Tim Burton Cinematic Techniques Essay Sample

Picture a world that embraces individuals who are innovative and display individuality. Everyone could think creatively and be different from one another. Some people believed being unique was unusual; however, Tim Burton, the acclaimed director, thought otherwise. His distinct style embodied people's quirkiness and demonstrated that being different is accepted. As a result of Burton's peculiar personality seeping through his films, individuals can embrace who they are. Tim Burton reveals the character's thoughts through close-ups, non-diegetic sound, and low angles; he shows his audience that creative thinking isolates oneself from the standard.

Directors achieve many visual elements through their angles, and Burton effectively incorporates low angles into many of his films. In the ominous film of Edward Scissorhands, the camera points upwards, producing a low angle of the castle. Burton employs a low angle to emphasize the castle's dominance among the town. The juxtaposition between the castle's gloomful appearance and the sweetness of the town allows the audience to see the disparity between the two. Not only does Burton incorporate a low angle in Edwards Scissorhands, but he also utilizes this technique in Charlie and the Chocolate Factory. The low angle used on Willy Wonka causes him to appear substantial to the audience, making him look powerful. Burton makes the audience feel vulnerable to create a sense of apprehension about what Wonka is capable of. Ultimately, Burton uses many cinematic techniques to witness the unique perspectives of each character; however, none lets you look inside a character's mind like his low angles.

Among the many other cinematic techniques Burton uses, one he effectively uses is non-diegetic sound. In Corpse Bride, the well-known director employs non-diegetic sound to emphasize the various moods in each scene. When the corpse bride, Emily, rises from the grave, eerie music creates a suspenseful atmosphere for the audience. Throughout this moment, the audience can stereotype Emily as the antagonist who caused Vincent harm; however, her selfish ambitions led to her being characterized as a selfish girl with a "warm" heart. Burton also utilizes this technique in Edward Scissorhands. In this film, Edward is trapped inside the room after Jim locks the door. The alarm is ringing, and all of the doors are closing. At this time, anticipation rises in the audience as suspenseful music is played. Burton employs this technique to convey the panic of the scene while demonstrating Edward's good intentions. Conclusively, Burton employs non-diegetic sound to help the viewer understand the atmosphere and emotions depicted in each scene.

Close-up is another compelling cinematic technique used by Burton. Tim Burton, in Charlie and the Chocolate Factory, uses close-ups to express what the characters are thinking without saying a word. Right as the children walk into Willy Wonka's factory, the close-up on his face indicates how uncomfortable and odd he is around children. As the scene progresses, the audience can predict Wonka had an unusual childhood, which resulted in his unexpected behavior around children. Burton's close-ups are also implemented in Edwards Scissorhands. In Edward Scissorhands, Burton employs close-ups to draw the audience's attention to the character's reactions and behavior. When Edward eats dinner with Peg, a close-up on his face shows the calmness he feels when he is with his "family." This moment is special to him due to being in isolation all these years. Ultimately, the close-ups in Burton's films provide the audience with an emotional connection to the character as well as an inside look at the character's nuance.

In conclusion, Burton utilizes a variety of cinematic techniques such as non-diegetic sound, close-ups, and low angles to show the eccentricity and development of the character's thoughts. By demonstrating these three techniques in each film, the audience can understand how the character's perspectives leads to imaginative thinking.