The Sound Of Scissors In Tim Burton's Films

The Sound of Scissors We’ve all heard the fairy tales (and likely seen the Disney adaptations) but what happens when an element of of darkness, wickedness, and irony is added to the classic tales: A Tim Burton movie. Many of Tim Burton’s movies have been hailed cinematic classics-though many of them have only been around for less than two decades. One of these beloved movies is Edward Scissorhands. Despite it making less than 200,000 dollars in it’s opening week in 1990, it has gained immense praise and popularity since for it’s creativity, intriguing characters, and visual appeal. What makes Tim Burton’s movie so unique is largely credited to his purposeful use of cinematic techniques such as non diegetic sound, framing, and

The neighborhood is bathed in a soft morning light as birds chirp sweetly. It’s another day in the idyllic suburbia community, but chaos is approaching. The moment that Peg, an Avon sales representative, spots the mysterious dark mansion in the rear view mirror of her pastel car, a suspenseful mood is created with the sudden onset of an eerie motif. This music is an example of non-diegetic sounds, which is sound that the characters cannot hear. Non-diegetic sound is used in nearly every film and can be strategically used to signify to the audience when a particular character is arriving, establish the mood, or create characterization. Tim

Burton frequently uses this technique with distinctive music to emphasis many effects in his movies.

As Peg enters Edward’s gates, she finds herself in a stunning garden that creates a stark contrast between the grim appearance of his home. A boom shot moves with Peg as she marvels, a technique used to include the audience in her revelation. Tim Burton’s use of boom and crane shots are crucial to his film aesthetic; they often aid in

When Edward’s appearance is revealed to Peg as he emerges from the shadows of his attic, shadows show a intimidating, lurking figure with long, sharp blades in place of fingers, and ominous music plays; but he is revealed with a change of motif to a angelic tune to be a much smaller man with a scared, timid, expression who looks terrified of his own abilities and of other’s reaction to his differences. The angelic motif reassures the audience he is not to be feared.

Framing is purposefully utilized to show opinions and differences throughout

Edward’s journey to fit in in Suburbia. An example of carefully selected frames and camera angle are the scenes in which Edward participates in Peg’s family dinners. On the night of his arrival, Edward is isolated in a frame, and only his blades are visible when his hosts are shown. This symbolizes that the blades are what is keeping him from fitting in with the family, and essentially any community of people. As the movie progresses, so does Edward’s confidence, and he is shown in the frame with his