Tim Burton's Love Of Horror Films

The influence of Craven’s upbringing can clearly be seen in his films. In a 1994 interview, Craven explained that “movies are society’s dreams,” and “horror films are a legitimate part of our psyches.” (Gire) Craven’s style inflects the Freudian notion of the uncanny, fear of the surreal or familiar, often associated with dreams. This influence is most evident in the creation of Freddy Krueger, in 1984, A Nightmare on Elm Street, and again in 1994, in Wes Craven’s New Nightmare. (Phillips, 74-75)

However, it could also be argued that Frankenstein’s settings augment his monstrousity- we see a sense of isolation- “solitude” is repeated, implying that by imposing self-exile, Frankenstein detaches himself from society and its rules and that he has become an “outsider” (McCrae)- much as the monstrousity that Victor calls the Creature, is also an outsider. Indeed the connection between the two is best examined by the Shelley use of the mountain-top- “Chamonuix, where I saw him”- which alludes to the idea of the Creator and Creation meeting (Hayward), both as equal, with both,

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

The various changes depicted in Neville also involves the change of light the vampires are seen through. Through the use of foreshadowing and diction, Matheson is able to manipulate the point of view of the audience so that they can begin to change their expectations for the novel as it progresses. Through the use of Noël Carroll, a preeminent philosopher and aesthetician of modern art-horror, and his assertions in his seminal essay, The Nature of Horror, I will be able to validate how the reflection of feelings between the audience and main character affects the way prejudice is interpreted into the real world. As Carroll also states in his essay, The Nature of Horror, the manipulation of the expectations set upon the context is vital step in being able to correlate the protagonists’ world with the audiences’ world. Furthermore, Matheson also manipulates the expectations set by his audience in order to create this effect. However, before Matheson clarified the true monster in his novel, he portrayed Robert Neville to be the protagonist and the vampires to be the

Tim Burton’s fictional worlds are ones of clear compartmentalization, quite often between literal shades of black and white. Through visual contrasts the audience is not only drawn into the plot, but also given explicit messages about how to interpret the actions and motives of the characters. His macabre art style and purposeful storytelling both hint at his rejection of the status quo; throughout his stories he reinforces the idea that normality is not synonymous with morality through the use of stark lighting contrast, yin and yang style settings, and costumes that are polarly different.

Although Victor grows up in a loving family, he becomes more seperated and isolates himself from others throughout the novel Frankenstein. Although Victor is isolating himself all through the novel, he is also setting a scene for others to be isolated from him, because of his lack of communication with everyone. Victor had not been in contact with friends or family. Some examples of this are shown throughout the early chapters of the novel.

What is common between most horror films and texts? They all use similar types of codes and conventions. These codes and conventions differ between genre and can be easily identified. These also reflect the values of the audience they are intended for. The 1993 stop-motion animated film, ‘The Nightmare Before Christmas’, directed by Henry Selick, and the 1845 poem, ‘The Raven’, written by Edgar Allan Poe, are both a part of the horror genre, as they follow the codes and conventions of that genre. They use similar visuals, sounds, characterisation, and themes. Using these and other conventions, audiences can identify a genre, which influences their opinions and feelings about the genre.

Inspired by Roald Dahl and Vincent Price, director Tim Burton is easily one of the most remarkable and creative directors of his generation. Burton has a unique and individual way of challenging the minds of viewers and attracting individuals to his films, and has been using this technique for over 30 years. His ways persuade the audience to change the mood they have toward the film. In the films Charlie and the Chocolate Factory, Edward Scissorhands, and Big Fish Director Tim Burton uses cinematic and editing techniques such as lighting, sound, and flashbacks in order to enhance the mood and feelings of viewers.

Tim Burton created Edward Scissor hands out of his own experiences in Collage. It is Modern Fantasy which uses narrative and Film conventions to create the mixture of Horror and Fantasy. Fantasy films have their own charatestics and those are how we can determine what genre the movie belongs to. A fantasy Film will normally be in an enclosed space, the setting oF Edward scisoor hand is way that Tim Burton makes the film aFantesy film. Like most movies there is a clsh between a villan and the main Charater changes during the film aswel. Many other things make a film what it is like the Charaters the plot and even the sound.

The novel Dracula had, and still has an immense effect on horror through its use of literary elements which are observable in horror movies. Bram Stoker's Dracula was revolutionary in its use of literary devices such as dramatic irony, to convey suspense, and the use of sexuality in literature. These devices were adapted to film in early horror movies and continue to appear till today. Dracula was very influential to the film industry when it comes to horror movies because horror movies draw a lot of devices used in Dracula and use them in their movies, this can be seen in movies such as Halloween, Friday the 13th, and the movie adaptation of Dracula.

Throughout the novel Dracula, the text prominently features the ‘uncanny.’ In literature and other texts, the uncanny refers to an unfamiliarity that is frightening familiar. It’s presence in Dracula is obvious as we and the novel characters see Dracula as uncanny. Both appropriations of Dracula, Nosferatu (1922) and Bram Stoker’s Dracula (1992), reflect their context and hence reflect the values, idea and themes prominent in their context. Nosferatu resembles its isolated German Expressionist Cinema context through its jewish propaganda portrayed by many techniques, most notably its heavy use of dramatic lighting. Bram Stoker’s Dracula’s contrasting themes include its romanticisation of Dracula which expresses the romantic notions prominent

“One person’s crazyness is another person’s reality” was once said by the famous director, author, inspirer, Tim Burton. He creates films that have surprised many of his supporters. Most of the films he has directed have had elements of horror and modernness. Tim Burton uses cinematic techniques such as flashbacks, high key lighting, and dolly/tracking to express his style natural creepiness throughout his movies.

Tim burton is very good at using color to establish a mood. As seen in many of his hit movies, color is a large part. Tim burton uses certain cinematic techniques such as color symbolism. For example, in “Alice in Wonderland”, you can see that Tim burton purposefully makes queen Iracebeth’s castle dark and red to show that she is angry or even dangerous while Tim Burton makes Mirana of Marmoreal’s castle white to show tranquil and goodness. Even the small things matter to Tim Burton. All colors are specially chosen because it would change the whole movie if he changed a white castle to a black castle. This technique can also be found in “Charlie and the Chocolate Factory” in the scene when they are riding on the boat down the chocolate river.

Tim Burton is one of the most unusual and unique directors of our time. He brings characters to life by putting them in a habitat they don’t belong. His movies “Alice in Wonderland”, “The Corpse Bride”, “Charlie and the chocolate factory”, and “Edward Scissorhands” all demonstrate how one of a kind his movies are. Using cinematic techniques, Tim Burton points out the misfit character and shows how different they are then everyone else. His use of camera angles, lighting, and sound give the viewers a different perspective on the movies, and help pick out the individual character.

It’s strange trying to think about these original film properties—Frankenstein and Dracula, respectively—as serious pictures, void of camp and cheese. However, most of this comes from age. It’s interesting then, watching the Hammond-era films, and trying to view them as anything remotely serious. They aren’t. However, they do, at times, manage to disguise themselves as such. In reality, these movies are no Rosemary’s Baby, but rather the birth of a new brand of gothic horror—the gore filled, B-movie, spin-off franchise films; a weird series of twisted exploitation reboots, upping the ante and upping the ridiculous names. The two things that immediately came to mind when watching these films is the obvious influence they had on the work of Mexican director Guillermo Del Toro, and Kate Bush’s song “Hammer Horror” — I admire both artists greatly, so I went in the Hammerverse with my eyes wide open.