The fundamental components of light in cinema and the use of light in Roger Deakins cinematography

This thesis examines how light in cinematography transcends its technical function to become a narrative, emotional, and symbolic force, through the filmography of contemporary master Roger Deakins. Beginning with light's fundamental physical properties, the study explores its roles in cinematography, historical evolution, and classical lighting techniques (three-point system, chiaroscuro, high/low key), while also detailing modern approaches like practical lighting and natural light utilization. The primary objective is to analyze Deakins' unique artistic and technical approach to lighting. Within this framework, the study investigates Deakins' career, filmography, and cinematographic philosophy. His stylistic approach encompasses a minimalist and realist aesthetic, preference for natural light, mastery of color palettes for thematic symbolism, and adaptation to technological innovations like LED lighting. In the analytical section, four Deakins films – No Country for Old Men (2007), Blade Runner 2049 (2017), *1917* (2019), and Skyfall (2012) – are examined in depth regarding their lighting techniques. Key analyses include: the role of low-key lighting and unilateral illumination of Anton Chigurh in creating tension in No Country for Old Men; how orange dust storms and neon lights employ color symbolism to achieve emotional depth in Blade Runner 2049; the real-time illusion created through continuous daylight flow in *1917*; and how contrast reflects Bond's inner conflicts in Skyfall – all demonstrating Deakins' mastery. Finally, Deakins' lighting style is compared with other master cinematographers like Emmanuel Lubezki, discussing how his innovative perspective redefined traditional Hollywood lighting conventions. This thesis emphasizes Deakins' distinctive contribution to cinematography by treating light not merely as a technical tool, but as a powerful artistic medium that shapes story, atmosphere, and emotion. Keywords: Roger Deakins, cinematography, minimalism.