Light in essence could only be seen through its reflections or projections from objects which inherently associates the qualities of light with the materialistic qualities of the object from which it originates. In understanding light passively through our understanding of material, the presence of light that fills the volume in between objects is often neglected and forgotten. In such neglect of volumetric properties of light, it is easy to generalize light as mere projections on two dimensional surfaces. Having the physical world represented on two dimensional planes has its implications. Two dimensional representations lack the overall atmosphere of the physical world. It is unable to fully depict aspects of the physical world such as detail, depth and mass. However, in having a two dimensional representation, such deficiencies in depiction can be compensated by exaggerated lines, colours, and representations to create a visual form that is harsh and caricaturized. This enables the creation of more intensified graphic representation that is suitable for plots involving great visual emphasis.
The Neo-Noir film, Renaissance, depicts the world as series of highly contrasted monochromatic surfaces that is reminiscent of the graphic characteristics of comic books. The use of light, or the conception of light by the renderer, emphasizes shades and shadows which endows the film with a very harsh and jagged atmosphere. The heavy shadows and shades accentuate elements such as facial features and the physical setting to such a degree that it starts to carry a theatrical nuance. Even the placements of light in the settings behave almost as spot lights, differentiating the central figure from the periphery. This theatrical quality of the lighting compensates for the lack of detail by accentuating physical features that is very crucial in such a highly charged plot.
The lighting in A Scanner Darkly is similar with Renaissance in how its visual idea is constructed on a two dimensional surface, however differs in the means and goals of the final visual theme. Whereas the emphasis of light in Renaissance was on the portrayal of shades and shadows, the rendition of light in A Scanner Darkly emphasizes surface qualities of the objects on which the light lands. The characteristics of colour, material, and depth are highly emphasized in the way in which light is depicted in the film. The topographic planes of colours and light, more fluently and clearly depicts the volumetric qualities of objects in the film, corresponding more closely with realistic representation rather than graphic representation that is found in Renaissance.
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