Further connections can be made between the suburban neighborhoods that Frankenweenie and Edward Scissorhands are set in and the conservative town in Burbank, California that Tim Burton grew up in. Burton was raised in an area of California that conformed to the stereotypical norms of mainstream America. Victor and Edward are both placed in ordinary, conformist worlds that accentuate their differences and individuality. In both of Tim Burton’s creations, the hedges that line the properties in the neighborhood are representative of commonplace suburbia. Edward uses these hedges to explore his artistic capabilities and bring life to the otherwise bland community. In Victor’s case, while trimming the hedges, Mayor Burgemeister throws hedge clippers at Victor with intentions to monitor where Sparky goes to the washroom. It has been suggested that at this point in the film the mayor is presented as the antithesis to Edward as he demands conformity and middle-class values (Weinstock). In each film there is also an apparent lack of support within the communities. In both situations the neighbors only unite when there is something to gossip about or something has gone terribly wrong. This depiction of suburbia unmistakably stems from Burton’s experiences. Burton expressed that:
I always felt that growing up in those kinds of neighborhoods the only time you’d ever see the neighbors all together was if there was an accident or something out front…I was always fascinated by that, and how the parallel between suburban life and a horror movie was really closer than you might think” (“The Gothic Imagination of Tim Burton” 16).
Based on statements given by Burton, there is an unmistakable connection between Burton’s childhood and the types of ...
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...has come an extraordinary way from being an avid film viewer to establishing and making films himself. He ornately uses dark, gothic themes across the majority of his works that distinguish him from others in the industry. It is to Burton’s huge advantage that nobody “can see any of [his] films and not know immediately that it’s [his],” (Weinstock, 217). His recurring ability to introduce characters that are an obvious extension of himself, allows viewers to connect with Burton as an individual as well as find comfort in their own imperfections. He excels in developing characters that adopt the role as the anti-hero and protest against the conventional hero. Together, the themes intertwined into Tim Burton’s works function to push the boundaries of film away from the ordinary, and to allow him to exclusively remain an outsider working in a mainstream business.
Individuality is rejection, whether it be a rejection of society or a rejection by society. Burton explores the consequences that can derive from rejection and how appearances may differ from reality. The work of Tim Burton consists of a unique style unlike any other. Not only do his films convey his ideas of individuality to the audience, they are done in a distinctive Burton way. Burton’s style of the formal elements of German Expressionism, gothic horror, and unique characters allow him to convey his ideas.
This major development, as described in Lynn Spiegel's article "The Suburban Home Companion", was largely driven by the concept of suburbia as a safe, clean environment (free from "undesirables" such as blacks and lower-income families) in which families could experience both an increased private and community life. This separation, Spiegel says, is what opened the opportunity for TV success. As nuclear suburban families desired to experience the "outside" world (including travel, unusual voyages etc.), they were also trapped in a homogenous communities where life was mundane, and immense pressure was put on each family in these "fair tale" towns to keep up with, and out-do, next door neighbours, and produce a consistently stable and satisfied appearance.
The book In the Neighborhood, by Peter Lovenheim is a very interesting look into the lives of residents in modern suburban neighborhoods. His neighborhood in Rochester New York mirrors many communities across the country. He paints a familiar picture of a community that waves at each other as they drive by, yet do not know the person they are waving at. This disconnection of people that live their lives so close to one another was completely unnoticed by Lovenheim until tragedy struck his community. One night in 2000, a routine activity that Lovenheim practiced, walking his dogs, exposed his consciousness to the lack of association he shared with those who live in close proximity to him. As he approached his street he observed emergency vehicles
The most appealing films are those that keep audiences guessing, surprise them at the most unexpected times and break conventional film boundaries. Edward Scissorhands (1990) directed by Tim Burton, is a feature film that does exactly that. It blends a fairy tale story with a gothic horror film, to engage the viewer right from beginning until the resolution. It tells the tale of Edward, who was the creation of an inventor who died before he could give Edward proper hands, and was left with scissors as hands. When he was taken from his gothic mansion, into a “normal” suburban community, he was at first welcomed, but then heartbreakingly rejected when things went wrong. The character of the “monster” is an important feature to many gothic horror texts, and examining Edward and other various characters helps to bring about interesting ideas and concepts about this key role. Burton also draws on the relationship between the princess and the prince, commonly found in fairy tales. By using various features found in the gothic horror genre and the fairy tale genre, Edward Scissorhands is able to sway us to think about the consequences of judging people who are different, it influences us to question what true love is and changes the way we view who can be the prince and princess.
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.
In conclusion, by using the production elements of both allusion and symbolism; director Tim Burton has created the film in such a manner by making deliberate choices in order to invite a certain response. The film is constructed and given greater depth through the allusion to elements from other genres and ridicules the suburbia’s materialism and lack of imagination, which in turn enhances the invited response.
Charlie and The Chocolate Factory (2005), Edward Scissorhands (1990), Big Eyes (2014), and Frankenweenie (2012) are just a few titles out of the many films Tim Burton has directed. Tim Burton is an American director, producer, illustrator, writer and animator. Tim Burton was born on August 25, 1958 in Burbank, California. Growing up, Burton felt quite alone and felt as if he was a misfit. Many of Burton’s childhood thoughts and circumstances pose as the inspiration for certain themes and events portrayed in his films. Within these films, Burton effectively communicates his sinister and uncanny style through many cinematic and stylistic techniques. By utilizing lighting, sound, camera movements and shots, Burton creates compelling and meaningful
Not a single individual is able to watch a Burton film without noticing the lighting effects and how it significantly contributes to the tone and mood of the entire film. In the movie Edward Scissorhands, one might be overwhelmed with the burst of extravagant colors in the scenery. Indeed this cinematic technique, high key, wholly influences the viewers perception and impression of the town. One can conclude that even though flamboyancy pervades the town, iniquity lurks in all directions and hypocrisy governs the minds of its inhabitants. Irony is harnessed in this film. How can an effulgent town harbor wickedness and Edward with a chilling and gothic complexion radiate innocence and righteousness? Burton uses these opposing conceptions brought about by the contrast of lighting to convey the message that materialism has been ingrained in the mentality of society (at least in the neighborhood in which Burton lived in the past), thus yearning for th...
Growing up in a small community can be hard, I won’t be the only on to tell you that, but living in one in the 1800’s was tougher. This is especially true when there’s a murdering robber who wants revenge lurking about. But it’s got its good qualities too, I mean, there’s the picnics and the adventures and everybody knows everybody so no ones threatening anybody with their strange presence. This is why The Adventures of Tom Sawyer by Mark Twain display such a realistic life; it portrays both the Good and Evil in a little society.
Herbert Gans piece on the mass production of suburban styled homes like Levittown with its homes on the outskirts of the city and mixed land uses closer within the core “ analyzes the suburbs and makes it evident that they are not a utopia” no matter the societal segregation they represent (Herbert Gans). These areas have their burdens resulting in physical and social isolation, no access to transportation, the start of gender roles, and inadequate decision making. In comparison, Pleasantville was a society of segregation due to the land constraints and urban planning of the society. Its visible that there is an increase in segregation between the suburban population and inner city. The higher class living in the suburbs would remain in that area unless it was for work. This is evident when Mrs. Parker goes to visit Mr. Johnson just through expressions its clear to the audience that they have not seen each other in years. Moreover, Pleasantville was an automobile dependent society. This reliance on a vehicle to take you from one place to another ultimately led to the mentality of gender roles. This sprung the idea that women should stay home and be housewives and the man would go off to work. “Honey, I’m home” was a line over used in the film outlining that these gender roles were dominant at the time. We do see a shift in this mentality by the end of the film when Mr. Parker comes home she makes it very clear to him that dinner is not prepared and shows him how to turn on the stove for his meal to cook that night. She then leaves the scene which shows a clear line that these roles have diminished in her
Thornton Wilder’s Our Town is a work of “sentimental fiction” because it connects all the people living in the small town of Grover’s Corners. In a small town like Grover’s Corners everybody knows each other within the town, so there is a deeper connection of companionship, friendship, and love within the town. The residents of Grover’s Corners constantly take time out of their days to connect with each other, whether through idle chat with the milkman or small talk with a neighbor. So when love and marriage or death happens in the town, it will affect the majority Grover’s Corners residents. The most prominent interpersonal relationship in the play is a romance—the courtship and marriage of George Gibbs and Emily Webb. Wilder suggests that
Very few people would want to live in a place where they don’t have security. Whether it be in cities or subdivisions, Jacobs, if alive, would ascertain that there needs to be a sense of connectedness to maintain communal safety. Public living “bring[s] together people who do not know each other in an intimate, private social fashion and in most cases do not care to know each other in that fashion” (Jacobs 55). Now that families typically center themselves around suburban lifestyles, residents should understand that the same connections that Jacobs says were to be made in cities need to now be made in subdivisions. Jacobs was scared that with houses being spread out in the suburbs, little interaction between neighbors would take place. In order to avoid this, neighborhoods need to promote a sidewalk lifestyle that they currently do not (Jacobs 70). With Kotkin stressing how urban areas are no longer preferable places to raise a family, saying only seven percent of their populations are children, he lacks compassion for the transients that now inhabit cities. Undoubtedly, those who now inhabit the city should also feel safe in their environments. Nowadays, members of a city isolate themselves from interactions with other citizens making it difficult to establish a social
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.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
The two neighborhoods that I chose to use for this assignment are vastly different. The main reason is because they are on opposite sides of the country. The first neighborhood that I visited is the one that I grew up in. This neighborhood is in Connecticut, on the East Coast, all the way across the country from the neighborhood that I currently live in here in West Hollywood. Most of my family lives in Connecticut and Massachusetts and I’m the only one who lives on the West Coast. A big difference is that the neighborhood in Connecticut has houses that are more spaced out, have larger lawns, and very many more trees. There are very few apartments there, unlike where I live now where my entire street is almost all apartment buildings.