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Chris Louttit

Since 2005 Tim Burton’s imagination has frequently turned to Victorian-related subjects. Focusing primarily on Corpse Bride (2005), Sweeney Todd (2007) and Alice in Wonderland (2010), this article argues that Burton’s response to (neo-) Victorian culture is a distinctly Gothic one. Unlike other more literary and canonical types of neo-Victorianism it engages with the popular and strongly Gothicised conceptions of the Victorian that emerged through the horror cinema of the twentieth century. It is also Gothic in the way that it self-consciously blends the Victorian with other cultural trends. As a result, rather than offering a strongly theorised, academic view of the Victorians, Burton remediates them for his own aesthetic purposes.

Gothic Studies
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‘You’d think she would remember all this from the first time’
Sarah Annes Brown

I opened this book with an example of an uncannily allusive moment which brought together two young heroines of children’s literature, C. S. Lewis’s Lucy and Philip Pullman’s Lyra. I’d like to conclude with a discussion of a third heroine, Lewis Carroll’s Alice – or perhaps I should say, Tim Burton’s Alice. Burton’s 2010 film, Alice in Wonderland , is a complexly allusive

in A familiar compound ghost
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Graphic children’s texts and the twenty-first-century monster
Jessica Straley

birth two centuries ago. But, in recent decades, children’s authors have begun willingly to open the door and to welcome him in. This chapter discusses five recent reanimations of Shelley’s Creature: four in picture books for children – Keith Graves’ Frank was a Monster who wanted to Dance (2006), Neil Numberman’s Do Not Build a Frankenstein! (2009), Patrick McDonnell’s The Monsters’ Monster (2012), and Jennifer Adams’ Frankenstein: An Anatomy Primer (2014) – and a fifth in a stop-motion-animated film, Tim Burton’s Frankenweenie (2012). Each of these texts

in Adapting Frankenstein
American gothic to globalgothic
James Campbell

settlement’ (294). Foregrounding the tulip tree and the headless Hessian, signs of the region’s Dutch and revolutionary history (312), Irving clearly favours the colonial legacy, reducing the Native American inheritance to a single commodity: ‘Indian corn’ (301). Tim Burton’s 1999 film adaptation, as a part of its generally diminishing portrayal of Dutch culture, replaces the tulip tree with a ‘Tree

in Globalgothic
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Andrew Dix

films ‘composed entirely of generic artifacts that contradict, as an assemblage, the function of genre as coordinator of narrative conventions and audience expectations’ (148). In support of his argument, Collins cites a host of US films from the late 1980s and early 1990s, including Tim Burton’s Batman (1989) and one of Arnold Schwarzenegger’s vehicles, Last Action Hero (1993). And we can readily think of many subsequent Hollywood movies that Collins might have called upon as further evidence: the Lord of the Rings series, for instance, or the work of Quentin

in Beginning film studies (second edition)
Vampirism, Victorianism and collage in Guy Maddin's Dracula – Pages from a Virgin's Diary
Dorothea Schuller

films) and employing the delirious editing of a music video, the film combines early silent cinema aesthetics with imagery reminiscent of more recent works in the gothic and fantastic genre such as the films of Tim Burton and Neil Jordan or the work of multi-disciplinary artist Floria Sigismondi. Thus, the graveyard, where Lucy is reanimated by Dracula, is part classic gothic setting

in Monstrous media/spectral subjects
Gérard Dastugue

of attention. Part of the reason why music is frequently mentioned is no doubt that the collaboration between Besson and Eric Serra echoes significant film partnerships between directors and composers, to such an extent that the two are often discussed together: Sergio Leone and Ennio Morricone, Federico Fellini and Nino Rota, David Cronenberg and Howard Shore, Steven Spielberg and John Williams, Tim Burton and Danny

in The films of Luc Besson
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Andrew Dix

degree of elevation in the camera’s positioning. As with disparate meanings of the same shot distance, variable effects can be generated by a seemingly identical choice of camera height. In Tim Burton’s Edward Scissorhands (1990), for example, placing the camera strikingly low during one early interior scene amounts to a critique of postwar American suburbia by suggesting, depressingly, that a dull-coloured carpet stretches to infinity. In the Henry James adaptation What Maisie Knew (2013), however, the camera’s low positioning is more sustained and functions to

in Beginning film studies (second edition)
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1990s style and the perennial return of Goth
Catherine Spooner

Goths may be more literate than others in the tradition of Gothic representations, all have to a greater or lesser extent constructed themselves, Frankenstein-like, from the scraps and fragments of that tradition. This process of identification is illustrated, for example, by Tim Burton’s early short film Vincent (1981), in which seven-year-old Vincent Molloy imagines himself to be Vincent Price and

in Fashioning Gothic bodies
Harvey O’Brien

structure and debunking, demystifying activity of a private eye to deconstruct supernatural events makes sense, the, in his own words, ‘hokey’ way in which the noir scenes are photographed and played serve only as another kind of self-parody. A bit like Tim Burton's similar deployment of scientific discourse as an antidote to superstition in Sleepy Hollow ( 1999 ) four years

in Clive Barker