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Film analysis edward scissorhands
Tim burtons use of lighting essay edward scissorhands
Film analysis edward scissorhands
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High key + Low key lighting he uses these to give a sort of mood or feeling to a setting or scene or character. Like in “Charlie And The Chocolate Factory” Tim Burton lit up the overall first part you see when you enter the candy room. But in the back it was kinda dark showing that everything isn't what it seems. He also uses these types of lighting to point to something specific like in “Edward scissorhands” Edwards scars. Tim Burton also used it in “Edwards Scissorhands” to show Edwards scars. He did this to show that there was an importance and a difference from that character and all the others. It was also used in “Edward Scissorhands” in the very beginning when the town and the castle was being introduced to the audience. The town was
all pastel colors, that popped on the screen. Then it showed Edwards castle where at from far away it was super dark and gloomy. He did this to show the separation between the two different lifes. Tim Burton uses these types of lighting to introduce a scene and the differences in a scene. He also uses the techniques of lighting to point out something or a character.
In the movie Edward Scissorhands, a lot of different cinematic techniques are used. This movie mostly focuses on lighting, usually using darker low-key lighting throughout most of the film to create a darker, creepy tone. Low-key lighting is used mostly in scenes with Edward scissorhands in them, not as much with the girl. A good example of these low-key lighting scenes are the beginning ones, when the girl first enters Edward’s castle. The atmosphere inside is dark and creepy, adding to the already mysterious and dark tone of the movie. Another example of a scene with low-key lighting is the very beginning of the credits screen. The words are displayed in white with the rest of the background as a dark and evil setting. This already gives
It hints of danger when Peg sees a man standing in a dark corner of the room looking like it was a bad guy, so Peg got scared when she first saw him standing there. It also made the audience have a scary feeling. Tim also uses low-key lighting in the movie Bettlejuice, there was a moment when Adam and Barbra made this secret door inside their attic and it had a low-key lighting effect, so it made it look like it was dangerous because it was a mysterious door. Now I have listed some examples when Tim Burton uses low-key lighting in his
In the movie Edward Scissorhands, the dark and shadowy castle looks like something out of a horror movie. This is one of Tim Burton’s lighting techniques to make everything look grotesque and ominous. When Charlie’s house was being shown in Charlie and the Chocolate Factory, the house looked dark and hopeless. Charlie’s family doesn’t look sad at all though, in fact they are happy because even though they live in the worst house in the town, they have a home and a meal every night and they are one big happy
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...
The director Tim Burton uses colors to create a happy mood during the scenes in the movie Edward Scissorhands. He portrays the neighborhood and all the people that live there in bright pastel colors which gives off a happy feeling. These bright colors give off the impression that everything is picture-perfect and everyone is content. The whole neighborhood is unchanging and routine. Throughout the movie Burton shows the men have left for work at the same time every day and everything is a lively color. When Edward arrives, he is dressed in all black and is
The use of lights throughout the play did not vary often. Throughout most of the play, bright overhead lights portrayed the play’s main set room: a small town beauty salon. The lights created an atmosphere that was not only cheerful, but also warm and inviting. On each side of the stage, warm, more natural lighting was used to make the small outdoor areas more realistic. Lights were also used to convey
After viewing the film Citizen Kane, it is clear the director, Orson Welles, created a picture unlike any other during this era on its release in 1941. The film is about the dying last words of Charles Foster Kane, a man who rose to fame from nothing. A journalist is on a mission to find what these words mean, and through stories from main characters, the audience is taken on Kane’s journey. Whether it’s the use of shadows and lighting, camera angles, or sound, Welles creates a picture comparable to noir films from this era. One of the noticeable similarities when comparing Citizen Kane to other films during this era is the use of shadows and lighting.
Finding Enlightenment in the Dark: An analysis of light in Camus’s The Stranger. In The Stranger, the protagonist Mersault becomes ostracized from his society due to his emotional separation and unwillingness to play by societal rules. His continual apathy and expression that everything “didn’t matter” eventually led to his death sentence (8). Mersault focuses on his physical surroundings, commenting on the light and the heat around him. He perceives the world through his senses, not through his emotions.
You wouldn’t see dark colors and lighting used in a children cartoon, instead you see bright colors and bright lighting. And vice versa; most horror films don’t focus on bright colors and bright lighting. In The Wizard of Oz (Dir. Victor Fleming, 1939), the director uses bright colors and lighting to portray the moods of happiness, joy and innocence in Dorothy’s life. In contrast, dark colors and lighting that go hand in hand with the evil parts of Oz portray the moods of mystery and suspense.
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.
Essential to the look and feel of a scene, lighting plays a key role in the mise-en-scene of The Wizard of Oz. Two basic types of lighting are used throughout the film: high-key lighting and low-key lighting. Used to convey emotion during the opening sepia scenes, three-point lighting also finds practicality here, helping the viewer to get in touch with Dorothy’s sadness, it provides a basis for reality, providing a stark contrast to the color fantasy sequences to come.
Tim Burton said in an interview that when he was a kid he would watch all kind of monster movies. “My parents said I started watching those movies before I could even walk.”As a kid he loved horror movies and he liked drawing pictures. He said he did not care what people thought of his drawings and just drew them his own way. His drawings also show his love for horror because they are all unique and creepy looking. Some of his pictures are based on the movies he directed. He started directing at twenty years old. He was very interested in animation. One of his first films was Batman. Most of the films he directed have a gothic horror aspect. I believe since his childhood was all about horror movies, he gained an appreciation for those films and applied his passion in the films he directed. "Vincent Price, Edgar Allan Poe, those monster movies, those spoke to me. You see somebody going through that anguish and that torture –things you identify with –and it acts as a kind of therapy, a release. (Tim Burton 17).”Besides the fact that he watched horror movies, the place where he lived influenced him as well. The dark and light aspects of life have always fascinated Tim Burton, consistently arguing that one cannot exist without the other: ‘life is an incredible jumble of being funny and sad and dramatic and melodramatic and goofy and everything’. During his childhood in suburban Burbank, Burton found the
I am writing about the use of lighting in the opening scene of The Godfather, (1). The
For example, during the beginning of the film Prince is shown with backlight forming a shadow outline creating the space of the concert taking place. The film also utilizes backlight when Apollonia first sees Prince upstage, she seems to be in a form of trance. This backlight reveals the awe and gives the audience a hint that Apollonia likes what she sees. Low key light is used when Morris and Apollonia are in a dark alley and Prince appears with his motorcycle. This scene also directs the audience's attention to Prince because it lights his motorcycle and the camera follows in the direction he goes. As well as plays some non diegetic sound when Apollonia and him leave Morris behind in the dark alley. The low key lighting and non diegetic sound are what direct the audience's attention because it leaves the audience in suspense to what will occur. The last part of the scene in the film when Prince and Apollonia leave the dark alley uses the camera with a long shot of them because they just get further while the camera does not leave its place and is directed towards them the whole time until the scene changes space. This gives excitement to scene because in every girl’s point of view Prince saves Apollonia from Morris that night and they leave
Thirdly a back light as DP Peter Stein points out is another tool in the cinematographer’s palette. A cinematographer can chose whether or not to use a back light in a scene. The back light is placed behind and sometimes above the subject, pointed at the back of the head and shoulders. Back light fulfils the function of separating people from the background, providing a three-dimensional look. DP Peter Stein reports that the backlight is more than just providing a three-dimensional look.