In Toni Morrison's The Bluest Eye, Pauline experiences the beauty of life through her "Southern" childhood; extracting colors that translate into his fondest memories. This internalization of color serves as a foundational action, providing insight into Morrison's ideals of beauty and self-image. Steven Spielberg's film, The Color Purple, rather uses the externalization of color to highlight character development and major themes. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Although there is a stark contrast in technique, both works manage to provide a clear fluctuation in character value and image, ultimately overcoming the notion of prejudice. Morrison allows this sense of internalization to exist openly. As Pauline describes the purple berries, the yellow lemonade, and “that streak of green that the June bugs left on the trees the night we left home,” she continues by stating “all those colors were in me” (Morrison 34). Morrison continues to describe the accumulation of colors, detailing how Cholly releases into Pauline all the colors of life that were “sealed in her soul” (Morrison 34). The description of their life at the beginning of the marriage is vivid; also true of Pauline's sexual experiences with Cholly, suggesting an orderly and beautiful life. A move interrupts this process, as Pauline and Cholly ultimately choose to reside in the state of Ohio; although it is obvious that, despite the geographical contrast, the “colors” that Pauline acquired “at home” hardly continue to be accessible. The movement and separation of Celie and Nellie in The Color Purple reflects this. In this case, because the colors are externalized rather than internalized, Celie very quickly loses her sense of their beauty. She finds an image of self-worth through validation from the outside world and those around her. Although both Pauline and Celie find themselves somewhat lost due to the separation, there is a clear difference in the paths they choose to lead them back to identity. The alteration of Pauline's surroundings causes her to struggle; fails to generate new sources of beauty and color after moving north, although, it is important to note that rather than losing all the color from Pauline's life, she rather longs for her old home, remembering the environment that provided a blend so beautiful. of stimulation: "I missed my people. I wasn't used to so many white people... Even the colored people up north were different" (Morrison 57). Furthermore, Pauline notes that Cholly only became "badder and meaner and wanted to fight all the time" (Morrison 62). This instability is a strong contributor to Pauline's growing dissatisfaction and disillusionment; a neglect that results in compensation by looking at the “silver screen” that provides a new outlet for Pauline to internalize color. The perfect "white" world of Hollywood ultimately creates a whole new sense of desire, which has an incredibly negative impact. There is a strong parallel between Celie and Pauline at this point in both characters' development. Although vivid colors fill the beginning of Pauline's life, these colors fade and become less noticeable as the plot progresses. Celie's beginnings are dark, accumulating color and light as the film unfolds. Midway through each play, both Celie and Pauline are on the verge of major transformations, albeit in opposite directions. Pecola's birth highlights that, although the colors have not completely disappeared in Pauline, they are no longer as intense as they once were. As it has.