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What has influenced Burton's film Vincent (1982)?

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What has influenced Burton's film Vincent (1982)?

  1. 1. Cinematic andLiterary references inVincent (1982).
  2. 2. Tim Burton – an AUTEURAuteur – a French word for “author”An auteur is a director’s film reflects the directors personalcreative vision. In spite of—and sometimes even because of—theproduction of the film as part of an industrial process, the auteurscreative voice is distinct enough to shine through all kinds ofstudio interference and through the collective process.
  3. 3. Tim Burton: Painter, Photographer, Film Maker, Drawer, Doodler
  4. 4. What has Burton’s his work?• German Expressionism (particularly 1920s Horror films)• Gothicism• Vincent Price• Edgar Allen Poe• Dr Seuss• Life in Suburban Burbank• Aspects of the Human Condition• Adult Versus Childhood perspective
  5. 5. Introducing TIM BURTONTo watch this interview, click on the video embeddedin the WIKI
  6. 6. Discussion points – after you’vewatched Tim Burton’s interview(see WIKI) at MOMA exhibition inNew York1. Burton describes his working process asorganic. What might he mean by this?2. What does homage mean? Can you think ofan example of homage? Discuss.3. Why do you think horror films have remainedglobally popular across literature andcinema?4. Do you have a favourite horror film? Discuss.
  7. 7. Vincent (1982) is a homage to classicaldepictions of the gothic world, both in cinemaand literature.Gothic HorrorThe oldest and strongest emotion of mankind isfear, and the oldest and strongest kind of fear isfear of the unknown.--H.P. LovecraftGENRE OF VINCENT (1982)
  8. 8. Gothic HorrorGothic horror, is a genre or mode of literaturethat combines elements of both horror andromance
  9. 9. Gothic Horror A horror story is a story in which the focus is on creating afeeling of fear. Horror stories can feature supernatural elements such asghosts, witches, or vampires, or they can address morerealistic psychological fears. In Western literature the literary cultivation of fear andcuriosity for its own sake began to emerge in the 18th-centurypre-Romantic era with the Gothic novel. The genre was invented by Horace Walpole, whose Castle ofOtranto (1765) may be said to have founded the horror storyas a legitimate literary form. Mary Wollstonecraft Shelleyintroduced pseudoscience into the genre in her famous novelFrankenstein (1818), about the creation of a monster thatultimately destroys its creator.
  10. 10. Gothic HorrorMany of the most oft-studied works of literature fall into the horror genre. Infact, you cannot study Romance-era literature without the horror novel--Dracula, Dr. Jekyll and Mr. Hyde, Frankenstein, etc.In the realm of American literature, there are few writers who are asuniversally praised as Edgar Allen Poe. As anyone who has read The Raven,The Pit and the Pendulum or any other selection from his vast store ofmacabre will attest, Poe firmly is rooted in the horror genre.These stories are reread, dissected and analyzed in a continuous cycle inclassrooms across the world. They are upheld by teachers as exemplars ofmood, suspense, style and language.
  11. 11. Gothic HorrorFeatures of Gothicism include:The use of gothic motifsThe use of mood and atmosphereElicits fear and curiosity from audiencesCan feature supernatural elements such asghosts, witches, or vampires, or they canaddress more realistic psychological fears.
  12. 12. Gothic Motifs
  13. 13. Gothic MotifsGraveyards
  14. 14. Gothic Motifs
  15. 15. Gothic Motifs
  16. 16. Gothic Motifs
  17. 17. As a class, re-watch the filmVincent, and note how manyreferences are made to Gothicism(visual and non-visual references)…here’s the first one I can see:Black Cat
  18. 18. Mise-en-scene and GermanExpressionismFormal elements of German Expressionist filmsAccording to Nancy West from the University of Missouri,Columbia, the formal elements of German Expressionist filminclude, but are not limited to, the following:• Chiaroscuro lighting: lighting that employs extremecontrasts of light and dark, thus creating dramatic shadows• a preoccupation with mirrors, glass, and other reflectivesurfaces• the use of anthropomorphism, which is the attribution of ahuman form, human characteristics, or human behaviour tonon-human things• an interest in abstractionism, which is a style of art thatprivileges internal form over pictorial representation
  19. 19. Lighting in expressionist filmsExpressionist films use simple lighting fromthe front and sides, illuminating the sceneflatly and evenly to stress the linksbetween the figures and the décor. In somenotable cases, shadows are used to createadditional distortion (see chiaroscurolighting). ---Bordwell and Thompson
  20. 20. Formal Elements of German Expressionist FilmChiaroscuro lightinglighting that employsextreme contrasts oflight and dark, thuscreating dramaticshadows
  21. 21. Formal Elements of German Expressionist FilmChiaroscuro lightinglighting that employsextreme contrasts of lightand dark, thus creatingdramatic shadows
  22. 22. Formal Elements of German Expressionist FilmChiaroscuro lightinglighting that employs extremecontrasts of light and dark, thuscreating dramatic shadows
  23. 23. A preoccupationwith mirrors, glass,and other reflectivesurfacesFormal Elements of German Expressionist FilmPreoccupation withreflective surfaces
  24. 24. Formal Elements of German Expressionist FilmPreoccupation with reflectivesurfaces
  25. 25. Formal Elements of German Expressionist FilmPreoccupation with reflectivesurfacesA preoccupation withmirrors, glass, andother reflectivesurfaces
  26. 26. The use ofanthropomorphismanthropomorphismis the attribution of ahuman form, humancharacteristics, orhuman behaviour tonon-human thingsFormal Elements of German Expressionist FilmAnthropomorphism
  27. 27. The use ofanthropomorphismanthropomorphismis the attribution of ahuman form, humancharacteristics, orhuman behaviour tonon-human thingsFormal Elements of German Expressionist FilmAnthropomorphism
  28. 28. Formal Elements of German Expressionist FilmAnthropomorphismThe use ofanthropomorphismanthropomorphismis the attribution of ahuman form, humancharacteristics, orhuman behaviour tonon-human things
  29. 29. Formal Elements of German Expressionist FilmAnthropomorphismThe use ofanthropomorphismanthropomorphismis the attribution of ahuman form, humancharacteristics, orhuman behaviour tonon-human things
  30. 30. Formal Elements of German Expressionist FilmAbstractionismAbstractionism is a style of art that privilegesinternal form over pictorial representation.Abstraction is different to a lot of moretraditional styles of art because it is morefocused on the use of imagination or ideasexpressed through emotion.
  31. 31. What is German Expressionism?Abstractionism is a style of art thatprivileges internal form over pictorialrepresentation.Abstraction is different to a lot of moretraditional styles of art because it ismore focused on the use ofimagination or ideas expressed throughemotion.Formal Elements of German ExpressionistFilmAbstractionism
  32. 32. Glossary of termsmise-en-sceneFrench word meaning “placing on stage” or “put inthe scene”When applied to the cinema, mise-en-scène refers to everything thatappears before the camera and its arrangement—composition, sets,props, actors, costumes, sounds, and lighting.The “mise-en-scène”, along with the editing of a film, influence therealness of a film in the eyes of its viewersClick here to returnto LearningObjective SlideClick here to return to KeyAspects of Mise-en-sceneSlide
  33. 33. Glossary of termsMOTIFIn narrative, a motif is any recurring elementthat has symbolic significance in a story.Through its repetition, a motif can help produceother narrative (or literary) aspects such astheme or mood.Click here toreturn to‘Gothic-HorrorSlide’
  34. 34. Glossary of termsCharacterisationCharacterisation : information that is givenabout a characterThis information can be given explicitly (tolddirectly) or implicitly (told indirectly).Click here toreturn to‘Characterisationslide’
  35. 35. Glossary of termsMultimodalMore than oneWay of CommunicatinginformationTherefore, a multimodal text is a text that uses more than one system ofcommunication. Multimodal texts often employ systems of visual, audial andtextual communications, because they (when working together) increaseaudiences level of engagement and interest.Click here to returnto Outline ofAssessment SlideClick here toreturn to LearningObjectives Slide
  36. 36. German Expressionism• This artistic movement was in many ways a reaction to the conservative social values thatcontinued at the turn of the 20th century. Expressionist Artists rejected the stale traditions ofthe state-sponsored art academies and turned to boldly simplified or distorted forms andexaggerated, sometimes clashing colours.• Directness, frankness, and a desire to startle the viewer characterise Expressionism in itsvarious branches and arrangements.• Many of the German Expressionism artists had served in the military during World War I. Twowell-known German Expression artists, August Macke and Franz Marc, were killed and thosewho survived returned from the experience disillusioned, depressed, sometimes maimed andoften shell-shocked. The Germany to which they returned was a country overwhelmed withmajor economic, social, and political problems. Parties from both the extreme left andextreme right were bitter political enemies that shared one common goal; to overthrow thecurrent government. The final blow to an already shaky economy was the signing of theVersailles Treaty in 1919 which cost Germany not only some of its land (new states of Polandand Czechoslovakia were created) but massive amounts in reparation for the costs of the war.
  37. 37. Significant Themes(German Expressionsm)As Expressionism evolved from just after the turn of the century throughthe early 1920s, a number of crucial themes and genres came into focus,many of which reflect deeply humanistic concerns and an ambivalentattitude toward modernity.These include:• a fascination with the enticing yet often wretched experiences ofmodern urban life;• the enduring solace associated with nature and religion;• the naked body and its potential to signify primal emotion;• emotionally charged portraiture;• and, most pivotally, the need to confront the devastatingexperience of World War I and its aftermath.
  38. 38. Significant Themes(German Expressionism)As a result of an intensely rapid period ofindustrialization in the 19th century, German citiesexperienced an explosion in size and population densitybetween German unification, in 1871, and 1910. TheExpressionists approached the modern city withambivalence. On the one hand, they recognized thedehumanizing and alienating effects of an urbanlifestyle. Yet at the same time, they celebrated theexcitement and vitality of its bustling pace and manyand attractions.
  39. 39. German Expressionist StyleCharacterized by:– Directness– Frankness– a desire to startle the viewer in its various branches andarrangements.
  40. 40. German Expressionist Films
  41. 41. German Expressionist FilmsAt the onset of World War I, the German film industrywas dominated by imported films on German screens.To combat this competition the German governmentbegan to support the film industry so that t couldcreate its own propaganda films and also to ensure aGerman film industry. The industry benefited greatlyfrom this support, securing financing for state of the artequipment and studios even in the face of globalresistance as a consequence of the First World War. Anumber of prominent German filmmakers left Germanyto work and make films in Hollywood in turninfluencing the look and feel of horror in Hollywood.
  42. 42. Formal Elements of German Expressionist FilmChiaroscuro lighting: lighting that employs extremecontrasts of light and dark, thus creating dramatic shadows
  43. 43. Chiaroscuro lighting: lighting that employs extremecontrasts of light and dark, thus creating dramatic shadows
  44. 44. A preoccupation with mirrors, glass, and other reflective surfacesFormal Elements of German Expressionist Film
  45. 45. A preoccupation with mirrors, glass, and other reflective surfaces
  46. 46. The use of anthropomorphism, which is the attribution of a humanform, human characteristics, or human behaviour to nonhumanthingsFormal Elements of German Expressionist Film
  47. 47. An interest in abstractionism, which is a style of art that privileges internalform over pictorial representation.Abstraction is different to a lot of more traditional styles of artbecause it is more focused on the use of imagination or ideasexpressed through emotion.Formal Elements of German Expressionist Film
  48. 48. Vincent (1982)http://www.youtube.com/watch?v=fxQcBKUPm8o

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