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Technological innovation can be explained, in the view of some authors, as the outcome of technological research, and for others, as the outcome of economic re-quirements. It has also been said that a ‘...new technology cannot be successful unless it fulfils some kind of need’ (Buscombe, 1978, p. 24). This need should be ideologically determined. In the cinema, the ideological need most usually recognized has been realism. A great number of different views regarding re-alism have been in evidence. Whether greater realism in the cinema is welcomed or whether it is criticized, there is no doubt that realism is always a matter of concern in discussions about cinema’s vocation. It is not easy to define realism, and even though the general opinion is that realism is a determining factor in the cinema, it was not always the only ideological need responsible for the introduction of new technologies into the cinema. This article will situate color within this perspective. It is not the intention here to investigate the dif-ferent views of realism since it is a very complex issue and a great deal of material is already available. However, it will probably be illuminating and valuable to study some revista Fronteiras – estudos midiáticos 16(3):215-227 setembro/dezembro 2014 © 2014 by Unisinos – doi: 10.4013/fem.2014.163.07 A great number of different views regarding realism has been in evidence. Whether greater realism in the cinema is welcomed or whether it is criticized, there is no doubt that realism is always a matter of concern in discussions about cinema’s vocation. It is not easy to define realism, and even though the general opinion is that realism is a determining factor in the cinema, it was not always the only ideological need responsible for the introduction of new technologies into the cinema. This article will situate color within this perspective

Considerando a cor e o “Efeito do Real” no cinema