月光男孩 | 蓝月光下的成长故事

The 2016 film Moonlight directed by Barry Jenkins details the life of Chiron, a gay black man growing up in Miami. Moonlight is beautifully shot and directed; the film uses color and lighting as an avenue to evoke feeling throughout the storytelling. In the first third of the film, an extremely bright, cool, and blown out light overlays the scene. This cool light, coupled with an abundance of blue props and wardrobe, makes the scene feel overwhelmingly cold. Although this scene takes place in a warm climate, as indicated by the palm trees and breathable wardrobe, things don't feel warm and inviting, but rather cold and static. In the restaurant scene where Juan buys young Chiron a meal, the lighting is so bright that the sky outside the window reads completely white. This almost unnatural brightness makes the seemingly happy moment feel detached and dull in comparison to a warm Miami sun. Similar lighting and color techniques are used throughout the film, such as the cool lighting inside Chiron’s highschool complemented by bright blue walls and door frames.

"Part of the beauty of the film is that is is one story colored by different perceptions...I think that;s the point. Every story if colored by personal perception" - Doyle as cited by Price

During the first part of the story Juan recounts a story, “In moonlight, black boys look blue. You Blue. I gonna call you Blue.” While this was also the title of Tarrel Alvin McCraney’s play, the meaning goes deeper. Juan tells Chiron that at some point, he has to decide who he wants to be and that no one can make that decision for him. As such, there is blue symbolism throughout the first part of the film. We see Juan driving a blue car with a blue interior. Juan is often seen covered in blue as he is the person who will teach Chiron how to be vulnerable. Little wears a white shirt signifying his innocence and a blue backpack when they first meet, signifying that Juan see’s some of himself in the young boy At the beach we see Little looking up to Juan with blue items scattered around the background. Contrast this to the multicolor shirt Juan wears when they first meet and we can see that Little is beginning to open up to Juan. This also evident in his shirt, a predominately red shirt that has two blue strips. This is taken even further in the ocean scene where Little is bathed in blue, the water of the ocean, and we see the first sign of vulnerability and a willingness to let go. We see the multi color shirt again on Chiron’s mother, a major source of his anxiety due to her relentless drug addiction. The next time we see her she just comes back from smoking and we see her in bright red shirt with Little in a white shirt. Red functions as a foil to the film’s use of blue and we can see that his mother is draining him of his vulnerability, his blue.

In the second act of the story we see a consistent use of yellow through out. Chiron’s plaid shirt is yellow and blue. In this chapter, yellow signifies cowardice as Chiron deals with now his more aggressive bullies (who also happen to be dressed in red). He goes home to a yellow apartment and we see red shirt hanging on the clothesline—a representation of Chiron’s anxiety. He grabs a blue strip shirt as he wants to be more like Juan, but discards it, as he knows that he is not ready. Later in this part, as Chiron dreams about Kevin, he walks over to him and girl having sex. While his shirt is while, it appears yellow in the moonlight. Chiron desire Kevin but he cannot do anything about it. This builds up as Chiron rides the train home and we see bright hits of yellow throughout. All of a sudden, the yellow disappears and we are left with a shot of Kevin and Chiron covered in blue as they have their first sexual experience. The next day Chiron is seen wearing the blue and white striped shirt.

The final portion of the film follow Chiron in his adult years. Now a tough, overly masculine drug dealer, he looks like a completely different person. We learn that he has followed Juan’s path and has, in a way, become Blue. Except it’s not real blue, it’s black. He is hiding from his true identity by adopting another personality that isn’t his. We still see instances of yellow, like when Black stares into the mirror and the blue mirror is framed by a yellow wall. When he gets a call from Kevin, we see him in a familiar white shirt, the first instance of white in this entire part. Before Black visits Kevin, he visits his mother who is now in recovery and is wearing a much softer color compared to the harsh red she once wore. When Black and Kevin finally meet we see lots of red. Red American flag, red curtains. Black is opening himself up for the first time and it is scary. However, once they go back to Kevin’s apartment, Kevin changes into a blue shirt and we see Black standing behind an empty cork board with a black border. The symbolism is clear. This concludes with Chiron reconciling his identity and we see a short of Chiron being held by Kevin as we see the color slowly fade to blue.

The film ends with a short of Little on the beach at night, standing under the moonlight, and looking at the camera—looking at us. Barry Jenkins’ Moonlight challenges us to take a look at who we really are and be comfortable with that vulnerability. It’s through Jenkins’ masterful use of color that we are able to feel the way that Chiron feels, prompting us to reflect in a similar manner.

由巴里·詹金斯（Barry Jenkins）执导的2016年电影《月光》详细介绍了（Chiron）的成长生活，他在迈阿密长大，是一个同性恋黑人。月光被精美地拍摄和引导；这部电影使用色彩和灯光作为唤起整个故事叙述感觉的途径。在影片的前三分之一中，非常明亮，凉爽且吹散的光线覆盖了场景。凉爽的灯光，再加上大量的蓝色道具和衣橱，使整个场景感觉异常寒冷。尽管这一场景发生在温暖的气候下（如棕榈树和透气的衣柜所示），但事物并没有温暖和诱人的感觉，而是寒冷而静止的感觉。在胡安（Juan）凯龙（Chiron）吃饭的餐厅里，灯光是如此明亮，以至于窗外的天空看上去完全是白色的。与温暖的迈阿密阳光相比，这种几乎不自然的亮度使看似幸福的时刻显得与世无争。整部影片都使用了类似的照明和色彩技术，例如Chiron高中内部的凉爽照明，辅以明亮的蓝色墙壁和门框。

“电影的部分美在于，这是一个故事，故事的色彩各不相同……我想这就是重点。每个故事如果都是通过个人感觉的色彩，”-普莱斯（Doyle）引用

在故事的第一部分中，胡安叙述了一个故事：“在月光下，黑人男孩看上去是蓝色的。你蓝色。我叫你蓝色。”虽然这也是塔雷尔·阿尔文·麦克雷尼（Tarrel Alvin McCraney）的作品的标题，但含义更深了。 Juan告诉Chiron，在某个时候，他必须决定自己想成为谁，而且没有人可以为他做出这个决定。因此，在电影的第一部分中都有蓝色的象征意义。我们看到胡安开着一辆蓝色内饰的蓝色汽车。经常看到胡安（Juan）身穿蓝色衣服，因为他将教基隆（Chiron）如何变得脆弱。利特尔（Little）第一次见面时穿着一件白衬衫，表示他的天真，背着蓝色背包，这表明胡安（Juan）在小男孩中看到了自己的一些人。将此与胡安（Juan）初次见面时穿的多色衬衫形成对比，我们可以看到小（Little）开始向胡安（Juan）开放。这在他的衬衫中也很明显，一件主要是红色的衬衫有两条蓝色条纹。在海洋场景中甚至更是如此，在这里Little被沐浴在蓝色的海水中，我们看到了脆弱的第一个迹象和愿意放手的迹象。我们再次在Chiron的母亲身上看到了这款多色衬衫，这是由于Chiron长期沉迷于毒品而引起焦虑的主要原因。下次我们见到她时，她刚从吸烟中回来，我们看到她穿着鲜红色的衬衫，而Little穿着白衬衫。红色是电影使用蓝色的衬托，我们可以看到他的母亲正在耗尽他的脆弱性，即蓝色。

在故事的第二幕中，我们看到黄色始终贯彻使用。凯龙（Chiron）的格子衬衫是黄色和蓝色的。在本章中，黄色代表怯ward，因为凯龙（Chiron）现在处理他更具侵略性的欺凌者（他们也恰好穿着红色）。他回家去一间黄色公寓，我们看到晾衣绳上挂着红色衬衫，这代表了凯龙（Chiron）的焦虑。他想像胡安，就抓起一件蓝色长条衬衫，但由于他知道自己还没准备好就把它扔掉了。在这一部分的稍后部分，正如凯龙（Chiron）梦见凯文（Kevin）时，他走向了他和做爱的女孩。他的衬衫一会儿，在月光下看起来是黄色的。凯龙（Chiron）渴望凯文（Kevin），但他对此无能为力。随着Chiron乘火车回家，这种现象逐渐形成，我们看到了整个黄色的亮点。突然之间，黄色消失了，我们留下了凯文和凯隆拍摄的蓝色镜头，因为他们是第一次性经历。第二天，Chiron穿着蓝色和白色的条纹衬衫。

这部电影的最后部分是Chiron成年后的作品。现在他是一个强硬，过度男性化的毒贩，他看起来像一个完全不同的人。我们了解到他已经遵循Juan的道路，并且在某种程度上已经变成了Blue。除了不是真正的蓝色以外，它是黑色。他采用了另一个不是他的个性，从而躲避了自己的真实身份。我们仍然看到黄色的实例，例如当黑色凝视着镜子而蓝色的镜子被黄色的墙壁框住时。当他接到凯文打来的电话时，我们看到他穿着一件熟悉的白衬衫，这是整个部分中第一件白衬衫。在布莱克拜访凯文之前，他拜访了正在康复中的母亲，她的肤色比她曾经穿过的刺眼红色要柔和得多。当布莱克和凯文终于见面时，我们看到了很多红色。红色的美国国旗，红色的窗帘。布莱克第一次开放自己，这很可怕。但是，一旦他们回到凯文的公寓，凯文便换成了一件蓝色衬衫，我们看到布莱克站在一块带有黑色边框的空软木板后面。象征意义很明显。结束于凯龙（Chiron）调和他的身份，我们看到凯文（Kevin）握有凯龙（Chiron）的空缺，因为我们看到颜色逐渐褪为蓝色。

影片的结尾是晚上在海滩上矮个矮人，站在月光下，看着镜头，看着我们。巴里·詹金斯（Barry Jenkins）的《月光》向我们挑战，让我们看一下我们到底是谁，并对该漏洞感到满意。通过詹金斯对色彩的熟练运用，我们能够感受到凯隆的感觉，促使我们以相似的方式进行反思。