https://designvisualuff.files.wordpress.com/2011/07/if-its-purple-someones-gonna-diethe-power-of-color-in-visual-storytelling-2005.pdf

It's a useful guide to why colours are chosen, and, how they have worked their way into our visual literacy. It reads easily and one can easily see the points raised in the context of each film discussed.

Putting that new knowledge into practice seems way more difficult, since you'll find orange and green used in many different ways - context is everything (probably).

I would say the PDF is well worth a glance over a cuppa.

http://www.personal-view.com/faqs/camera-usage/recommended-books-faq

Already added few books.

And want to ask you to post your favourite books here, so I could add best ones.

By Alexis Van Hurkman Published Dec 17, 2013 by Peachpit Press

The digital colorist’s job is no longer to simply balance, fix, and optimize. Today’s filmmakers often want to recreate the idiosyncrasies of older recording methods, or are looking for something completely new, to differentiate the look of a given project. Furthermore, end-to-end digital shooting, postproduction, and distribution means that stylizations and effects once created by the film lab are no longer photochemically available. The color grading suite has become the lab, and these sorts of stylizations are now part of the colorist’s job description. In this follow-up volume to the bestseller Color Correction Handbook, Alexis Van Hurkman walks you through twenty-one categories of creative grading techniques, designed to give you an arsenal of stylizations you can pull out of your hat when the client asks for something special, unexpected, and unique. Each chapter presents an in-depth examination and step-by-step, cross-platform breakdown of stylistic techniques used in music videos, commercial spots, and cinema. These customizable techniques can be mixed and matched for your own unique effects and include:

• bleach bypass looks
• blue-green swap
• blurred and colored vignettes
• cross-processing simulation
• day-for-night treatments
• duotones and tritones
• emulating film stocks
• flat looks
• flattened cartoon color
• glows, blooms, and gauze looks
• grain, noise, and texture
• greenscreen compositing workflows
• lens flaring and veiling glare
• light leaks and color bleeds
• monitor and screen glow
• monochrome looks
• sharpening
• tints and color washes
• undertones
• vibrance and targeted saturation
• vintage film looks

Copyright 2014, Dimensions: 8" x 9-1/8", Pages: 216, Edition: 1st, ISBN-10: 0-13-381851-9, ISBN-13: 978-0-13-381851-2

Handbook explains the basics of colour management and the role of the monitor in the digital workflow. Key points for the photographer, retoucher, designer, and printer are included to increase colour management accuracy.

http://www.eizo.com/global/support/db/files/catalogs/ce/Color_Management_Handbook.pdf

Thanks

There has always been some gap between rich and poor in this country, but in the last few decades what it means to be rich has changed dramatically. Alarmingly, the greatest income gap is not between the 1 percent and the 99 percent, but within the wealthiest 1 percent of our nation--as the merely wealthy are left behind by the rapidly expanding fortunes of the new global super-rich. Forget the 1 percent; Plutocrats proves that it is the wealthiest 0.1 percent who are outpacing the rest of us at break-neck speed.

What’s changed is more than numbers. Today, most colossal fortunes are new, not inherited--amassed by perceptive businessmen who see themselves as deserving victors in a cut-throat international competition. As a transglobal class of successful professionals, today’s self-made oligarchs often feel they have more in common with one another than with their countrymen back home. Bringing together the economics and psychology of these new super-rich, Plutocrats puts us inside a league very much of its own, with its own rules.

http://www.amazon.com/Plutocrats-Rise-Global-Super-Rich-Everyone/dp/1594204098

Forrest Gump. The movie is legitimately great, but isn't remotely like the book. Part of what makes a good adaptation is how close they stay to the original source material. The novel Forrest Gump is basically a pure wacky comedy with little to no drama or pathos or the heart of the movie. Stick to the source material or GTFO! :P

The biggest offender is Jurassic Park. Hands down, the worst adaptations of ALL TIME. Massive changes from the book to screen. Biggest change was in the book, the lawyer character was one of the good guys, while in the movie he was the typical sleazy lawyer. I guess, in a movie with DINOSAURS, having a lawyer that's actually a hero was too fantastical for Spielberg. This was officially when I started to turn away from Spielberg.

Other bad adaptations: Any Tom Clancy novel, minus Hunt for Red October. Most Steven King books, with the exception of Shawshank Redemption and Misery.

Now some good adaptations. First Tarantino's Jackie Brown. Despite changing the main characters race from white to black, and adding his own spin on the dialogue, it's a very mature adaptation for such a young director. Especially when you compare it to Steven Soderbergs adaptation of another novel from the same author released in the same year with one of the same actors playing the same role in a unique cross studio crossover. You almost never see the same actor from one studio's film play the same character in another studio's film, even a cameo, but since it was in the book, Tarantino said go for it, and did it free.

And the best adaptation to date...Sin City. Rodriquez's main weakness has been his writing. When you do as many jobs as he does, something has to suffer, and in his case, it's his writing. So when you start with something that's already well written and you decide to film it AS WRITTEN...that's as good as it gets. The dialogue in the movie is nearly word for word from the comic. The comic panels are storyboards for the film with many looking almost exactly the same. He even shot all the comics in full and then released the full edit later. The more faithful you are to the source material, the better a movie you will make, and this is as faithful as it could possibly get.