The Wizard of Oz is the 1939 film adaptation of a book by the name ‘The Wonderful Wizard of Oz’ by L. Frank Baum. The American film is known for its spectacular setting, colorful and unique casting choices, as well as its beloved musical and dance numbers. However it is The Wizard of Oz’s blend of black and white picture that finally gives way to the spectacular Technicolor that is the most credited and renowned for. Widely respected, it was nominated for six academy awards including best picture.

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Colour in film had been around since approximately 1903 in France, but didn’t arrive in the United Kingdom until 1912. However, the first Technicolor film dates back to 1916. Technicolor films were exposed with the release of The Wizard of Oz, it b rung a technique used more commonly in European art house cinema to the mainstream. With other Technicolor films being released such as: The Adventures of Robin Hood (1938). The Phantom of the Opera (1925) and Foxfire (1955). Technicolor was used in cinema until the late 50s/early 60s. However, I think brightening the colours in a film does help develop the ‘fairy tale’ quality that the Wizard of Oz and films of the like do possess.

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The camera is mounted throughout the entire film, giving the feeling of a dream-like state, and that the audience is not participating in the film, but simply observing from afar. But by the far the most interesting camera work in the film is that of the sequences were the character of Oz is introduced. When the main character Dorothy (Judy Garland) and her magical friends from Oz, The Scarecrow (Ray Bolger) The cowardly Lion (Bert Lahr) and the Tin Man (Jake Haley) enter the chamber of ‘Oz, The Great and Powerful’ the camera is hoisted at a high angle to portray their innocence, naivety and fear. Juxtaposing the low and dominant camera angels used to show Oz strength and intimidation.

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However, as the plot thickens and the characters return to speak to Oz and hopefully have their wishes granted after melting the Wicked Witch of West and retrieving her broomstick. The characters as well as the audience are equally shocked to discover that The Wizard of Oz is just a regular man. As Toto (Dorothy’s dog) pulls back a curtain to reveal the man the camera level changes from an almost aggressive low angle. As the man is revealed to the characters he shrinks and retains the same camera angle used on ordinary characters and we soon learn that he has no magical powers or can help our heroes. He is metaphorically and literally on the same level as they are.

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