21. The House of Happiness (The Pink Collection)

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Pink topaz from Ouro Preto , Brazil. Corundum , or pink sapphire, from the Dodoma Region of Tanzania. Calcite from Bou Azzer, Morocco. Clinochlore from Erzerum Province , Turkey.

The pink color comes from grains of reddish hematite mixed with white quartz. A Strigilla carnaria shell from Dominica , in the West Indies. An Ocelated frogfish Antennarius ocellatus , from East Timor. The frogfish is camouflaged to look like a rock covered with algae or seaweed; it lies motionless and waits for its prey to come to it. The pink iguana of the Galapagos Islands was first identified in and first recognized as a distinct species in The so-called " white elephant " is revered in several countries in Southeast Asia and is naturally pinkish gray.

They are actually albino elephants. The pig has been domesticated over ten thousand years and selectively bred to have a pink skin, without melanin , which farmers traditionally have preferred to a dark color. Flamingoes in Laguna Colorada , Bolivia. The pink or reddish color of flamingos comes from carotenoid proteins in their diet of animal and plant plankton. A unhealthy or malnourished flamingo, or one kept in captivity and not fed sufficient carotene, is usually pale or white.

Its pink color, like that of the flamingo, comes from the carotenoid pigments in its diet. The Lophochroa leadbeateri , commonly known as Major Mitchell's Cockatoo or the pink cockatoo, is a native of the arid interior regions of Australia. Raw beef is red, because the muscles of vertebrate animals, such as cows and pigs, contain a protein called myoglobin , which binds oxygen and iron atoms. When beef is cooked, the myoglobin proteins undergo oxidation, and gradually turn from red to pink to brown; that is, from rare to medium to well-done. Pork contains less myoglobin than beef and therefore is less red; when heated, it changes from pinkish-red to less pink to tan or white.

Ham , though it contains myoglobins like beef, undergoes a different transformation. Traditional hams, such as prosciutto , are made by taking the hind leg or thigh of a pig, covering it with sea salt, which removes the moisture content, and then letting it dry or cure for as long as two years. The salt sodium nitrate permits the ham to retain its original pink color, even when dried out. Supermarket hams are made by a different and faster process; they are brined, or infused with a salt-water solution, containing sodium nitrite , which transfers nitric oxide , which bonds with the myoglobin to form the traditional pink cured ham color.

The shells and flesh of crustaceans such as crabs , lobsters and shrimp contain a pink carotenoid pigment called astaxanthin. Their shells, naturally blue-green, turn pink or red when cooked. The flesh of the salmon also contains astaxanthins, which makes it pink. Farm-bred salmon are sometimes fed these pigments to improve their pinkness, and it is sometimes also used to enhance the color of egg yolks.

Roast beef gets its distinctive pink color from myoglobin , which gradually turns from red to pink to brown rare to medium to well-done when heated. Prosciutto hams also get their pink color from salt combined with the natural protein called myoglobin. The shells and flesh of steamed shrimp contain a natural carotenoid pigment called astaxanthin , which turns pink when heated. The same process turns cooked lobster and crab from blue-green to red when they are boiled.

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The meat of the salmon is also colored pink by the natural carotenoid pigment called astaxanthin. Pink is one of the most common colors of flowers; it serves to attract the insects and birds necessary for pollination and perhaps also to deter predators. The color comes from natural pigments called anthocyanins , which also provide the pink in raspberries.

Pink tulips in the botanical gardens of Moscow State University. A Japanese cherry tree Prunus serrulata in bloom. In the 17th century, the word pink or pinke was also used to describe a yellowish pigment, which was mixed with blue colors to yield greenish colors. In William Salmon 's Polygraphice , "Pink yellow" is mentioned amongst the chief yellow pigments p. According to public opinion surveys in Europe and the United States, pink is the color most associated with charm, politeness, sensitivity, tenderness, sweetness, softness, childhood, the feminine, and the romantic. Pink was the favorite color of only two-percent of respondents, compared with forty-five-percent who chose blue.

There was a notable difference between men and women; three percent of women chose pink as their favorite color, compared with less than one percent of men. Many of the men surveyed were unable to even identify pink correctly, confusing it with mauve. Pink was also more popular with older people than younger; twenty-five percent of women under twenty-five called pink their least favorite color, compared with only eight percent of women over fifty.

Twenty-nine percent of men under the age of twenty-five said pink was their least favorite color, compared with eight percent of men over fifty. In Japan, pink is the color most commonly associated with springtime due to the blooming cherry blossoms. In Danish, Faroese and Finnish, the color pink is described as a lighter shade of red: In Icelandic, the color is called bleikur , originally meaning "pale". There is a separate word for the color of the cherry blossom: Early pink buildings were usually built of brick or sandstone , which takes its pale red color from hematite, or iron ore.

In the 18th century - the golden age of pink and other pastel colors - pink mansions and churches were built all across Europe. More modern pink buildings usually use the color pink to appear exotic or to attract attention. Malbork Castle in Poland, built by the Teutonic Knights in , is the largest brick structure in the world.

Casa Rosada , or the "Pink House", in Buenos Aires , built between and as a fort and then customs house, is the official residence and office of the President of Argentina. Ostankino Palace , outside of Moscow, is an 18th-century country house built by Pyotr Sheremetev , then the richest man in Russia. Macau Government Headquarters , an example of Portuguese colonial architecture and the Pombaline style in Macau.

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Its pink color was designed to match an exotic setting, and to contrast with the blue of the sea and green of the landscape. Canada Place Building , in Edmonton , Alberta , Canada a post-modernist style government office building. According to surveys in Europe and the United States, pink is the color most associated with sweet foods and beverages. Pink is also one of the few colors to be strongly associated with a particular aroma, that of roses. The drink Tab was packaged in pink cans, presumably to subconsciously convey a sweet taste.

The pink color in most packaged and processed foods, ice creams, candies and pastries is made with artificial food coloring. The most common pink food coloring is erythrosine , also known as Red No. Some products use a natural red or pink food coloring, Cochineal , also called carmine , made with crushed insects of the family Dactylopius coccus. A strawberry ice cream cone. Strawberry is the fourth most popular ice cream flavor in the U. Cotton candy was first made for the French Royal Court in the 18th century, but did not become popular until the beginning of the 20th century, when an American dentist invented a machine for spinning it quickly and cheaply.

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A macaron with raspberries. Bunga kuda also known as bunga pundak is a traditional dessert in Malaysia , containing a coconut filling. Chi chi dango is a sweet dessert made of rice flour. It is of Japanese origin, and very popular in Hawaii. Pink champagne takes its color either by being fermented for a short time with the skins of dark purple grapes, or by the addition of a small amount of red wine. In Europe and the United States, pink is often associated with girls, while blue is associated with boys. These colors were first used as gender signifiers just prior to World War I for either girls or boys , and pink was first established as a female gender signifier in the s.

Many [47] [48] [49] [50] [51] have noted the contrary association of pink with boys in 20th-century America. An article in the trade publication Earnshaw's Infants' Department in June said:. The generally accepted rule is pink for the boys, and blue for the girls. The reason is that pink, being a more decided and stronger color, is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl.

One reason for the increased use of pink for girls and blue for boys was the invention of new chemical dyes, which meant that children's clothing could be mass-produced and washed in hot water without fading. Prior to this time, most small children of both sexes wore white, which could be frequently washed.

Blue was also the usual color of school uniforms, for boys and girls. Blue was associated with seriousness and study, while pink was associated with childhood and softness. By the s, pink was strongly associated with femininity but to an extent that was "neither rigid nor universal" as it later became.

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One study by two neuroscientists in Current Biology examined color preferences across cultures and found significant differences between male and female responses. Both groups favored blues over other hues, but women had more favorable responses to the reddish-purple range of the spectrum and men had more favorable responses to the greenish-yellow middle of the spectrum. Despite the fact that the study used adults, and both groups preferred blues, and responses to the color pink were never even tested, the popular press represented the research as an indication of an innate preference by girls for pink.

The misreading has been often repeated in market research, reinforcing American culture's association of pink with girls on the basis of imagined innate characteristics. As of various feminist groups and the Breast Cancer Awareness Month use the color pink to convey empowerment of women.

A key tactic of these charities is encouraging women and men to wear pink [58] to show their support for breast cancer awareness and research. Pink has symbolized a "welcome embrace" in India and masculinity in Japan. Boy in a sailor suit The blue sailor suit helped make blue instead of pink the color for boys in the 20th century.

Indian actress Mugdha Godse. In many cultures, pink is associated with femininity. Women of the Herero people from Namibia. Three nuns in pink in Yangon , Burma. Toys aimed at girls often display pink prominently on packaging and the toy themselves. This is a relatively recent trend, with toys from the s to the s not being gendered by color though they were gendered by a focus on domesticity and nurturing.

The current color-based gendering of toys can be traced back to the deregulation of children's television programs. This allowed toy companies to produce shows that were designed specifically to sell their products, and gender was an important differentiator of these shows and the toys they were advertising.

In its catalog, Lionel Trains offered for sale a pink model freight train for girls. The steam locomotive and coal car were pink and the freight cars of the freight train were various pastel colors. The caboose was baby blue. It was a marketing failure because any girl who might want a model train would want a realistically colored train, while boys in the s did not want to be seen playing with a pink train.

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However, today it is a valuable collector's item. As noted above, pink combined with black or violet is commonly associated with eroticism and seduction. Pink is often used as a symbolic color by groups involved in issues important to women, and lesbian, gay, bisexual and transgender people. The pink ribbon has been a symbol of breast cancer awareness since The word pink is not used for any tincture color in heraldry, but there are two fairly uncommon tinctures which are both close to pink:. Pink is used for the newsprint paper of several important newspapers devoted to business and sports, and the color is also connected with the press aimed at the gay community.

Since the London Financial Times newspaper has used a distinctive salmon pink color for its newsprint, originally because pink dyed paper was less expensive than bleached white paper. In some countries, the salmon press identifies economic newspapers or economics sections in "white" newspapers. Some sports newspapers, such as La Gazzetta dello Sport in Italy, also use pink paper to stand out from other newspapers. It awards a pink jersey to the winner of Italy's most important bicycle race, the Giro d'Italia. The leader in the Giro d'Italia cycle race wears a pink jersey maglia rosa.

From Wikipedia, the free encyclopedia. This is the latest accepted revision , reviewed on 17 December This article is about the color between red and white on the color spectrum of visible light. For the singer, see Pink singer. For other uses, see Pink disambiguation. Pink is sometimes associated with extravagance and a wish to be noticed. A pink Cadillac. Pink and white together symbolize youth, tenderness and innocence. Mamie Eisenhower in her pink inaugural gown, painted in by Thomas Stevens.

A pink hibiscus from Australia. A flower of a magnolia tree. The City Center in Kannur , India. List of historical sources for pink and blue as gender signifiers. In the United States and Europe, baby girls are often dressed in pink and white. Psychologie de la couleur — effets et symboliques , pp. R ratis to ruta ". Retrieved 9 August Retrieved 19 September In , Time magazine printed a chart showing sex-appropriate colors for girls and boys according to leading U.

For novices who are put off by the director's reputation as a dour, difficult doom master, the film provides a good introduction. But it may also count as the ideal final destination: The plot, in a nutshell, goes like this: Matters are resolved in a devastating final section inside an old curiosity shop in which Alexander is shown "the swift way that evil thoughts can go". Along the way we run across an androgynous madman, a bloated, bedridden aunt and a lecherous uncle who lights his own farts.

Few films boast as many indelible supporting characters as Fanny and Alexander. Bergman diehards usually cite this as the director's most user-friendly film, as though that's somehow a bad thing. True, it contains more in the way of light and warmth than some of his more nakedly anguished masterworks. But light does not necessarily mean lite, and certain sections are as harrowing and profound as anything you find in Cries and Whispers or Through a Glass Darkly. In fact, by the time this film pitches towards that astonishing climax bedsheets burning; magic working one might even make a case for Fanny and Alexander as Bergman's most mature, clear-sighted and fully realised work.

It strikes me that the director spent the bulk of his career tackling the notion of a world without God how liberating this is; how terrifying, too , only to arrive at the conclusion that we are all God, and that man makes God in his own image, for better or worse. Significantly, the God who crops up in these final moments is represented by a cheap dummy, jiggled into life by an untrustworthy puppet-master.

He is also embodied by an overimaginative child, still smarting from his father's death and sending malign thoughts out into the ether. And then he is, by implication, the director himself; a man who spent a lifetime conjuring entire worlds on a black-and-white screen and yet who never managed one as beguiling, as terrible and true as the one we see here. Art for art's sake, and proud of it, Days of Heaven has no reason to exist beyond the fact that Terence Malick was determined to make it exist and, as with all Malick's movies, it finally came to exist entirely on his own terms.

Using a story as wispy as a fable, Malick constructed one of the most mesmerisingly beautiful evocations of the past ever laid on celluloid. Set between and , it follows three urban fugitives Richard Gere, Brooke Adams and Malick's wonderful discovery Linda Manz as they flee smoky Chicago for the Texas panhandle and seasonal jobs as wheat harvesters. A train loaded with harvest migrants sailing, it seems, over a high viaduct bridge; a locust storm that turns into a wheat-field inferno; the many harvest scenes shot at "the magic hour" after the sun has gone down and its last horizontal rays remain.

Malick was determined to emulate the silent movies of the film's own historic setting, and therefore used many of the same methods, ordering his crew to turn off the lighting set-ups and allowing Almendros and his replacement, Haskell Wexler to use film stock that greedily drank up the meagre light available in the most gorgeously grainy ways.

The interiors are not studio-shot, but take place inside the building whose exteriors one sees in the movie. Against such beauty the humans inevitably seem like small figures dwarfed by malign fate. But the performances are vividly real and Manz's narration is one of the universal benchmarks of the movie voiceover. Even though it was made in long-ago , there is still something fetishistically futuristic about A Clockwork Orange. Perhaps that is owed to the exuberant and indelible production design, its characters' peculiar teenage argot "nadsat" or its electrified, classical score by transsexual composer Walter later Wendy Carlos — or perhaps simply because the early 70s were crazier — in hyper-stylised design and fashion — than any period since.

Either way, A Clockwork Orange endures, not so much for its philosophical musings on the nature of free will in the face of good and evil, but because it is simply a triumph of style from its opening sequence in the Korova Milk Bar through its cartoony violence and horrible retribution, all the way to its bizarre final shot of Alex Malcolm McDowell in a role that has dogged him for 40 years having wild sex before an audience of voyeurs clad in Louis XIV courtier finery as he crows: Kubrick thought of every detail in the costuming the droogs' white thug outfits, with their crotch-emphatic outer jockstraps and bowler hats, not to mention Alex's false eyelashes , furniture, decor and art the giant plaster penis that Alex uses as a murder weapon — giving them as much attention as he had to the dashboards of his bomber in Dr Strangelove, the spaceships in , or the painterly compositions in Barry Lyndon.

Within the universe he created, he let loose a cast of characters closer to grotesque gargoyle status than anything in the rest of Kubrick's body of work, and it is here that Kubrick first deploys his tactic of starting close-up on a face and pulling back drastically to show its environs by the time of The Shining, most of his camera movements tracked maniacally forwards, not sombrely backwards. These days we have cause to wonder what all the fuss over the violence in the movie was about.

It seems so tame now and probably did even then, alongside, say, Straw Dogs. Evidently the copycat aspect of the audience response — certain violent crimes were rumoured to have been inspired by the film — was real enough for Kubrick, who made the movie unavailable in his adopted homeland for the rest of his life. More's the pity, because it's a crucial British film of its period, and a key to our larger understanding of Kubrick himself.

So many things about Citizen Kane were outrageous at the time: If only a few of those ideas gained ground, Hollywood was in trouble. The secret might get out that film could be art! This astonishing, un-American notion took time to get established. The Hearst media did all they could to block the film. Citizen Kane was a hard film for audiences raised on the slick narrative arc of Hollywood pictures to understand, with its scheme of flashbacks. And Welles would prove not only self-destructive, but also his own worst enemy — why let anyone else fill that vital job? Yet it worked in the end.

Ordinary film-makers knew that the work with lenses, darkness, sound and structure was unique. The film was full of wonderful new actors. The French critics seized upon it. By the late 50s, Citizen Kane was proverbial: It breathed the unAmerican gospel: And so a new orthodoxy set in, whereby Kane became the best film ever made, a position it has held for 60 years. That greatness now hangs over the history and the future of the medium. Still, if you have never seen it, prepare for one of the great experiences in your life and notice this — Kane has lasted not for innovation alone, but because it is so emotional and tragic.

It's a great man asking himself whether anything matters.

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In Kane and Welles alike, there was the same rueful mixture of genius and lack of self-belief. It's dangerous to start watching Japanese cinema, because the world is so extensive and dazzling you may quickly develop a taste for nothing but Japanese films. Is there a romance more mysterious than Mizoguchi's Ugetsu Monogatari? Is there action to surpass Kurosawa's Seven Samurai? And, in terms of family drama, has any film been more moving than Yasujiro Ozu's Tokyo Story? Time and again, Ozu has made films about family, and the shifting structure we refer to as "time and again". Family is less a fixed entity than a kind of weather system that keeps coming back.

So children need parents, and need to outlive them. But while the weather will go on, and your children will become parents, so your life will close, and you will not be there to see the way your own children look back as if to say they understand you, too late. Is this tragedy or comedy? Ozu is never quite sure.

He seems to wonder whether any progression can amount to tragedy, or whether it is not simply as inevitable as passing time and changing light. This may not sound "entertaining" or active or even interesting, which only means the viewer needs to undergo the gentle process of being helped to see through Ozu's withdrawn but compassionate style. So he watches from the corner of a room at a low level for Japanese domestic life is often conducted from a sitting position and he declines to rush in with forgiving, approving, loving close-ups — because he believes people are beyond forgiveness or individual glamour.

Family is a group in which everyone has his or her reason. In Tokyo Story, Shukishi and Tomi Hirayama Chishu Ryu and Chieko Higashiyama visit their grown children, full of hope and the wish to be recognised, but they find the children too busy, too preoccupied. This is not depicted as bad behaviour, or a sign of cultural breakdown; it is the way of the world. The acting is intimate, humane and reserved yet there are no stars, let alone heroes or heroines.

There are no "happy endings" in the terms western culture requires. Instead, the riddle of happiness or its opposite runs through "time and again" like light on moving water. Does it sound dull, or too simple? Be warned — it can make other films seem unbearably crass.

At the age of 29, Jean Vigo died from rheumatic septicaemia, just a few days after the opening of his only feature film, L'Atalante. Those bare facts are a landmark not just in French cinema, but in the larger history of artistic film-making, and of the absolute commitment of film-makers.

Moreover, the poetic lyricism of L'Atalante, far from dating, has been more appreciated over the years. L'Atalante is 75 years old, yet its beauty and its harshness are still hauntingly alive. Three men work a barge it is named L'Atalante on the waterways of northern France: They stop at a small town. Jean meets a girl, Juliette Dita Parlo , and they are married, while hardly knowing each other.

So the barge moves on. It is not an easy transition for the married couple. In Paris they go ashore and the wife flirts with another man. There is a fight and she runs away, then the husband goes in search of her. Marriage is the film's subject and it is most moving in its cinematic grasp of a deeper bond than that permitted by the lovers' temporary misalliance.

The simplicity of the story resembles silent cinema, but these people talk. The film is enhanced by one of the cinema's first great musical scores by Maurice Jaubert , and Vigo's inspired compositions and images in which the spirit of romanticism seems threatened by the very light that reveals it. But it's Boris Kaufman's cinematography that is most impressive — it serves as an example of the way realism can be infected by the characteristics of poetry and dream.

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