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Gothic imagery in literature
Critical research paper german expressionism
Gothic imagery in literature
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A repressed individual as a young teen, Tim Burton has now blossomed with age and has created some of the most influential and revolutionary films in history. As a child growing up in Burbank, Burton was recluse from society he didn 't fit into and hid his creative capabilities. His work is highly influenced by his past; Alice and Wonderland and Corpse Bride are no exception, reflecting his views on society from his past and present. Throughout Corpse Bride we see connections with Burtons love for horror films and gothic, german expressionism.
Set in the Victorian Era, Burton plays on the views of society through colour, costuming, sound and lighting in his stop motion film, Corpse Bride. In the opening scene, we are introduced to Victor
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Through these exaggerated features and monochrome colour pallet, audiences are introduced to Tim Burtons style and influences; gothic imagination, horror films and german expressionism. Along with these stylistic features, Burton’s character designs are influenced and enhanced in coherence with the Mise-en-scène. Victor is shown, sketching in his dark room, little furniture and his only form of self expression can be seen in the few drawings and images he has on his wall. This is a clear connection with Tim Burton’s gothic imagination and love for horror style films. Sunken, blackened eyes, pale white skin, victorian style monotone clothing, and exaggerated features contribute to the eerie and mysterious setting of Corpse …show more content…
Mrs Everglott’s (voiced by Joanna Lumley) exaggerated design focuses on the length of certain features, mainly the chin, hair, and height of the character. This design for the character reflects her traits as a posh, upper class lady. Opposing her, Mr Everglott’s (enter actors name ?) design, emphasis the glutinous, conceitedness and sternness of his character with his large round, stumpy figure, big mouth and furrowed brow. In contrast with the Everglott 's, the Van Dort 's designs the counterparts are inverted in order to show the connection and the separation between the two families. The connection between the two couples is through the similar design focus on each character and the use of the emphasised features to relate to the characters personality. In the Van Dort’s case, Mrs Van Dort is designed having a rounder figure and a large face, similar to Mr Everglott, whilst Mr Van Dort (voiced by Paul Whitehouse) relates to Mrs Everglott with his long slender body yet his character unlike her is caring and compassionate similarly to Victor. This is highly effective as it creates a connection between the families and their
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...
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.
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.
Halloween is rife with psychological scares that affect its audience greatly. “Symbolism, dreamlike imagery, emotional rather than rational logic” are present in Psychoanalytic criticism. Siskel and Ebert talked about how the movie makes you feel as if you are the protagonist, scared for your life and feeling every bit of suspense (Siskel and Ebert). The movie is purely fueled by emotional responses to what is happening to the characters and focuses itself purely on how the audience will respond. In the clip shown, the main protagonist talks about how she killed the killer but he is shown alive. The movie is not concerned with the logic; otherwise, the killer would have at least been slowed down by the injuries he sustained. Siskel and Ebert laud the movie on its set up of scenes, score, character development, and use of lighting to make the audience feel the terror the characters undergo.
Satire criticises and makes fun of the norms of human society. It adds an intellectual humour along with the archetypes that is present in the story. In The Princess Bride, by William Goldman, satire is in a wide variety of parts in the story from the communication between others to the character themselves including the Spaniard, Inigo Montoya. The author portrays Inigo as a Spaniard who becomes a fencer to seek revenge on the six-fingered man for the murder of his father, Domingo Montoya and he becomes a henchman to the criminal Vizzini. He is a very caring man to people he cares about, but he can only act on vengeance since he truly loves his father. With his attention only on reprisal, it can blind him from achieving the results he wants and that can significantly affect his personality as he is driven by it. When he finds the six-fingered man, he prepares after many years of training with famous fencers and even has a saying that he plants in his brain so that it is the driven force of vengeance. He is the ‘evil figure with an ultimately good heart’ archetype as he is a part of Vizzini’s group with Fezzik, but he has a change in heart that he needs Westley’s help to storm the castle. Although Inigo is a prestigious fencer who only cares about revenge, the author plays with satirical devices that portray the faults and weaknesses of his characteristics while maintaining his status as the best swordsman in his generation.
The most prominent resemblance between Bram Stoker’s Dracula (1992) and the infamous Apocalypse Now (1979) is the glimmer sense of realism thorough the movie. The director, Francis Ford Coppola has been known for his verisimilitude; effortlessly creating and directing each setting in the film looks schematized and deliberately natural. Innately, the one of the most apparent functions of a setting is to create an impression of reality that presents the viewer a sense of a real place and time and the sensation of being there. His consciousness of realism admits the great importance of an authentic setting play in making his films overwhelmingly imaginable. With a judiciously supervision from the director, numerous factors such as location and setting, costume and visual design contribute to a successful plausible film.
Spencer, Kathleen L. Purity and Danger: Dracula, the Urban Gothic, and the Late Victorian Degeneracy Crisis. 1st ed. Vol. 59. N.p.: Johns Hopkins UP, 1992. JSTOR. Web. 6 Jan. 2014. .
In Mary Shelley’s novel, Frankenstein, she exercises this movement by painting artistic and literary illustrations of how Victor, as well as the Monster lives through seasonal and surrounding areas. Shelley shows the complex emotional state found in Victor and the Monster.
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.
Dracula, the most famous vampire of all time, which readers were first introduced to by Irish author Bram Stoker in 1897 with his novel Dracula, which tells the story of the mysterious person named Count Dracula (Stoker). The book is an outstanding masterpiece of work, which is why it has been a prototype for various movie releases over the decades. Whenever a film director decides to make a movie on behalf of a novel the hope is that the characters concur from the novel to the movie, which leads to the exploration of the resemblances and modifications between the characters in Dracula the novel by Bram Stoker and Bram Stoker’s Dracula 1992 movie directed by Francis Ford Coppola.
Over the course of cinematic history, many filmmakers have attempted to recreate the chilling, unprecedented world of Bram Stoker’s Dracula. Arguably very few have succeeded, for the majority of directors tend to avoid the pervasive sexuality inherent in the novel. It is a difficult task to achieve, considering the blatant imagery surrounding sex and vampirism, such as the reproduction following a vampiric encounter and the phallocentric nature of the violence committed both by and against these creatures: penetration is involved in their hunting, and one must impale them with a stake in order to destroy them. Readers are thereby forced to admit that Dracula is, in fact, a highly eroticized piece of literature, though whether or not Stoker himself was aware of this suggestiveness, we cannot be sure. The most successful effort at capturing that sexual energy on film has been Francis Ford Coppola's 1992 movie, Bram Stoker's Dracula. In fact, it has often been proposed that Coppola’s version is too carnally focused in comparison to the original work, which leads a viewer to wonder about the purpose in this overt sexualization. It can be concluded that adding copious amounts of eroticism to the film is directly related to Coppola’s strive to depict Count Dracula as more human rather than monster, and sexuality in his film serves as a balance so that the lines between good and evil are blurred. Evidence for this deduction is found in three scenes in particular: Jonathan’s seduction by Dracula’s vampiric wives, Lucy’s demonic transformation, and Mina and Van Helsing’s relationship during the climax of the story.
The protagonist and story of Bram Stoker's novel Dracula have been widely interpreted and adapted in films throughout many years. Despite almost a century of time since the initial publication, Dracula has maintained its ability to frighten and mesmerize readers. Francis Ford Coppola's Bram Stoker's Dracula; however, utilizes the erotic romance of the original novel in order to depict a tragic love story. The film accurately follows the general plot of the novel, yet presents the characters in a unique manner that provides for a different appreciation of the characters.
The illustration revealed how the body image of Frankenstein was not ideal and it caused prejudices, the power the monster had over Victor’s life and how vulnerable Victor was to his own creation and
Modern horror films consist of old and new tricks of filming to keep the audience on the edge of their seats. They consist of much more varied and clever plots and storylines. Re-workings of older horror films are filmed with the view to appeal to a modern audience and the audience go to see these horror films with an expectation of what they think will happen and the good thing about horror films is they can have plot twists and unexpected events occurring throughout the film. We watched two extracts from the film adaptations of two Gothic horror novels, Bram Stoker's 'Dracula' and Kenneth Brannagh's 'Frankenstein'.
In Coppola's film, Dracula has a very active and visual role in almost every scene. It is quite understandable the temptation Coppola had of showing Dracula a...