence. Kalmus talks of a “colour
conscious” (25) that encourages the study of colour harmony, appeal, and appropriateness,
which lead to an understanding of red as representing “blood, life, and love” (26). This
feeds directly into the anthropological interpretation of the colour red, as it links together
our psychological associations with behaviours and customs in society, creating a unique
code by which we identify its characteristics. In the semantic field of cooking, red is
associated with heat, meat, and, if we reference the adapted version of Levi-Strauss’
culinary triangle (see fig. 2), the rawness and/or roasting of food. By exploring both of
these perspectives in this chapter, I aim to establish the cultural signifiers of the colour red
as present in Hannibal in various iterations, and the effects this has on our reception of
Hannibal and Will’s relationship.
Whilst the colour red is in abundance in Hannibal (2013), its meaning is multi-
faceted and often duplicitous in its nature. It appears in food, blood, flowers, as a signifier
for the unreal, and arguably constitutes the main force by which transformation occurs as a
result of temperature changes. We can associate its presence with heat, a form of
transformation from a raw or lifeless state into something new, or the changing of bodies
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through cooking as a form of cultural expression or natural intervention. In my personal
interview with James Hawkinson, the cinematographer for Hannibal, he described the
connotations that the colour red held for him, saying “although it is at the farthest end of
the visual spectrum and therefore the weakest signal, it possesses great power being the
color of blood. It is arguably the first color we see in the womb and at birth. It can signal
danger and create panic” (Appendix A). It is the themes of blood, danger, and rebirth that
arguably feature strongest in the show, not just when present as blood, but also when
emphasized by the combination of red with other colours.2
Something that is abundantly clear in the cinematography of the show is the way
James Hawkinson disturbs the organic settings of Hannibal’s world by the polluting
presence of colour. The intensity of the colour blocking, and the framing of certain
characters within specific palettes creates associations by the audience as to their
motivations, moods, and relationships with each other. Red startles us, leads us on, and
makes us uneasy. In the pilot episode, ‘Aperitif’, one of the most vivid appearances of red
is not in an organic setting, but in the bathroom when Will and Jack are having their
discussion about the crime scene (fig. 3) and Will’s state of mind.
2 The various connotations of combining red with other colours is something I will explore further in Chapter 2.
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fig. 3, Still from “Aperitif”
The bathroom, a “normally antiseptic space, devoted to cleanliness and order”
(Van Der Werff), becomes a polluted and threatening space. This is emphasised by Jack
Crawford’s abrupt screaming at a bystander to “use the ladies room” (“Aperitif”), and
generates a negative association with the chaotic and destructive power of these
surroundings. Kalmus says of colour that it “can subtly convey dramatic moods and
impression to the audience, making them more receptive to whatever emotional effect the
scenes, action, and dialogue may convey” (26), and in this instance, the audience feels the
urgency of the situation, and Jack and Will’s own desperation to come to a solution. Very
often, red is presented as a part of the show’s most elaborate and cinematically beautiful
tableaux, such as when it features in the feasts that Hannibal prepares for his guests - a
notoriously ominous feature of the show (fig. 4).
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fig. 4, Promotional photo for season 1 of Hannibal (2013)
These are made all the more gruesome by the dramatic irony that the majority of
the food is made up of human flesh, yet when I asked Hannibal cinematographer, James
Hawkinson, about this, he stated, “The images are so Hypnotic and Intoxicating that the
Horror begins to work on a subconscious level. In other works, when the images are so
beautiful, we forget we are looking at a murder scene rather than art” (Appendix A). This
masquerading of horror as art is similar to the way Hannibal Lecter himself is played by
Mads Mikkelsen, where Mikkelsen aims to convey the character as an erudite, charming,
and intelligent individual with an affinity for humanity, all the while concealing his
Lucifer-like characteristics3. This is particularly intriguing when considering the potential
deification of the character, as we might see the banquet he throws for his guests as an
allegory for a Saint’s feast day.4 The artistry and complexity of the food furthers reading
into colour as a crucial vehicle for symbolism in the show; as Koroll says,
3 Hannibal’s poise and airs of grace can also be seen as very characteristic of Milton’s Lucifer in Paradise Lost, a charismatic but fundamentally evil character. 4 The representation of Hannibal as monster/fallen deity will be explored further in Chapter 2.
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“Hannibal walks a fine line in maintaining its blatant separation from reality, while also
teasing at the genuine psychological elements that affect characters and viewers, alike.”
fig. 5 Still from “Savoureux”
The show’s focus on food and consumption is evident even in the episode titles. In
each of the show’s seasons, the episode titles correspond to a different cuisine’s courses,
such as “Dolce” or “Antipasto” in the Italian-themed first half of season 3, or “Sorbet” in
the French-themed season 1. An automatic association with each cuisine is created through
this in the audience’s psyche, and the season’s individual elements begin to take on a more
significant meaning in light of its titular structure. Therefore, a connection between the
psychological associations of the colour red and its manifestations in a cultural reality is
established. For example, when referring back to the culinary triangle and Lévi-Strauss’
anthropological observations of food habits in French culture, it is notable that several
prominent dishes in French haute cuisine are served raw, such as steak tartare or foie gras
entier. Conversely, Lévi-Strauss points out that when preparing a feast for a banquet, the
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majority of the entrees on a French menu will be roasted, as roasting is seen as a prodigal
and aristocratic form of cooking.
The relationship in the culinary triangle of the raw and the roasted is in the
incompleteness of its cooking, and the act of roasting is associated with “destruction and
loss” (Lévi-Strauss 44), a concept that might be applied to Hannibal’s manipulation of
Will’s psychological state. Will represents the rawness of food, untainted and as yet
untouched by Hannibal’s influence, and thus we often see Will as being ‘polluted’ by the
presence of red - often in the form of blood. There is an interesting dimension to the primal
way in which the audience receives Hannibal’s act of killing; whilst he is meticulous to a
fault, there is significant reference to the clash of human instinct and human civility.
Hannibal himself says, “first and worst sign of sociopathic behavior, cruelty to animals”
(“Coquilles”); here, he means humans when referring to animals, suggesting that pure
instinctual cruelty is abhorrent, whilst elegance in killing is ethically more righteous. The
horror at other murders in the show is different to what the audience experiences from
Hannibal’s rituals. As Brillat-Savin says, “one becomes a cook, but one is born a roaster”
(qtd in Garval 60); Hannibal is a refined producer of rituals, transforming his meals – or
more accurately, his victims – according to a precise recipe for what he considers
transcendence and honouring.
When exploring the link between rawness, roasting, and the colour red, the show
manipulates and emphasises their interconnectivity to portray Hannibal and Will’s
relationship as a labyrinthine series of exchanges, motifs, and transformations. The sheer
volume of red on-screen, particularly at moments where Hannibal is shown
killing/cooking, is emblematic of the relationship he has with his victims. He himself says,
“I am an ethical butcher” (“Coquilles”), and his personalised code of ethics can further be
observed in the way he prepares a vast majority of his victims. Self-proclaimed as eating
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those who have slighted him or been rude – often in seemingly inconsequential ways –
Hannibal’s literal roasting of his victims is a form of exo-cannibalism - a kind of
preparation and ritual reserved for one’s enemies. Lindenbaum, in her essay ‘Cannibalism:
Symbolic production and consumption’, states that “cannibalism emerges less as a single
form of behaviour located in a number of out-of-the-way places, than as an activity to be
comprehended by reference to its place in particular cultural orbits” (95). Cannibalism as a
form of sacrifice and or survival exists in many tribal societies, and is often associated
with ritualistic acts intended to worship deities or as a form of transcendence by physical
transformation of the body. Sahlins refers to “cooked men” (75) being presented as
sacrificial victims in return for boons from supreme beings; however, these offerings must
be conducted in very disciplined conditions and have to conform to that deity’s spiritual
code of worship. Hannibal’s cannibalistic behaviour does not occur in isolated segments,
but rather corresponds to an entire system of ethics that guides his actions, and in
particular, his attitudes towards Will.
His eventual desire to kill and eat Will is not only a form of forgiveness, but a
transformative ritual that can be likened to that of the cultural transition of food from a raw
(and thereby red) state, into that of a cooked one (which we might take to be black). In this
instance, exploring the temperature transitions through the medium of colour gives us a
stronger indication of how Hannibal and Will’s relationship evolves through the course of
the series. The diversity in the use of the colour red signifies the shifting mental
preoccupations that Will is submitted to, mainly at the hands of Hannibal’s manipulations.
From an anthropological perspective, the colour red is, in many cultures, associated with a
heating of the body. Beck states, “most foods are thought by Indians to either heat or to
cool the body on consumption, whilst some substances have this effect by contact alone”
(553); this literal heating of the body and its humors then becomes the metaphorical
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transformation of an individual from a position of pre-ritual imperviousness to a post-ritual
position of vulnerability. As red associates with fire, and to a large degree primitivism in
the context of its discovery, the semiotics of cooking become intertwined with the
transformative powers of rituals; preparation is as important in consumption as the feast
itself.
Beck continues, explaining the “importance of heat as a symbol of a point of
transition” (557), designating that whilst this is also applied to bodily transformations such
as the burning of a body on a funeral pyre, it also applies to the cooking of food from a
raw form into an edible form. In Hinduism, saffron and paprika are commonly used in
rituals of purification when cooking white foods, such as rice, in order to transform it from
a raw (incomplete) state, into that of a cooked (culturally altered) state. Hannibal’s
ritualization of ‘eating the rude’ as a form of forgiving them for their transgressions is a
direct parallel to this, as he literally uses heat – and therefore, the colour red – to render
their transition complete. On an episodic basis, he subjects his individual victims to this,
whilst the season arc focuses mainly on his attempts to bring out the serial killing potential
in Will through psychological manipulation.
A recurring trope throughout the series is the splattering of blood across Will’s
face, a symbol whose connotations might be compared to that of ‘blooding’ in the context
of hunting. Whilst the history of blooding bears further references to sainthood (in the
form of St Hubert)5, it is widely accepted as a ritual of induction into the life of the hunt or
“an expression of gratitude for a kill” (Dubuc). Hannibal is often the one who provokes the
triggering of Will’s power of empathy through the committing of murder; the show
therefore suggests that Hannibal is attempting to induct Will into the world of killing by
the literal baptism of blood. The extreme nature with which he does this figures especially 5 St Hubert is a saint associated with the first known instance of blooding following a hunt; the blooding originally constituted drawing a cross on one’s forehead in blood as a sign of gratitude for the kill.
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in the story arc where he incites a seizure in Will by ignoring his encephalitis (“Buffet
Froid”); the text is presenting a literal ‘baptism by fire’, in the form of inflammation of the
brain. Hannibal’s literal attempt to ‘cook’ Will’s brain reinforces the idea of thermal
induction, and again, the colour red features as a transformative force through the guise of
heat. Indeed, the power of literal fire features at several important points in the show, such
as when Freddie Lounds is supposedly burned alive in a wheelchair (“Kō No Mono”), or
when Will sees the Ravenstag’s antlers burst into flames (fig. 6). The metaphorical fire
here is a visual hallucination meant to represent Will’s deteriorating trust in Hannibal and
their friendship; this kind of temperature shift is more closely associated with a form of
reawakening, a different type of rebirth.
fig. 6 Still from “Relevés”
Another powerful cultural connection in the show when exploring the connotations
of blood spatter across Will’s face and how this is a form of ritual is the symbol of the
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bindi. Bindu is considered to be the point at which “creation becomes and may become
unity”, and “the sacred symbol of the cosmos in its unmanifested state” (Ranganathananda
21); these powerful religious connotations give the colour even greater emphasis,
particularly as they appear across Will’s character (fig. 7). Their appearance foreshadows
his transformation and ‘pollution’ by Hannibal, as he is lured into accepting his
transformation past the liminal stage.
fig. 7, Still from “Aperitif”
This represents yet another common belief in Hinduism, that of the positive or
negative effects of colour combinations, and the power of colour as a transporting tool in a
spiritual sense. The coupling of red and white symbolises a reinvigoration and vitality;
however, the combination of red and black emphasises the polluting nature of the red, and
is emphatic of earthen limitations and disease. As we see in fig. 7, the contrast between
Will’s light-coloured shirt and the bloodstains on his skin, along with the bright light
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shining on him from the left, create an unsettling portrait of him seemingly illuminated by
the horror before him. Will’s pure empathy also plays a significant role in this, especially
pertaining to the liminal stage of his ritualisation6. The presence of red around Will’s
character is often situated in his psychological instability, as he becomes ‘polluted’ by
Hannibal’s presence and killings. It can also be said that Hannibal’s visceral killing of his
victims, and the dominating presence of blood at the various crime scenes, is left behind as
a reminder of their own polluting – and potentially ‘dirty’ – existence in his eyes. This
ritualistic cleansing is similar to the bathing ritual Beck describes in South Indian culture,
where a priest rubs saffron (an earthy, reddish substance) into the body of the one he is
attempting to absolve of wrongdoings (559). In fig. 8, we might even detect a direct link to
the use of water to cleanse oneself, as Will attempts to wash his face, yet hallucinates that
the basin is filled with blood (“Aperitif”).
fig. 8 Still from “Aperitif”
6 Liminal spaces and their navigation in the show will be explored further in Chapter 2.
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Reconciling the themes of cleansing and sacrifice through the temperature
transition from different sections of the culinary triangle creates a complex system of
character dynamics, yet one instance in the series remains poignant in its establishment of
the hierarchy of what is cooked and what is raw. Acting as perhaps the most dramatically
effective ‘blood sacrifice’ in the series, the finale of season 2 sees Hannibal ruthlessly
maim the majority of the main characters in the show. The intensity of bloodlust here is
emotionally overwhelming for the audience, as Will, Alanna, and Jack are all grievously
injured in some way or another following their discovery of Hannibal as the perpetrator of
the crimes that they have been investigating. Hannibal’s apparent massacre of them is his
attempt at clearing them of their sins in an abstract sort of blooding; their metaphorical
immolation is spiritual, and somewhat apocalyptic in nature. The combination of the heat
of red tones with the cooler, soothing surroundings highlights the characters’ bloodshed;
Kalmus posits “the modification of a positive color by the introduction of another hue
modifies the mental reaction to the degree of the intensity of that hue which is introduced”
(27). The environment is not stark in its contrast, pitting colour against colour (fig. 9).
fig. 9 Still from “Mizumono”
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Instead, there is a balanced palette that invites its audience to seek answers within
the shadows - when asked about this, Hawkinson confirmed that “the blacks are never
artificially crushed as I want the viewer to search into the darkness to unravel the Mystery.
Crushed blacks would represent a complete void and in this void there are no answers”
(Appendix A). As a result, the reds and surrounding influencing hues are blended in with
gels, rather than colour blocked, which would detract from the emphasis on the liminal
space Hannibal creates to enact his heating ritual.
In the developed culinary triangle (fig. 2), the relationship between the colours red
and black is that of the raw and the cooked, or of the roast and the smoked. As both
roasting and smoking can have connotations of fire, yet that which has been cooked cannot
be made raw again,7 the transformation that occurs between these states is unilateral; once
something becomes black, or is smoked, it can never revert to its organic state. The season
2 finale of Hannibal exemplifies the transition of its main characters – particularly Will –
into a cooked and aware state through the medium of blood as metaphorical heat. If we
observe Hannibal as deity and hunter, in this context, the ritual of slaughter and smoking is
symbolic in many cultural and spiritual parallels for the preparation of meat and its
cleansing without negative ramifications. When Native American tribes smoke animal
meat in a buccan,8 it “must be destroyed immediately after use of the animal will avenge
itself and smoke the huntsman” (Lévi-Strauss 45). In this instance, Hannibal’s associates
have discovered the truth of his nature, and he takes it upon himself to cleanse them of
their betrayal through purification. He does not simply aim to destroy the metaphorical
buccan or spoil the meat; he wants to burn down the entire tribe.
7 Whilst Lévi-Strauss posits a triangle, the diagram can also be read in a cyclical fashion, whereby the raw can become cooked or rotten, but the cooked cannot become raw once again, having instead to become rotten through natural transformation in the form of decay. 8 A wooden device used by Native American Indian tribes for the smoking of animal meat.
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II
GREEN, ROT, AND MONSTROUS GODS
In Hannibal (2013), it is clear that although being incredibly prevalent in many of
the show’s motifs and character transformations, red is not the only significant colour used
to project specific connotations onto the audience. The combination of red with other
fundamental colours such as green or black can emphasise the kind of transformation or
disembodiment that is occurring on screen; however, it can also serve to indicate the
presence of liminal spaces that have not yet become inhabited by one form or another.
These liminal spaces are often characteristic of cultural and spiritual phenomena such as
half-men, half-gods, as well as monstrous beings, which are often subjected to rituals of
transformation through the introduction of stimuli like blood, consumption, or decay. By
exploring the metaphorical meanings of these elements of the show, it becomes clear that
the presence of colour is meant to evoke certain physical and/or psychological
transformations undergone by the characters.
Where the colour red has been presented as a form of heat with the potential to
exact transformation, I now posit that within the show, the colour green may possess
similar, yet opposing, qualities of enacting change within the characters it touches.
However, in the case of green tones, and to some extent its combination with black, this
effect is that of allocating the subject into a liminal space. In the case of Will and
Hannibal, Will’s evolution from an antisocial pure empath into Hannibal’s determined
rival must first take him through the liminal phase of being disoriented and confused by
the mental games being played upon him. He begins to have visions of the Ravenstag - a
visual hallucination that carries its own cultural connotations – which itself begins to
mutate into something more gruesome and representative of both his confused mentality,
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as well as the somewhat inevitable and god-like forces that govern his simultaneous
growth and decay.
Continuing to view the cinematography through the lens of the psychological and
the anthropological, the concept of liminality appears throughout the series in various
forms. In anthropology, liminality refers to the status of a subject that no longer holds a
pre-ritual status, but has not stepped into the post-ritual state, and so experiences a
sensation of confusion and disorientation (Barfield 477). Horvath states that during periods
of liminality, “social hierarchies may be reversed or temporarily dissolved, continuity of
tradition may become uncertain, and future outcomes once taken for granted may be
thrown into doubt” (51); this kind of disorientated mental state can immediately be
attributed to the titular character, Will, as his mind is continuously being tampered with by
those around him, and in particular, Hannibal Lecter himself. Nevertheless, this creation of
the ambiguous liminal space in the series allows the producers of the show to elicit a sense
of unease and suspense from the audience, as they themselves become lured into the
psychological traps that are set for the show’s characters. As Hawkinson himself says,
“Within this Hypnotic Sensuality is a terrifying truth: we are watching a Psychopathic
genus and the mechanisms of his serial killings” (Appendix A); everything from the
symbolism to the colour palettes is employed to make the audience leave every episode
with more questions than answers.
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fig. 10 Still from “Amuse-Bouche”
The colourscapes and sets that surround Will are crucial to understanding his
position in the world and his sense of unease around the majority of society. Whilst
Hannibal is confident in his command of the spaces and colour palettes around him, Will
often shrinks from the focus of the shot, unwilling to take control of the frame. Saraiya
observes the show’s framing of characters within rigid lines and symmetry, (fig. 10)
stating, “Here [Hannibal] is in his natural habitat: the library, a collection of perfect
rectangles. The shot puts him in the center, where he is in harmony with the symmetry of
the room.” Will is presented in earth tones, with tan trousers and a green-tinted shirt,
whilst Hannibal is the picture of tailored perfection, sporting non-threatening blue with a
delicate accent of the red tie.9 The difference in levels is very clear, with Hannibal placing
himself in a higher sphere than Will and asserting his control over the room and their
dynamic. The swathing of the shot in green is significant, and when I asked about the
9 The costumes in Hannibal are also often indicative of its characters’ personalities; Hannibal begins the series in passive blue and tan tones, and progresses into wearing more black and red. The majority of female characters in the show also sport red colours, e.g. Freddie Lounds’ hair, or Alanna Bloom’s red dresses, to highlight their driven nature and assertion of dominance.
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motivations for using so much green in the show, James Hawkinson commented, “Green is
the opposite of Red and can possess a soothing effect, however, I find certain tones of
green Melancholic and use it to induce this emotion. Melancholia possesses Mystery and
this entices the viewer to take the journey” (Appendix A). This encouragement of the
viewer builds a stronger sense of connection with Will himself, as we are invited to be
subjected to the same kind of rituals and transformations as he is. As Oshima says, “Green
softens the heart” (119); however, this feels more like letting down your guard, rather than
soothing a hurt.
The significance of green in filmmaking is diverse particularly because of its strong
associations with nature, the organic, and growth. Because of this, it can be seen as a
signifier of the feminine or the masculine, decay or nurture, peace or despair. The
combination of green with earth tones often serves the purpose of reassurance and
security; Richard Allen comments on the clothing worn by Sarah in Alfred Hitchcock’s
Torn Curtain (1966), saying “the colour of Sarah’s clothes, green and brown, provides an
oasis of warmth and security” (135).
fig. 11 Will Graham’s house in Wolf Trap, Virginia
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We might compare this not just to Will’s clothing in fig. 8, but also to his domestic
sphere, where he is surrounding by nothing but wilderness in the form of forest and open
plains (fig. 11). The audience associates him with the organic aesthetic, and so it is
reasonable to also associate him with growth and decay in the natural world, as seen in the
show. Referencing again Lévi-Strauss’ adjusted culinary triangle, Will corresponds to the
corner which is most heavily influenced by external factors, either by nature or by cultural
manipulation; that is, of the rotten. This is emphasized by the way that Will’s mental state
is in a consistent decline throughout the first season, something that is personified in the
manifestation of the Ravenstag and his eventual metaphorical ‘hunting’ of it. This
transformation into the rotten is a natural shift (fig. 2), as it is catalyzed by the presence of
the black spectres in his life; namely, the Ravenstag (and eventual Wendigo), a
hallucination that is meant to represent Hannibal.
The process of rotting pervades through the fauna and flora of the entire series, as
the cinematography causes the audience to find organic matter repulsive. In other
instances, the cycle of growth and decay is subverted, as natural processes are reversed or
altered to reflect a synthetic manipulation by external forces. In “Amuse-Bouche”, Jack’s
team discovers a ‘botanical garden’ of sorts, as Eldon the pharmacist has been burying
diabetics alive in order to help his mushrooms grow. In fig. 12, the green tones overcrowd
the frame, forcing the audience to pay attention to every detail in the shot, which strangely
makes the presence of the decaying hand more noticeable. It is in the centre of the frame,
and its presence can be likened to the uncanny, something that is “at once frightening, but
familiar” (Freud 4). Despite the bodies themselves showing signs of decay, the team
discovers that they are in fact being kept alive by the IV drips.
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fig. 12 Still from “Amuse-Bouche”
Whilst going through a process of decomposition is usually reserved for dead
organic material, the individuals are in fact still alive, which puts them in a very peculiar
liminal space between life and death. They are surrounded by green (or rot as we might see
on the triangle in fig. 2), and hence the ambiguity of their position in the world is
highlighted and made all the more unsettling. This perversion of the natural schema serves
a dual purpose; it renders the environment of the show significantly more alien to its
audience (fig. 13), and it forces the viewer to experience the world in its coarseness, much
like Hannibal might see it.
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fig. 13 Still from “Œuf”
Saraiya comments on the nature of these images, stating that they “give us a
glimpse, too, of how the world must look to Hannibal, where everything you eat has an
element of the living, loathsome organic: As we consume tea and coffee, Hannibal
consumes us.” The audience learns to view food and organic material as grotesque, and so
begins to understand Hannibal’s viewing of humans as the same. The depictions of rotting
food are swathed in bold red and green tones (fig. 14), accentuating their decomposition,
yet drawing our eye to them in the same fashion as classical artwork might. As Hawkinson
himself says, “when the images are so beautiful, we forget we are looking at a murder
scene rather than art” (Appendix A), and often in the series, we end up questioning
ourselves for finding them attractive.
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fig. 14 Still from “Kaiseki”
The unique way in which the cinematographers are able to produce such a hypnotic
quality from such violence lies in the “soothing” (Hawkinson Appendix A) or ‘cooling’
characteristics of some of their colour palettes. These transformations and the resulting
liminal spaces are evoked in the audience by connecting the show with a sense of cultural
relatability, wherein the viewer associates certain elements, such as deities or monsters,
with specific symbols or colours that then elicit an emotional response. By exploring the
anthropological connotations within the show’s symbolism, the cultural associations offer
the opportunity for a closer connection between series and viewer. Two significant
concepts that feature in the portrayal of Hannibal and Will’s relationship in particular are
the Ravenstag and the figurative trickster god.
The Ravenstag is so named in the show for its appearance as a large black stag with
a plumage of feathers around its neck similar to that of a raven (fig. 15). It features as a
visual hallucination and specter in Will Graham’s nightmares, and has been speculated to
symbolize Hannibal’s presence in Will’s life, as well as his developing affinity for the act
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of killing after he first shoots Garrett Jacob Hobbs. The stag in Native American Indian
culture is seen as “a messenger, an animal of power, and a totem representing sensitivity,
intuition and gentleness” (Aleph), whilst the raven in many cultures is associated with
gods, either as a trickster or a bringer of omens. In both Hinduism and Native Pacific tribal
society, the raven is a “creator of the world” (Clark 48); however, due to it being a carrion
bird, it is also heavily connoted with death and decay. The combination of the stag, a
creature very entwined in the natural world of flora, and the raven, a symbol
simultaneously of creation and destruction, immediately renders the Ravenstag a liminal
space in and of itself. Its presence is ominous and reassuring all at once, as it represents
Will’s fear of what he may become and yet also guides him through his darkest doubts.
fig. 15 Still from “Mizumono”
Peter Counter speculates that, “the most critical keepsake Lecter ever removed
from a victim was Will Graham’s ravenstag”, playing with the idea of sacrifice and loss as
seen in Hannibal’s removal of his victims’ organs. This is made even more poignant when
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Will decides to metaphorically shoot the Ravenstag, in order to betray Hannibal’s trust to
catch him. The Ravenstag itself undergoes a transformation throughout the series, as it
slowly becomes more humanoid and uncanny. Starting as a manifestation of the natural
world, it is in harmony with the palette that often surrounds it, with the combination of its
intense blackness and the soothing green environment creating a melancholic atmosphere.
Looking at the adapted culinary triangle, we see that these two colours are further away
from the most incomplete end of the spectrum, that being the raw, red, or the roasted. The
stag and Will are more intimately connected due to the absence of a heating red;
nevertheless, as Hannibal begins to worm his way into Will’s mind, the audience sees
instances of the polluting colour creep into the representation of the stag, such as when its
antlers bleed. The stag becomes the Windigo, the transformation from a natural organic
figure into a cultural product that is associated with the supernatural, and more pertinently,
cannibalism.
The term windigo [Ojibwa wīntikō] in Native American Indian culture refers to a
class of supernatural monsters that are grotesque in nature and exhibit “great spiritual
power” (Brightman 337). This definition then narrows down when Brightman talks about
windigo psychosis, “an Algonquian-specific psychiatric disorder whose sufferers
experienced and acted upon obsessional cannibalistic urges” (337). The creature is often
depicted as skeletal, emaciated, and possessing “insatiable greed” (Brightman 339),
characteristics that it embodies in folk talks to warn others against such immoral
behaviours. The windigo appears as a mutation of the Ravenstag the further along the
series goes, to illustrate the level of influence that Hannibal’s psychological games are
having on Will’ psyche and his perception of reality. The once soothing colour palettes in
the natural, vegetative landscapes that surrounded the original form of the Ravenstag are
replaced by dense blackness and shadows to highlight the darker, more threatening nature
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of the windigo creature. Kalmas states, “black lowers and renders more base and evil any
colour” (27), and this is clear in the way the very presence of the windigo elicits fear and
uncertainty (fig. 16). The image becomes more analogous with the colours red and black, a
result of the intruding ‘pollution’ of these colours and their shifting position within the
culinary triangle’s hierarchy towards the cooked.
fig. 16 Still from “Hassun”
The concept of liminality is also highly significant in the figure of the windigo, as
it is neither simply human nor beast; due to the spiritual significance of the windigo and
the symbolism of the raven as a trickster god, it is possible to interpret it as a half-man,
half-deity. Hannibal’s poignantly says, “the feast is life, you put life in your belly and you
live” (“Sorbet”); his literal consumption of ‘life’ in the form of others is a form of godlike
sacrifice, a transcending of ordinary human flesh into something superhuman. Cannibal
hunger is, in many cultures, referred to as “divine hunger” (Sanday 5), due to its
prevalence in the diets of the gods. The show presents him as a literal “devourer of men”
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(Pollock 268), a cannibalistic deity that appears in many cultures, much like the windigo in
Native tribal society, or the rākṣasa in Hinduism and Buddhism. This comparison of
Hannibal to a trickster god that assumes power through consumption is emphasized by the
liminal spaces he occupies, as he is neither fully human nor fully demon; his
representation as the windigo is exemplary of this, similarly to the representations of
cannibalistic beings in contemporary culture and traditional folklore. Bryan Fuller has
quoted Mads Mikkelsen himself, saying that he wanted to play Hannibal “as Satan - this
fallen angel who's enamoured with mankind and had an affinity for who we are as people,
but was definitely not among us - he was other” (Fuller). The appearance of the creature as
entirely immersed in black whilst the entire colourscape of the frame is also immersed in
shadows emphasizes its specter quality, a threatening presence that seems otherworldly
and alien. The Ravenstag begins as a mysterious guide to Will Graham, and through a
physical transformation catalyzed by Hannibal, becomes a figure of his nightmares.
fig. 17 Still from “Kō No Mono”
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One of the most powerful images and signifiers of Hannibal as a deity is the
appearance of the wendigo in “Kō No Mono”, during Will and Hannibal’s therapy session
(fig 17). As the fully formed windigo complete with stag antlers, the creature assumes the
position that is traditionally seen in Hinduism in the god Shiva. Shiva takes many forms,
yet is most commonly known as “the destroyer of the world” (Gruenwald), and “is
responsible for the change both in the form of death and destruction and in the positive
sense of destroying the ego” (Marchand). The fact that Shiva is associated with both
transformation and destruction translates onto the audience’s perception of Hannibal as a
half-deity with the power to enact change in both a negative and positive capacity. This is
how Hannibal sees himself, and how he believes Will should see him as well. The Shiva
symbol is also reminiscent of the way that Hannibal presents Freddie Lounds’ fake corpse
to Will. This exhibitionism creates a strong connection between the portrayal of Hannibal
as a Luciferian character and the ominousness of the transformation that he has subject
Lounds to upon her death, in a sacrificial tribute fashion (fig. 18). A sign of warning and
tribute all at once, it confirms what is subtext in the entire series: deities are dangerous
foes with immense force. Will asks Hannibal whether God felt good about dropping a roof
on thirty-four of his supporters – Lecter’s reply? “He felt powerful.” (“Amuse-Bouche”)
fig. 18 Still from “Kō No Mono”
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The theme of deification in the series can also be seen in the nature of the copycat
killers that occasionally act as worshippers to Hannibal’s – or the Minnesota Shrike’s –
elaborate killings. In fig. 19, the human totem pole is erected as a kind of legacy, a
testimonial to a lifetime of work done by the killer; it is also a reference to Native
American Indian totem poles, which were carved to commemorate stories and mythical
legends, often of “great spiritual beings that were half-animal, half-human forms”
(Feldman 4). This is another example of the way the series plays with liminality and
transformation, here presenting it as a horrifying icon that is a pastiche of traditional
cultural forms.
fig. 19 Still from “Trou Normand”
Another significant transformation in the context of deities and transcendence
occurs in the story arc of the Great Red Dragon, or Francis Dolarhyde. Dolarhyde is
dedicated to becoming the Great Red Dragon from William Blake’s series of watercolour
paintings created between 1805 and 1810. Dolarhyde’s obsession with the painting and the
sheer strength he believes the Dragon exudes compels him to murder entire families in
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order to become this entity. As seen in fig. 20, Dolarhyde is initially surrounded by the
murkiness and melancholy of green tones, as his transformation is only in its initial phases,
and he is the sole presence of red in his surroundings.
fig. 20 Still from “The Great Red Dragon”
The further and further he gets in his quest to embody the Dragon, the more
significantly the colour palette changes to reflect this shift in persona. Hawkinson
comments on this, saying “Red became more prevalent as the story became "the Great Red
Dragon" and I began gelling lights with Red filters to underscore the character's
transformation, his Rebirth” (Appendix A). Here we see another example of the use of
colour to underscore a transition, particularly in the scene where Dolarhyde consumes the
physical copy of the painting, ‘The Great Red Dragon’ at the Brooklyn Museum. His
literal consumption of the colour red acts as a figurative rejection of the undecided green
tones around him, and he rises as if a phoenix from the ashes.
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In viewing the colours green and black as signifiers for liminal spaces, and then the
deified characters that occupy those liminal spaces, it is possible to return to the relevance
of food and the culinary triangle in the hierarchy of the show. Therefore, we might further
adapt Lévi-Strauss’ diagram to include corresponding states to the already exiting
categories of raw, rotten, and cooked. As we seen Will so often surrounded by green, and
the colour green being associated with organic and its decay or twisted growth, the
category of rot can be seen as representing the influence of the natural, or the basic
presence of life, or humanity. Due to their threatening and liminoid nature, the specters
and deities in the show are most heavily influenced by cultural perceptions that we put
upon them, and so could be seen as representing the cooked. The raw is reserved for
primal instincts in their most fundamental form, and occurs most commonly in the guide
of red tones; these we can associate with the potential for transformation in the form of
cultural growth and rendering, or natural decay and rot.
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CONCLUSION
Colour transforms. As Kalmus says, “colour is effective and seductive…but colour needs
to be kept under control” (qtd in Doy 117), and in Hannibal’s universe, the transfigurative
potential of red, green, and black, are expertly harnessed by the show’s producers to
striking effect. The significance of each of these colours as psychological stimuli for their
audience, as well as their potency in the context of their cultural symbolism, have
contributed to the way that transformation occurs within the show. Whether this is the
figurative ritualization of Will through Hannibal’s mental games, or the literal physical
change of the Ravenstag into the Wendigo creature, the colour establishes the tone, the
transition, and in many cases, how we as an audience will respond to it.
Red exists as a signifier for many different mental states in the human mind, ranging from
life and rebirth to danger and blood. When seen in Hannibal, the audience is brought to the
forefront of highly stylized violence that acts as a placeholder for the psychological
damage being done to Will Graham’s mind. The intensity of the colour blocking is
highlighted by its presence in otherwise dark or mellow environments, lending urgency
and threat to the situations it is polluting. The audience becomes more receptive to its
presence, and as such, its cultural connotations are emphasized as we form associations in
our perception of it on-screen.
Looking at the colour through an anthropological lens, and using an understanding of some
of the show’s most prominent themes, i.e. food, death, ritual, and decay, it is possible to
combine the psychological connotations with the cultural systems represented in the series.
Lévi-Strauss’ culinary triangle is a vehicle that allows for the assigning of different colours
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to the raw, cooked, and rotten; these states and their connotations then become an effective
metaphor for explaining their interchangeability, and in some instances, transformative
capacity. The colour red is here a heating presence, acting as a driving force behind Will’s
ever-decreasing grip on reality, and so might be associated with instability,
incompleteness, and aggressive destruction: all qualities of the raw or the roasted in the
culinary triangle.
Green, on the other hand, is intended to represent the soothing counterpart of red, and
instead of inciting transformation through violent injection of energy, instead symbolizes
the slowness of transition in the context of growth and/or decay. In many interpretations
and colour analyses, green appears as melancholy, atmospheric, associated with nature and
the domestic sphere of being – one of the main reasons that it is avoided by avant-garde
filmmakers such as Nagisa Oshima, who wish to steer away from the complacency and
comfort of the colour. However, it’s potential as advancer of transition should not be
underestimated, and James Hawkinson himself says, “Melancholia possesses Mystery and
this entices the viewer to take the journey” (Appendix A). The unknown of the green and
the anaesthetic of familiarity it creates by its association with what we know – nature, the
organic, the idyllic – lures us into its trap. By the time we realize that what it really
symbolizes is more akin to that of the uncanny and the undetermined liminal space, we are
already ensnared. This aligns green with the rotten in the culinary triangle, as it is most
closely engaged with the effects of the natural world, and the most subjective in its
interpretation as material that constitutes something decaying, or something growing.
The featuring of black is similarly symptomatic of liminality, particularly in its
engagement with the supernatural and the presence of gods and monsters. The Ravenstag
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and the Wendigo are black creatures, and these visual hallucinations take their place as
culturally significant in our imaginations, synonymous with cannibalistic spectres, Hindu
destroyer deities, and Native American spirits of trickery or wisdom. The amalgamation of
all of these qualities into the iconic figures that haunt Will Graham’s psyche create a
network of signifiers by which we navigate the psychological games that the show plays
on its characters and its viewers. The more we watch, the darker things become, and the
more it becomes clear that Hannibal is not simply human; he is something tainted, and
something that taints.
As Will himself says, “It’s beautiful” (“The Wrath of the Lamb”). Lauded as one of the
most cinematically beautiful series in the history of television, Bryan Fuller and his team
have resurrected the classic Hannibal Lecter narrative in a refreshing, and often death-
defying, explosion of visceral imagery and picturesque tableaux. The main feature of this
reinvention is its emblazoned colour palette; whilst at first glance the artistry of the show
seems to serve only the glorification of violence and death, the fact is that the series gives
us so much more than that.
In red, we get heat, pollution, instability, and the burden of incompleteness. In green, we
are given the languid, but pungent, process of decay through the intervention of nature. In
black, we see realm of the liminal and the ritual, and man’s relationship to the supernatural
presence in the cultures he worships. In Hannibal, we fear a reckoning; in Will, his design.
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APPENDIX
(A)
JAMES HAWKINSON PERSONAL EMAIL INTERVIEW TRANSCRIPT
What was your main reasoning for focusing so much on the colour red (and to
some extent, green) in the show’s photography?
The color Red creates an immediate and visceral response in the human mind.
Although it is at the farthest end of the visual spectrum and therefore the weakest
signal, it possesses great power being the color of blood. It is arguably the first
color we see in the womb and at birth. It can signal danger and create panic. The
use of this color started in the pilot episode to fore-shadow Lecter's first on-screen
murder. In a therapy session, the Doctor's patient reaches for a tissue (hand in
focus) while the wall behind looms in a menacing Red tone. By season three, Red
became more prevalent as the story became "the Great Red Dragon" and I began
gelling lights with Red filters to underscore the character's transformation, his
Rebirth. Green is the opposite of Red and can possess a soothing effect, however, I
find certain tones of green Melancholic and use it to induce this emotion.
Melancholia possesses Mystery and this entices the viewer to take the journey.
How far do you agree with the term ‘vibrant and violent’ to describe the
show’s visual aesthetic? Is the purpose of the powerful visuals to create an
audience response of shock or discomfort, or was the aim purely to emphasise
certain characteristic/themes in the show?
Everything I do with my cinematography is to support the themes and tones within
the narrative. The work can be dark and "Film noir"-ish, however the blacks are
never artificially crushed as I want the viewer to search into the darkness to unravel
the Mystery. Crushed blacks would represent a complete void and in this void there
are no answers. "Shock and discomfort" are more components of editing and sound
design. I feel there was much more to the show than just being "vibrant and
violent" as I find a great deal of hypnotic sensuality in the work.
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How do you create this incredible balance on the show between pure violent
gore and terrifying suspense/fear of the unknown?
Within this Hypnotic Sensuality is a terrifying truth: we are watching a
Psychopathic genus and the mechanisms of his serial killings. The images are so
Hypnotic and Intoxicating that the Horror begins to work on a subconscious level.
In other works, when the images are so beautiful, we forget we are looking at a
murder scene rather than art. Only later, the horror dawns on the viewer as it haunts
their subconscious and hopefully their dreams.
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APPENDIX
(B)
FIGURES USED
Figure 1: “The culinary triangle.” Lévi-Strauss, Claude. Trans. Peter Brooks. "The
Culinary Triangle". The Partisan Review 33 (1966): 586–96. Print.
Figure 2: ---. “The culinary triangle.” Modified by author.
Figure 3: Still from “Apéritif”, Hannibal.
Figure 4: Promotional photo for Hannibal season 1.
Figure 5: Still from “Savoureux”, Hannibal.
Figure 6: Still from “Relevés”, Hannibal.
Figure 7: Still from “Apéritif”, Hannibal.
Figure 8: Still from “Apéritif”, Hannibal.
Figure 9: Still from “Mizumono”, Hannibal.
Figure 10: Still from “Amuse-Bouche”, Hannibal.
Figure 11: Still from “Apéritif”, Hannibal.
Figure 12: Still from “Amuse-Bouche”, Hannibal.
Figure 13: Still from “Œuf”, Hannibal.
Figure 14: Still from “Kaiseki”, Hannibal.
Figure 15: Still from “Mizumono”, Hannibal.
Figure 16: Still from “Hassun”, Hannibal.
Figure 17: Still from “Kō No Mono”, Hannibal.
Figure 18: Still from “Kō No Mono”, Hannibal.
Figure 19: Still from “Trou Normand”, Hannibal.
Figure 20: Still from “The Great Red Dragon”, Hannibal.
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