Tim Burton's Auteur Theory

The same cinematic technique is utilized in Charlie and the Chocolate Factory. In the inception of the film, darker and paler shades of colors are emphasized in the scenery. Especially inside Charlie’s home. However, once inside the chocolate factory, conspicuous colors are introduced. Even though the factory seemed like an exuberant center, there was still a profound void inside the hearts of Wonka, the obnoxious children, and non-proficient parents, not including Charlie and his grandfather. They were lacking the warmth of family unity and self content amid impecuniosity, that Charlie and his grandfather possessed. One can discern that Burton’s style is highly influenced by his lighting effects which in turn affects the tone, mood, and imagery of the film. The sharp contrast of coloration, establishes symbolism, tone, mood, and imagery. Another apparent effect of lighting is the mood it synthesizes. During the scenes in which the figures are pale or low key, the viewer feels uncomfortable. The reverse occurs during the high key scenes. Without the implementation of high key and low key, Burton’s message would have never been fully apprehended in both of the films.

Tim Burton produced “Charlie and the Chocolate Factory” as well. Charlie Bucket was the misfit of the group because he was the only normal child in the group chosen to enter the factory. When showing the children and where they were from, the lighting was high key, making the scene more cheerful. But when showing Charlie’s house, the lighting was low key. This made his family’s house seem not as happy or welcoming. You could also tell a difference in the condition of the family’s house by the sound. When showing the town and the house the Bucket’s lived in, there was non-diegetic music playing that was frightening and disturbing. When showing the other children’s homes and towns, the non-diegetic music was more upbeat and jolly. The movie

An auteur is a singular artist who controls all aspects of a collaborative creative work, a person equivalent to the author of a novel or a play. The term is commonly referenced to filmmakers or directors with a recognizable style or thematic preoccupation.

The director is responsible for overseeing creative aspects of a film. They develop the vision for a film and carry the vision out, deciding how the film should look. The director may also be heavily involved in the writing and editing of the film, as well as managing the script into a sequence of shots, coordinating the actors in the film and supervising musical aspects. The Auteur Theory suggests that films contain certain characteristics or ‘signatures’ that reflect the director’s individual style and give a film its personal and unique stamp. Hayao Miyazaki is one such auteur whose entertaining plots, compelling characters

Tim burton, in "Charlie and The Chocolate Factory" uses many different cinematic techniques. When Willy Wonka opens up the door to the first room the camera zooms in. This increases excitement and anticipation. As it zooms in on the door, it opens and it switches to a crane technique of the immense room. By using a boom shot the whole room is in view. This shows the immense beauty of Willy Wonka’s edible room. The audience can see the waterfall made of chocolate and all the other fictional parts of the breathtaking room. Earlier in the film Burton uses dolly-tracking to announce the Golden Tickets, posters are put up around the city. Dolly-tracking is utilized to show bike riding oompa loompas placing the posters on posts. Oompa-Lumpas ride away from the factory on tiny bikes as the camera follows along around the town. The camera tracks one rider as he veers off from the others, puts a poster up on a lamp post, and rides off. Tim Burton uses camera movement techniques to his advantage to depict a unique gothic style.

An auteur is a director who personal creative vision and style is expressed through films. The term auteur is originated in France and is French for author. There are different ways in which a director can express their vision in films and show who they are. There are many directors that are considered to be a auteur such as: Quentin Tarintino, Tim Burton, Kathryn Bigelow, Stanley Kubrick and Woody Allen. The director I have chosen as an auteur is Spike Lee.

In the film industry, there are directors who merely take someone else’s vision and express it in their own way on film, then there are those who take their own visions and use any means necessary to express their visions on film. The latter of these two types of directors are called auteurs. Not only do auteurs write the scripts from elements that they know and love in life, but they direct, produce, and sometimes act in their films as well. Three prime examples of these auteurs are: Kevin Smith, Spike Lee and Alfred Hitchcock.

Alfred Hitchcock is widely regarded as a prime example of an auteur, a theory that emerged in the 1950s by Truffaut, in the ‘politique des auteurs’ of Cahiers du Cinema (Tudor 121). The auteur theory, as defined by Andrew Tudor, is premised on the assumption that “any director creates his films on the basis of a central structure”(140) and thus, if you consider their films in relation to each other, commonalities can be found within them. These commonalities work to demonstrate the view of the director as “the true creator of the film” (Tudor 122). Evidence of an auteur can be found in examining a director’s creative tendencies, in their distinctive themes and motifs, stylistic choices,

Burton uses close-ups very effectively to show the true emotion of his characters. For example, in Edward Scissorhands, when Edward sees Peg´s photos he stops everything, zooms into to his face, and goes back to when Edward was in his castle. Burton did this in order for the audience to see his true emotions rather than just showing his daunting face. In another film, Corpse Bride, Burton zooms into Emily's face as she sees Victor and Victoria together to show the absolute hate. Burton wanted his viewers to see how Emily

The first example of this is in “Edward Scissorhands” [1990] when Peg discovers Edward in the castle inside of a dark corner of a dark room inside. As Peg welcomes Edward to come out of the shadows, the camera gives a close up to Edward showing his fearful and confused face, and cuts to Peg’s similar reaction, this scene helps to develop complex characters by showing their personality, and overall helps our understanding of how the characters feel in this situation and how they might act later. Another example of this technique is in “Charlie in the Chocolate Factory” [2005] in the same scene, when they are in the room before the chocolate room and they are about to open the doors. As Willy Wonka begins to tease the children the camera close-ups, and shows their excited and confused faces as they wait for what is behind the doors. Willy Wonka however shows a pale and abhor face, developing Tim Burton’s complex characters by giving them early personality traits, and also adding an understanding to what Willy Wonka has in store, why he does it? The finale example is in “Big Fish” [2003], this movie is full of close-ups showing Edward’s emotions, but specifically a scene is when he is slowly making his way to the witch’s house door. As the camera close-ups into Edwards face

For example in Charlie In the Chocolate Factory, Burton shows the factory from a low angle.  This had the effect of making the factory look big and intimidating.  It was also the first look the audience got of the factory.  An additional example of a low angle comes in the film, Alice In Wonderland.  Alice eats a piece of cake to make herself grow to a gigantic height.  As she is growing, it is being shown at a low angle to make herself look immense and enormous.  Using a low camera angle creates a really effective way to make someone look greater, and bigger than they really are.  Burton uses low camera angles to keep that scary, unique feel to his

The term Auteur seems to bless a privileged group of filmmakers with an almost messiah-like legacy. Men such as Alfred Hitchcock, John Ford and Fritz Lange are believed to inhabit the ranks of the cinematic elite, and not surprisingly most critics are more than willing to bestow upon them the title of Auteur. By regarding filmmaking as yet another form of art, Auteur theory stipulates that a film is the direct result of its director's genius. With the emerging prominence of auteur based criticism in the 1950?s, the role of the director became increasingly integral to a film's success. However most would argue that this form of criticism didn't reach its apex until 1960s, when Andrew Sarris released his

Many people may have a specific style in which they like to dress. A woman might have a signature lipstick she enjoys wearing, a man might have a distinct cologne that stands out from the rest. Movies are not too far apart in comparison. Sometimes people find films more enjoyable than others, and often do not realize they come from the same director. The Auteur theory is a that defines the director as the sole author of the entire film, adding his or her own personal style. When it comes to the world of animation, director Hayao Miyazaki is a pioneer in auteur. His specific directorial style is seen in many of his films in which he manages to make films enjoyable to adults of all ages. Kiki's Delivery Service was one of director Miyazaki's

An auteur is a filmmaker whose movies are characterized by their creative influence. Garry Marshall is an American filmmaker, he has directed more than 15 films in his career. Garry Marshall’s films The Princess Diaries, Valentines Day and Overboard share a common theme of love and a genre of romance and comedy, he likes to use the same actors in his films and have the common plot of a double twist. Garry Marshall likes to keep to the same character persona and film techniques but these generalized similarities are not obvious to the audience, therefore Garry Marshall is not a recognizable Auteur.

Auteur Theory is based on three premises, the first being technique, the second being personal style, and the third being interior meaning. Furthermore, there is no specific order in which these three aspects must be presented or weighted with regard to a film. An Auteur must give films a distinctive quality thus exerting a personal creative vision and interjecting it into the his or her films.