How Does Tim Burton Use Camera Angles In Edward Scissorhands

Tim Burton once said, “One person’s craziness is another person’s reality,” What he means by this is that the gloomy, bittersweet moments of his films seem ominous, yet this drama is indeed realistic, which is what Burton attempts to convey in his productions, combining his knowledge and special touch. Tim Burton uses various cinematic techniques such as camera angles, music/sound and editing choices to emphasize the mood and tone of the movie, which is mainly focused around being eerie, dramatic yet realistic. Edward Scissorhands, Big Fish and Charlie and the Chocolate Factory most effectively demonstrate these decisions through the clear application of them to the scenario at hand, along with the clear inferences and conclusions viewers can

In Edward Scissorhands, the use of crane shots is mainly to capture the entire setting, that somehow foreshadows the meaning of a certain object or action. For example, when Peg is entering Edward’s home at first glance, the camera is aimed at the highest altitude to capture the scale factor of Peg to the home, along with the conclusion that something terrible may happen due to the color contrast that resembles danger. Unlike the use of long shots that limit the view of the setting to character level, the crane shots allow for a complete vision of Peg and her area. Additionally, in Big Fish, close-ups are mainly used to assist in the emphasis of the character’s reactions towards a certain action. This is mainly shown by the countless stories of the father, and how specifically during the “road less traveled by” scene, he encounters many dangers such as flying spiders and menacing trees, where the close-up shot allowed the horrified looks of the father to be observed. Different in the use of long shots during the encounter with the town in the center of the road, which allowed readers to infer of the positive mood of the characters, the close-ups allow for a complete vision of the character, and the formed facial expressions that may infer of the

Notably, in Edward Scissorhands, the manipulation of background music that matches the climax of the scenario is used to demonstrate whether or not a scene is irregular. For illustration, when Edward is escaping from the police after the numerous reports of inappropriate behavior, such as the death of Kim’s ex-boyfriend, the music keeps on increasing in volume and drama, which allows readers to conclude that something grim may happen in the future. Unlike the use of diegetic sound which directly reveals the source of the music and prevents the drawing of inferences, non-diegetic sound allows viewers to conclude the probable cause and effect of the eerie music at hand. To add on, in Big Fish, the matching of mood music to the movement of the characters allows for the clear message of the alarming tone portrayed. For instance, when the father as a young adult goes out to find the monster that has been terrorizing the town in his cave, the music begins to climax and climax as the birds fly out until eventually the tall man is being lured into leaving the town. Dissimilar to the use of diegetic sound, such as the clapping of the characters as the father awaits his final death wish, the non-diegetic sound allows for the revealing of the hidden message of the indifferent mood and tone, repeated significantly throughout the