Edward Scissorhands
In this scene late in the movie, you see Burton use a dark contrast of shades of black and gray behind shiny blades with bright red blood on them. This is a perfect example of Burton’s formalistic light preference and his use of formalistic cinema focusing on the color contrast between the background and the blood. This makes viewers focus on the blood adding to the movie by highlighting the magnitude of the previous events.
In this frame portraying the neighborhood that the story takes place in, Burton uses a deep focus shot to get all of the elements of the location of the film in focus. This shows how relevant the mountain is in proportion to these perfect, colorful houses. The contrast between the two shows cool colors vs. warm colors, giving the mountain a sense of isolation from the extremely contrasted houses. the mountains cool colors gives it a vibe of terror and mystery, while the houses give a sense of an almost fake, perfect reality that is extremely welcoming.
long shot. Lastly, in my opinion this shot contains an element of expressionist film. Noting the fake color of the houses/cars/lawn, the director gives off a vibe the perfect neighborhood urgent necessity to be destroyed somehow. Though they are bright and welcoming, this neighborhood gives off an eerie loneliness, like something is missing. This is what expressionist film does.
In this shot there is an element of film noir, exemplified by the eerie shadows making Edward an exaggerated dark shadow. This adds a mysterious element to him once again which seems to be a common theme for most of the film.
This scene uses a medium shot, displaying the background and the dominant in the frame equally. This way it doesn’t give off his emotions too much and makes a viewer aware of the surroundings.
low key
In this frame, Burton uses high contrast lighting to heighten the dramatic aspect of this connection between Edward and Kim. This shot also capture classical cinema which is representative of the golden age of filmmaking. This type of cinema draws the viewer into focus only on the characters in the scene not being distracted by camera or the music.
In this scene we are approached by a Hollywood Close up shot of Edward and Kim looking through a window causing a dramatic effect. This scene also shows slow stock because the high quality of the image, which makes it easier to look at their facial expressions so viewers can get a better understanding of their current emotions..
This shot is very dramatic and very hollywood like. This shot shows a Cinematic Shot because immediately pulls the viewer into the emotion blocking everything else out of the frame, which would be distracting from the emotions of Kim.
Since the photo is below the eye line, looking up it makes the shot a low camera angle shot. What this does for the film is portray awe in the viewer, making the bush’s shape seem larger and more extraordinary.
This scene has fast stock because the photo is more dark and is almost gritty. The illumination around the window shows cool lighting leaving the picture a little grainy. There is also a likely diffusion filter that creates a blue tint. Filters are used to create a enhanced mood or dramatic effect.
This picture also represents a high angle shot where the viewer sees the scene from up above, making the picture seem more vulnerable and powerless. In Edward Scissorhands Burton uses high key lighting to make the town/ suburbs seem fake and unrealistic. This scene shows high key lighting to make the scene look bright and have contrast.
In this first scene you see Peg and Edward scissorhands meet for the first time. She sees him in the form he is in which is a young man. She realizes quickly that the content is he has scissors for hands and that is very odd and not normal, setting the stage for a unique plotline.
This picture represents an Oblique angle because the angle is used to emphasize the character which causes the viewer to have a reaction such as fear.
Note: Burton doesn't use much realistic cinema, so those words were not included.
