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Tim burton directing analysis
Tim burton directing analysis
Tim burton film analysis
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Edward Scissorhands, written by Tim Burton, tells the tale of a young man who is lovable, childlike and sensitive, bewildered by the humanity around him, yet is terrifying- someone who has scissors, the deadly weaponry, for hands. Many viewers may read this film as a “Tim Burton” type of fairytale which includes both an alternative aspect and romance. However, through the presentation of mise-en-scene in this film, Burton drives in a much more serious subject of social criticism by establishing two different understandings of life in the movie.
To begin, the idea of two realisms is first illustrated in the opening sequence of the film and continues throughout the length of the story. For example, the neighborhood shown in the film is very staged, with warm and soft lighting, providing a calm, serene feeling. The houses are all lined in formation, with similar colors and structure. Even the colors and decorations in the houses are all pretty much the same, pinkish red and yellow, that makes everything feminine and monotonous, perhaps even boring, just like the houses on the outside. The people of the town are all different, but are all narrow-minded in the same way, which is shown when they gather and gossip about Edward (Burton, 1990). These are all examples of how there is not much difference from one another in a way that they are all controlled by the same, concrete social group. What the beginning of the film brings us is a type of realism where people live in the excessive stereotype of suburban America.
However, everything is unusual in Edward’s world. Tim Burton introduces another realism from Edward’s perspective. The impression of where Edward comes from is completely different from what is observed in the neighborh...
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...As we are examining the people on the screen, we are viewing ourselves. Burton produces a “perfect” figure of Edward who is kind, caring, and signifies the most striking feelings of individuals. In addition, his evil appearance exists only because humanity says that he is unusual. Burton wants us, as the audience, to be conscious of ourselves as a part of the social order, and to cautiously consider the realism we decide to accept as true and exist in.
Works Cited
Burton, T. (1990). Edward Scissorhands. Century City, CA: Fox Studios.
Burton, T. (1990). “Family Dinner”. Edward Scissorhands. Retrieved February 14, 2011 from
http://movieclips.com/M5bd-edward-scissorhands-movie-family-dinner/
Burton, T. (1990). “Edward Makes Snow”. Edward Scissorhands. Retrieved February 14, 2011
from http://movieclips.com/vGd5-edward-scissorhands-movie-edward-makes-snow/
Edwards gets caught and every friend of his from the neighborhood turns on him. Edward Scissorhands has an overall mood of self-discovery for most of the characters. In the film, Burton uses close-up shots in order to convey an unusual tone towards Peg’s curiosity. For example, when Peg goes to Edward’s house, she continues to walk into the house after seeing topiary in the garden. This achieves divergent tone because Peg being comfortable to walk into a dark home for a customer which contributes to the overall mood of self-discovery, because we discover what kind of person Peg is.
Tim Burton used a lot of symbolism throughout the story to show theme and as a result, we can know a lot more about Edward’s personality and about what he wants most. One thing that exhibits Ed’s childish side was the bushes; for example, the dinosaurs and the dolphins he created. The bush shaped hand that was in the dark mansion’s yard encapsulates Ed’s want for hands. Through these examples we can see the theme, sometimes your wants in life can shape what you do in your life because Ed’s wants showed through his actions.
Indisputably, Tim Burton has one of the world’s most distinct styles when regarding film directing. His tone, mood, diction, imagery, organization, syntax, and point of view within his films sets him apart from other renowned directors. Burton’s style can be easily depicted in two of his most highly esteemed and critically acclaimed films, Edward Scissorhands and Charlie and the Chocolate Factory. Burton ingeniously incorporates effective cinematic techniques to convey a poignant underlying message to the audience. Such cinematic techniques are in the lighting and editing technique categories. High key and low key relationships plus editing variations evinces the director’s elaborate style. He utilizes these cinematic techniques to establish tone mood, and imagery in the films.
...ed to kill Basil Hallard) and dies, his corpse acquiring the shape of his soul and the painting, his soul, regaining the purity of his youth. To regain the purity of his soul he must expose himself as he really is to the eyes of the world. It is, in short, an act of confession that will grant him salvation through the mercy of God. In Dracula, Arthur’s liberation of Lucy’s soul through strong thrusting of the stake, a three-foot long phallic symbol, through her heart is the regaining of the masculinity of England’s youth. The elimination of the Count and the resulting withdrawal of the forces of evil (the gypsies and the wolves) represents the reaffirmation of that masculinity against the foreign threat of the count. This ordeal has helped them to reencounter their true virtues and will enable them to guide the country to a brighter and more prosperous future.
Edward was raised in Ashland, a small town filled with average people. From the day he was born, Edward proved he was anything but ordinary, he was a big fish in a small pond. A citizen from Ashland said “-eventually he knew more than anybody, even Mr. Pinker, the librarian. He was a big fish, even then” (12).
Using the production elements of symbolism; especially hands themselves, and the use of allusion to elements from other genres; particularly those from fairytale and gothic romance/horror films, Tim Burton has directed the film in such a manner to illustrate, emphasise and ridicule the materialism and lack of imagination of society. The film however, is prominently a satire which has certain elements from fairytale, comedy and horror genres. Through the choices made by the director, the audience is invited to become aware of the inhumanity present in the way society functions, especially in its prejudiced treatment towards people who do not conform. The use of allusion in Edward Scissorhands is one of the most important choices in production that has been made by director Tim Burton. In order to fully appreciate and understand the plot, the movie is dependant on the audience being able to recognise certain references and elements emulated from other films.
Within the very beginning of the film, the wonderful portrayal of William by Billy Crudup gives the audience a lasting impression by Burton of the blatant resentment and distain William has towards his father and his mythological stories. Wallace, while more subtle in his method to reveal the underlying anger of William towards Edward, does not make it any less apparent than Burton of the obvious indifference William feels towards his father. In Burton’s ...
As it has been established by Mighall, Jonathan’s sexual and perverse writings of his experience in Dracula’s castle are to compensate for and explain the high level of anxiety as well as to contain it one place: “eroticizes the monstrous to contain it or explain it? Writing up his accounts of how he thinks monsters should be represented. He dwells on the sexual, transforming the supernatural into ‘an erotic spectacle’” (Mighall 228-9). Dracula represents larger political and social issues such as the fear and anxiety of reverse colonialism as well as the collapse of the British Empire. He further symbolises the collapse of patriarchal society with the New Woman idea. Count Dracula serves “as a reminder to Britain of the undesirable “diversity” of Eastern nations” (Gelder 11). Stoker presents Britain’s view on the foreign and unknown through Jonathan Harker’s perspective. At the beginning of the text, he notes in his journal: “It seems to me that the further east you go to the more unpunctual are the trains. What ought they to be in China?” (Stoker 2). However, it could be argued that Dracula views the modern world as monstrous and perverse. This is evident as Van Helsing and his group are trying to destroy his existence with the help of new technologies. Therefore, technology is monstrous as it is taking over the person as well as outsmarts
Realism in film is significance in actual and present things, and how things actually come out. now, it is afar the capacity of this part to converse the extent of realism, we support are description upon things such as sanity, experiences, believes, manner and extra communal things such as olden times, political affairs, and finances. No matter how we identify authenticity, realism in film can be judged by administrating what we observe in own world and the world of others. Realism is also a way of conducting subject matter that follows everyday life. Practical characters are anticipated to do things that are conventional to our prospect of real people.
Edward challenges the traditional gender roles in more ways than one. He has dealt not only with an absent father, but also is left to depend on his mother who was emotionally absent as well, making it difficult for Edward to experience a positive male role model in his life. Furthermore, he is a teacher, which is traditionally seen as a profession for a woman. In his mid-life stage at almost fifty years old, Edward has never been married, nor had any children. In the 1980’s, these factors may be seen by society as strange. Edward’s primary inner conflict with his role as a man and his masculinity comes from quietly dealing with issues of homosexuality.
On August 25, 1958, Timothy Walter Burton was born (“Biography”). Burton had a painful childhood in which the relationship with his parents and brother was nonexistent (Morgenstern). Through his intense feeling of isolation, his visual talent began to develop. The comfort found in hobbies such as writing and drawing led him to attend the California Institute of the Arts which led him to his first job in any artistic field at the Disney Animation Studios (“Biography”). Burton has since been referred to as one of the most visually gifted writers, artists, and filmmakers that America has seen (Hanke). His short stories, poems, and film scripts are centered on an inner darkness which he has been slowly acquiring since his childhood. He throws himself into everything he writes and makes even the simplest characters have a deep, complex meaning. His famous darkness and symbolism is shown in his book The Melancholy Death of Oyster Boy and Other Stories. The book contains a collection of his short stories, poems, and illustrations about a variety of fictional characters that can be compared to Burton and his life. Tim Burton’s home life and previous hardships have made a significant impact on his work. In my paper, I will draw parallels to his life and work as well as prove that there is reasoning and beauty in the way he is.
Edward, the android-like being portrayed in Tim Burton’s film Edward Scissorhands, is essentially killed off from society because he falls victim to the malicious lies spread by the community and by the hatred that is cultivated by those lies. Although he never physically dies, Edward’s rejection from society leads to a life-long seclusion away from the outside world. The events that lead Edward into this isolation are brought on by a few misunderstood acts that he commits and the negative reception of those acts by an impressionable community. He is caught committing a break-in (a felony that is not completely his fault yet nobody gives him the benefit of the doubt) and is, from then on, seen as a dangerous criminal. He is also deemed a sexual predator because a townswoman claims that he sexually assaulted her. Also, his attraction to and love for Kim (the Bogg family’s daughter) provokes her jealous and violent boyfriend into harming Edward and trying to turn Kim against him. Edward is never given the chance to explain himself of the accused acts and so he finds himself the target of the town’s hatred; a hatred that is based upon and fueled by jealousy, lies, and rumors. The eventual shunning of Edward by the community is not surprising or shocking because Edward never really fits in with society to begin with. However, what is shocking are the justifications of hatred that are used by the community. Their emotions and attitudes are influenced by the lies and jealousies of a few people and by believing in the religious motivations and accusations of the erratic Christian woman who lives in the neighborhood. By being non-human, Edward is immediately suspected of being guilty of all he is accused of. Hi...
... much he himself resembles the monster that he despises, Dracula does encourage readers to see ourselves in the novel, to recognise our connectedness with the Other.” Readers continually return to Dracula because they recognise in the novel desires that, as Jonathan remarks in the film “[we] dare not confess to [our] own soul[s]”
The oppression and control of any individual contrasting the social norms is a theme timelessly repeated throughout history. Over the years, gothic literature has shed light on this control and depicted it in varying forms. (Bowen, n.d) These different forms are however central to the fears associated by the society at a particular time in history. This is evident through the fears of natural science in Frankenstein in the 18th century, unnatural change in Edward Scissorhands in the 1950’s, and even the fear of dominant women in the Victorian Era, through The Piano. These gothic texts, representative of different social and historical settings, seek to therefore represent the varying and changing forms of gothic fiction. Despite their varying
Since the communist era, the concept of conformity has been tested on humans thinking it would bring a sort of comfort. These regimes rapidly crumbled due to their often authoritarian nature. Following these dictatorships, we often associate conformity with misery. Similarly, in Edward Scissorhands, through the characterization of Peg Boggs, the symbolism of Edward’s castle home and the change in Edward’s behaviour, director Tim Burton rejects conformity since it leads to fakeness, boredom, and corruption and, instead, promotes the benefits of authenticity and old habits.