IB Film Oral Presentation Critique- My Oral!

The film I presented was "Edward Scissorhands." I think I did a pretty good job at addressing the topics and being organized. My strongest points may be the parts about shot composition, sound design, sociocultural aspects, and the film's relation to film history and Tim Burton. I think my excerpt had a lot to say about shot composition (especially concerning fore/mid/background), and I think it was addressed thoroughly. I feel like I addressed the importance of dominating sounds in the hedge scene. I think my relation of the film to gay rights and AIDS was relevant for the time period and shows a connection to how Edward feels. I also think my point about Pinocchio and Freedy Krueger was valid and thorough because of how Pinocchio's personality and Edward's appearance are somewhat integrated to form Edward's being. I think my connection to Burton's childhood was also a good point because that type of childhood must've been an influence for many other films he has done, as well. My part about target audience was a little rushed, but it got the point across.

My weakest points were in lighting and editing because there wasn't as much to work with as cinematography and sound design. However, I feel like what I did say about them was valid. I also realize now that I made a false statement in saying that the camera cut down the z-axis to a medium close-up of Edward because it was really just a waist shot. Although I think I made some good points, the part about acting was underdeveloped because I only briefly talked about Edward and Esmerelda while failing to address Peg, Kevin, and Bill. My discussion of mis en scene was also limited because I found little to say in this particular extract except about the significance of the hedge.

Overall, I would give myself a 23 of 25 marks.

IB Film Oral Presentation Critique- NOT My Oral!

I reviewed the oral presentation for "The Nightmare Before Christmas" (=D) by Luis Velasquez. The presentation was fairly good overall and the presenter addressed all required topics.

The strengths of this oral were the symbolism of Jack Skellington, the relation to the institution (Disney) and history, and the attention to the importance of different objects in the sequence. To start off, the idea that Jack is different on the outside from how he appears on the inside was spot on (it reminds me of my oral, actually...must be Burton). I liked the point that Disney did not want to use the idea initially, but they changed their mind when they felt like experimenting because it gives a good background to he kinds of stresses Burton had to deal with. I loved the symbolism of the crosses because it is almost unnoticeable, but after it is explained it really makes sense. The part about the pumpkins and how it triggers a target audience of younger kids due to Halloween was also a relevant and well thought out point. I like the bit about all of the efforts made for the different expressions and flexibility of characters. Some other good points were about how the film was adapted into a musical, how Burton grew up knowing the story of the Grinch and it's influence on the film, and the references to tone in Jack's singing. Also, part about the stop-motion technology was a very important part of the cinematography aspect. Film terminology was used fairly well, as well.

One of the weakest points of the oral were that for much of the time it was hard to hear Luis speaking because Luke was doing his oral right next to him. I also think The importance of Sally's character was underdeveloped a bit. Also, I feel like the discussion of lighting and cinematography was limited.

Overall, I would give this presentation a 23 of 25 marks.

"Edward Scissorhands"- Oral Component Part 2: Narrative and Film Language and Representation

How is this film constructed according to narrative/story being told?

The film is constructed such that we hear about a story of a man with scissors for hands, we go into the past to learn about this character, and we go back to the present to hear about how it has affected the lady telling the story. The part in the past is constructed such that we enter Edward's world from an outsider's point of view, Edward becomes accepted by society, he falls in love with someone, a conflict is set that he is dangerous (even though he doesn't mean to be), he has to run away, the girl he is in love with follows, Edward has to kill the girl's jealous ex-boyfriend, and Edward retreats into hiding forever.

Is the narrative organized by plot or time sequence, or some other way?
The narrative is organized by plot, but the main portion of the movie in which the plot occurs is a flashback with no interruptions.

Does the film use other principles than narrative sequence as a structure (for instance, an argument?
Outside of the flashback in which the main part of the movie occurs, the narrative is triggered by the fact that it is snowing. It's important because the story surrounds the fact that Edward has scissors for hands and that it wouldn't be snowing without his ability. Also, the castle at the top of the mountain is a focus point in the first shot, and we learn that it becomes an important part of the story because later it triggers Peg's curiosity about this strange building in a suburban neighborhood. The curiosity the snow and castle is supposed to develop is what propels the grandma to tell the story about Edward.

What is the nature of our engagement with the story or characters?

The nature of our engagement with the story and the main characters is very warm. We feel sympathy for Peg because she can't make an AVON sale and she is the first one to find and accept Edward. We sympathize with Edward for his condition and we like him because he is so kind. We like Kim because she breaks up with Jim for making Edward break into his house and she seems to fall in love with Edward. The nature of our engagement with the story is also warm because of how Edward is such a pitiful creature, but we can't help but feel a connection to him for his undeserved loneliness. Therefore, we feel like we want to find out if he ends up with Kim in the end. However, things turn dark in the end. The nature of our engagement with Jim is cold. He is a jerk for trying to get Edward in trouble, trying to blame Kim's cut on Edward, etc., so we put him in the villain position. When "villain" meets Edward, the only way out is murder. Murder is something Edward can never come back from even though Kim can finally be with Edward, which is why the nature of our engagement with the story at the end is bittersweet.

How are characters and issues represented?

Characters are represented as average white Americans. In my extract (26:39-31:23), Bill (Peg's husband) is trimming bushes and Kevin (Peg's son) is listening to the baseball game with his friend in a tree house. Peg is ecstatic (as heard with her high-pitched voice) about Edward trimming the hedges in the shape of her family. The odd one out is Edward. He is represented as awkward, such as with his shuffling approach to the hedge. He also smiles when Peg is happy and frowns when she's not when she is putting products on his face. He just wants to fit in, but it is unnatural. Therefore, he begins to trim the hedge, so he can have the best of both worlds (the hedges at the castle are trimmed as well).

Issues most important to the plot are represented as being caused by character interference. For example, the devoted Catholic lady, Esmerelda, comes into the Boggs' yard and says Edward is from the fiery pits of heck. This eventually becomes a popular sentiment once people recognize the dangers Edward's scissors pose.

What is the style and effect of acting and performance?

The style of acting is realistic to the point where everything that happens we expect of that character. Esmerelda is eccentric in her behavior when she confronts Edward. We aren't surprised when she comes up and points her finger at Edward. Edward is gentle because he is naive about human nature (such as with Esmerelda and her fear of him), and he shows it with his soft voice and smiles or neutral facial expressions.

We expect him to feel proud of himself when he finishes his botanical masterpiece. The effect of this style is that we can tell which characters to like and which to dislike. For example, we dislike Esmerelda and we like Edward because of how the lady seems out of her mind with the odd way she presents herself and how Edward responds to the lady so that we realize he doesn't understand the meaning of what she said to him.

How is meaning created by camera angles, shots, and camera movement?

There are a lot of point of view shots of Edward being "beautified" that create the idea that Edward has to be changed in order to be accepted by society. (These shots also create uncomfortableness because Peg is seen applying all of this hunk to his face throughout the scene.) This is followed by a close-up reverse point of view shot of Edward with a smile that turns into a frown at peg's disapproval. The way Edward is staring at the audience (even though its Peg) helps him communicate his mood through all of this: he is willing to take what Peg does to him if he can fit in. That shows how these few shots contribute to the film as a whole.

Another interesting shot is when Bill is out working in the yard and Edward joins him. The shot has great depth because we have the branches in the foreground, Bill hesitating before cutting it in the midground, and Edward walking into the scene in the background. Then the cuts down the z-axis to a medium close-up of Edward cutting a branch just like Bill. What makes these two shots significant is that it literally and figuratively brings Edward out from the background and into the foreground by showing the audience that there is something he can do just like everyone else (or better?).

A bit later the branches are in the foreground, Edward is in the midground, and Bill is in the background, thus showing the significant change in dominance over the scene and highlighting Edward's importance.

vs. the previous

The final shot of this scene is most important because it is slightly from a worm's eye view as we witness Edward's giant dinosaur hedge. The angle of this shot shows that Edward has officially proven his worth and skill. Another important aspect is that the wide shot reflects the colossal stature of Edward's achievement. As a whole, this scene creates meaning because it physically shows how Edward becomes an important figure in the lives of everyone in the neighborhood because of his skill.

One last important shot of this scene is when Esmerelda enters. The camera dollies in with the woman, showing that we are coming in from an outsider's perspective. This is important to the film as a whole because eventually this negative outside perspective becomes a neighborhood-wide feeling.

How is meaning created through proxemics, territorial design, or open and closed forms?

Meaning is created through proxemics such that Edward is close to Peg, but distant from Bill. During the makeup session, Edward lets Peg experiment on him however she wants to because he trusts her with his life. She is the one who took him in, after all. Bill, on the other hand, doesn't seem to care much about Edward, as we can infer from the great distance between them during the hedge-trimming scene. They are the length of the yard apart the entire time. Proxemics are important to the film as a whole because it shows how the only people who really understand where Edward is coming from is Peg (and Kim when she becomes an important character). The rest of the neighbors turn their back on him, and Bill and Kevin aren't necessarily coming to his defense when things get rough.

How is meaning created by editing and sequencing?

One interesting part of editing is how the first scene of the extract is drawn out. It just shows all of the men going off to work, but it really emphasizes how uniform this society is compared to Edward. It is quite ironic because they are supposed to be human while he is artificial, but he is the odd one out in a group of men who act exactly the same.

Meaning is created through editing because of Edward's eagerness to please. During the makeup session, Peg is smiling and then she frowns and cocks her head. Then it cuts to Edward's smile turning into a frown. This cut is significant because like she wants for him, he wants to be accepted (appearance permitting). This is important to the film as a whole because Edward realizes that he can be his own person with his own opinions and that people are okay about him being different.

Editing is also important when Bill and Edward are cutting the hedges because Bill cuts once, Edward cuts once, Bill cuts twice, and Edward cuts twice. Edward is trying to send the message that he can do it just like Bill if not better. This is important to the film as a whole because a major part of the plot involves him proving himself to society, Peg, and Kim.

Another important part of the cutting in this scene is that they wait until the very end of the scene to show Edward's dinosaur. The closest we get is a glimpse of him cutting, but they put it off until after Bill's and Kevin's reactions for maximum intrigue. This is important to the film as a whole because, similarly, we don't realize Edward's true potential until the end of the film. His potential can be interpreted as creating the ice sculptures that make it snow or, more importantly, the fact that he was able to murder Jim and be able to say goodbye to Kim forever.

Another important part of editing is when Peg is listening to messages. The entire scene is one static waist shot of Peg sitting on the bed next to the phone. It creates meaning because one drawn out shot reflects the fact that Peg's neighbors filled her entire voicemail machine tape and emphasizes the daunting task that she has to listen to every single message. It is important as a whole because it foreshadows the relationship Edward is soon to have with the rest of the neighbors that leads him to feel more comfortable in society.

How is meaning created by lighting, shade and color?

The very first scene of the extract is of what a suburban weekday is supposed to be like. All of the houses are of pastel colors, as well as the cars. It is also a bright, sunny day with a great blue sky.

The bright lighting and colorful neighborhood suggest that Edward is becoming oriented into a world outside of his black castle, black jumpsuit, black hair, and pale skin. Also the lavender foundation on his face suggests that Edward is starting to "blend" (pun unintended) with that colorful new world. It is important to the rest of the film because it ultimately emphasizes the world he doesn't belong in not only because of his paleness and black attire, but his unfortunate tendency to be unintentionally dangerous.

How is meaning created by sound and music?

Sound is especially important in this extract. In the first scene with the cars leaving, we hear non-diegetic fast-tempo orchestrated music suggesting anxiety because it's a brand new day and we don't know what will happen. On the other hand, the music becomes cheerful with a harmony of voices, which suggests an ideal place that corresponds to this happy and colorful neighborhood. This song comes to a hasty close on an establishing shot of the makeup scene that calms that anxiety. It is important to the film as a whole because the anxious music demonstrates the lingering idea that there is a curious figure in the perfect neighborhood, the cheerful music demonstrates that it is just a happy neighborhood that Edward is integrating into, and the hasty close demonstrates that like Peg got used to Edward, so will everyone else.

During the makeup scene, Edward is completely silent while Peg is talking on and on about how to apply makeup to his face. The only other diegetic sound is a wet noise of the gunk going onto Edward's face. this part is important because it demonstrates how much Edward is willing to stand to be just like everyone else. Peg's dialogue is also important because Edward knows so little of the world outside of his home that he probably has no idea what Peg is talking about, yet he still seems to listen because it is polite and he is a gentleman. Peg's dialogue is important to the film as a whole because Peg is talking to Edward as though he were any other person when he is not, much like how the townspeople treat him equally or even better. The last line of Peg's dialogue ("Darn this stuff!") is important because we end the scene at the conflict, never to know the climax or resolution.

In the hedge scene, the baseball on the radio is merely diegetic noise that we notice but don't care for. The sound of Edward's scissors from the inside of the tree-house and Bill's request to turn up the radio's volume suggests that Edward will soon become the dominant point of interest in this scene. Bill can't get rid of the noise. The cheering of the crowd and the announcer saying, "it's gone, it's out of here, it's history," matches Edward's determination on his new project (as seen by his powerful expression).

The real uproar of the baseball crowd begins when we see Edward next to the dinosaur. One can also notice the increase in volume due to the crowd instead of the announcer yelling. This scene holds a lot of meaning with sound because Edward gradually becomes the center of attention. It used to be radio vs. Edward, but then it becomes radio both complementing and complimenting Edward. This appreciation of Edward's skill is important to the film as a whole because it adds a sense of accomplishment in Edward that motivates him to become a valuable member of society.

This highly contrasts the next scene, which is fairly quiet except for the sound of messages. This part is important because once again it emphasizes Peg's dull and lengthy task. At the sound of the tape squeaking as it rewinds accompanied with Peg's look at the machine, we can tell that there are a lot of interested neighbors. this is important to the film as a whole because we hear of all of the nosy people who later claim they think of Edward as special, but then turn their backs on him in the end.

An important piece of dialogue in the middle of listening to messages is the reference to Kim on her camping trip. This is a key piece of dialogue that means we should not forget about Kim and the effect he has on Edward, which shows its importance to the film as a whole because Kim is the reason Edward first gets in trouble and triggers the break-up with Jim (Edward says he broke into Jim's house because she asked him to, Kim broke up with Jim because he was mean to him, and later Jim is obviously jealous of Kim and Edward, so he goes after them).

One leitmotif that foreshadows the climax of the movie is the entrance of Esmerelda. We first hear her playing on her organ and then every single appearance she has involves that music. We hear dark , slow-tempo, mid-frequency accordion music upon her entrance. It is important to the rest of the film because it foreshadows that eventually no good can come of Edward's integration into society.

How is meaning created by location, set design and mis en scene?

Meaning is created through location by how Edward is working his way into an average white American suburban family, which is a very stereotypical image of an American family because there are also the rich, the poor, and other ethnic groups to consider. Furthermore, it is in a colorful neighborhood and he is coming from a dark place, so it's like he is seeing the light for the first time. This location is important to the film as a whole because it contrasts Edward's castle, which is the place Edward realizes he must return to in the end.

Meaning is created through mis en scene because the hedge in the background eventually become the significant hedge. The placement of the radio is important because it serves as an interruption for what we want to see Edward doing, but once our eyes are off of it and onto Edward's dinosaur we welcome it, especially since there is a thunderous applause on Edward's account. This aspect of the scene is important because it symbolizes how Edward is no longer in the shadows, but he is standing out in a positive way that leads him to become a famous member of society.

Does the film make use of symbols, metaphors, or allegories? What are they and how do they work within the context of the film?

Edward is a symbol of the acceptance of change. Edward's ability to show that he is capable of so much skill in cutting the hedge represents how not all change is bad. However, there are some people, like Esmerelda, who aren't ready for change because it is so extreme. This central symbol works within the context of the film through how people do accept him for his good qualities, but, once his bad qualities show change, becomes a more frightening notion.

What emotional information is conveyed through the filmmaking process?

Emotional information or the tone that is created during the scene with the cars is humor because it is ridiculous that the houses are those colors and every man is driving away at the same time. The next scene also shows a humorous tone because of how funny Edward looks and how serious Peg is about it. The hedge scene shows both humor and triumph because of how Edward's initial hesitance turns into fierce determination and how Edward is pleased with his creation at the end with the applause of the crowd. The voicemail scene is also humorous because of the length of the tape and we hear about everyone's curiosity. It also acts as a reminder of Kim's place in the story, which demonstrates a more neutral tone. The last scene with Esmerelda is tense because we want her to get out of there since we know Edward is not dangerous at heart. Overall we feel sympathy and happiness for Edward.

"Edward Scissorhands"- Background for Oral Part 1: Historical and Sociocultural Context

Institutional factors as a production of Tim Burton that may be important are that Burton is known for creating dark characters, which creates the look of Edward and where he lives.

The film's significance as a document of its time is that in the 1980s people started supporting gay rights and AIDS was first discovered in the early 1980s. This relates to the film because Edward was seen as an outsider at first, but people started to accept him as being different, like how gay people were rejected, but people started accepting them as equals. Also, he has a deformity that leads him to disaster when he hurts Kevin and kills Jim, much like how AIDS destroyed its victims.

The film's historical significance as a part of history of film is that Edward is, as Entertainment Weekly put it, "Pinocchio with Freddy Krueger's hands" with his inventor (Vincent Price) as "Gepetto." Edward can be taken form many different characters because, despite being artificial, he is as gentle and curious as a little boy. However, he has the potential of the well-known villain Freddy, which many people (e.g. Jim) indirectly associate him with despite his Pinnochio-like personality. It also relates strongly to the established scary castles in old horror films. It fits in with Edward's past, but is ironic when we discover what Edward is really like. Nevertheless, the sight of the scary castle brings up memories of old villains like Dracula. Also, there is the '60s style "pastel" neighborhood that can be incorporated into its place in film history because the 60s was known as a "cultural revolution" (Wikipedia). It demonstrates the "revolution" Edward experiences as he moves from his "gothic" (EW) castle to the bright, colorful neighborhood.

America was still undergoing sociocultural changes in 1990 with the supporting of gay rights and their incorporation into society. For example, on October 27, 1990, Congress repealed a law prohibiting gays form being admitted into the US (Wikipedia). This relates to Edward because he remained an outcast for who knows how long, but Peg "admits" him into her home despite his differences.

The cultural aspect of this film can be summed up as being lively and colorful. This pertains to the socio-cultural context because Edward is the one person who has to try especially hard to become one with society and the colorful culture, like how gay people had trouble integrating into society and joining its culture. Becoming one with a colorful culture is especially difficult given Edward's potential dangerousness and his scarred, pale appearance, like how gay people had a secret that some people wouldn't accept.

Burton got the idea for the film from his childhood in suburban Burbank (Wikipedia). This specific part of society is full of middle-class/high-class folks. Perhaps Burton's past can relate to Edward because he felt like an outcast. Burton revealed that his parents bricked up his windows as a child, so he had only a slit to look through (femalefirst). According to "The Independent: UK" parent spent 3 times less as much time with their children in the 1970s (Burton's preteens/teens), so this would make children very lonely if they had no friends, like Edward before he finds Peg. This further relates to a specific part of society in 1990 because Edward never learned to go outside and make friends since his father figure was absent.

The film's sociocultural context as a work made for a specific audience is that there are so many people who are never noticed because they have no friends or are too shy to integrate into a gossip-filled and loud culture. This film would connect to them since Edward goes through the same situation, but he begins to find a place for himself as he becomes less shy. It may also be for those who are well-integrated into society because then they can see and recognize the other side of the story.

The sociocultural context as a work made for a specific reason is that there are always those living outside of the mainstream culture and as an average member of society, such as gay people who are just beginning to get used to integrating with everyone else. The reason it was made was to demonstrate that there is beauty in the most unexpected people, and it represents the context that some people begin to stop judging them, and at least get to know them first.

Jenna Fontaine and Jenevieve Rantisi: Sound Design- Short Film Treatment

Let Me In...title still in progress

Log-line: A girl who is home alone becomes a victim of her own mind when she hears a strange voice beckoning her to “let go of the fear.”

General Flow/Scipt:

The screen is black. We hear a furious tapping noise. Then there is a hand, white against a dark table and casting a shadow. We see a multitude of fast angles, but never the face of the person whom the hand belongs to. The tapping stops, and the camera lands on a girl’s face. We see a close up of the girl’s face, with wild eyes searching. We hear her thoughts: She left me for one night. Just one night...

We see a full shot of

Girl: the small, dark room she is in.

...And now I’m here. Now I’m here...

There is a dull office with a man at a desk sitting across from a woman. The man looks tired and is dressed in a suit. The woman looks distraught and her eyes are looking into space.

Girl: ...At least it’s quiet now.

The man is writing on a piece of paper. He looks up.

Detective: [bored tone] What were you doing while your daughter was at home?

After a moment, the detective coughs. We see the lady close up jerking her head to look at him.

Woman: I left her for one night...

We zoom in all the way into the girl’s eye. We still hear the tapping

Woman: ...Just one night.

We zoom out of a clock set at an evening time and track over to the same woman preparing to leave a house. There is a still soft tapping of the girl’s hand on a table in the background.

Woman: I know I don’t usually go out at night, but work’s been so hectic. I really need a break.

Girl: It’s alright, Mom. I understand.

Mom: Are you sure? I know how you feel about being home alone at night.

Girl: [whispers] It’s alright.

Mom: [sigh] Okay. Hey I’ll order you a pizza! Just cheese?

She puts some money on the banister.

Girl: [quietly] Thanks. [frantic whisper] Lock the door!

Mom: Will do. Love you!

The girl, fear in her eyes, nods in reply. We hear the mother’s footsteps going down a flight of stairs as we linger on the girl’s face. She walks over to the top of the stairs when it closes, listening. She hears the deadbolt click and smiles a bit.

She is sitting cross-legged on a couch with all three lights on. She is absorbed in the television, but her expression is neutral. She jumps at the sound of some people chatting next door. She shakes her head and returns to the TV. Then there is an unintelligible whisper. The girl sighs and turns up the volume on the TV. But the loudness of the whispering dominates the TV. She presses mute, and the whispering stops.

The girls face twists in confusion and she turns off the TV. She gets up and walks over to the next room, a dark portion of the house. The whispering continues.

Voice: [voice of girl, distorted] Come. Come. Let the fear go and be free. It’s easy.

The girl turns on the light, but the voice stops. She turns it off again and the voice starts again, repeating the previous lines. The girl steps out into the dark room and continues, looking for the source.

Girl: [franticly] Mom. Mom! Is that you? Stop it and come out.

Voice: Forget about Mom. You don’t need her. Just come. Come. Let the fear go. Let me in and be free. It’s easy.

The girl runs to her room, turns on the light, and locks the door behind her. The voice begins to overlap. She sits in the corner, eyes shut, hands over her ears, rocking back and forth.

Girl: [frantic whisper]: Shut up. Shut up! [she begins to cry] Shut up! Shut up! Shu...

There is a loud knock on the door. The girl jerks up, alert. The whispers stop. Then there is a single whisper.

Voice: Just do it! Stop the fear for once.

The girl, neutral-faced, stands up, goes into another bedroom, opens a drawer, takes out a gun (fake no worries!) and walks slowly to the door, hand trembling. She slowly turns the deadbolt, opens the door, points the gun at the pizza man,

Voice: Let me in and be free.

Pizza man: Hey, wha...

Bang bang. The girl smiles madly.

Girl: [distorted voice] See, it’s easy.

Zoom in to the girl’s wild eye.

Zoom out of her eye in the dark room again. The girl is still tapping furiously.

Voice: You thought I’d gone. [tapping stops] Wrong. You live your life in fear, so I’m taking it.

Girl: [desperate]: Leave me alone!

Girl: [distorted voice]: [chuckle] Never.

The girl smiles madly. Fade to black.

Sound Design plays and important role in the development of the conflict/character because the distorted voice is what leads the girl to go crazy and kill. The interior monologue is also meant to give a sense of intrigue. It is important to the setting because the girl is alone in the house and the dark room. The subtext is emphasized with the italicised words as well as the captions, especially with the frantic whispering that demonstrates the girl’s fear. We will have foley sound effects for the pen scratching, the deadbolt locking, some of the tapping, the TV, the distant chattering, and the (fake!) gun going off. The rhythmic match will be associated with the opening shots when we see the girl at different angles, but not her face. The sound bridge will be used a few times, such as when we hear the girl finishing her thought in the beginning when the girl says “At least it’s quiet now,” when the mom says “Just one night,” and the tapping noise during flashbacks/forwards. The most obvious leitmotif is the evil twin’s voice. We also associate her with the tapping of her hand because of her anxiety. When there is tapping, we know it’s the “good” girl, but otherwise we depend on the distorted voice to know for sure she’s not. Music will also be added to accompany the different personalities: evil or good. For example, sad music will fade in after we are shown the first shot, but during the very last shot there will be dark music. That will be added in the 2-column script (dialogue was just really important, so we put it in the general flow).

"Edward Scissorhands"- Oral Component Part 1: Genre and Audience

This film can be placed in both the fantasy and romance genres. One feature that contributes to the fantasy genre is the music. It is orchestrated, often with a choir of voices singing enchanted tunes. Sometimes it is fast-paced and high-pitched (at 3:04), but at others it is slow and child-oriented (here's the main theme). It can even be thought of as sad when associated with images of Edward (Johnny Depp). Sometimes it is quiet and simple, and others it is loud and actually really breath-taking (two thumbs up to composer Danny Elfman). Another feature demonstrating the fantasy genre is the character of Edward. He was invented, and instead of having hands, he has scissors. Also, the opening and closing scenes show that it's snowing because of Edward carving ice blocks, but it is impssible to generate that much snow form a block of ice and send it all the way from the castle to the town next to the mountain. Therefore, it is fantasy. It is also a romance because edward falls in love with Peg's (Dianne West) daughter, Kim (Winona Ryder). The music also suggests this with the song "A Portrait of Kim," which is hear din the scene when Edward first sees the aforementioned portraits of Kim. Toward the end of the film, Kim tells Edward that she loves him, but they can't be together because he is linked with injury of Kim's brother, Kevin, and the murder Kim's ex-boyfriend, Jim.

It can be connected to Disney's "Beauty and the Beast" because like Edward the Beast is isolated from society at first and not particularly pleasing to look at, but like Kim, Belle falls in love with him anyway. Also, there are Gaston in Jim, who both supposedly love Belle and Kim, and both Gaston and Jim die in the end because they try to kill the Beast and Edward, respectively. However, "Beauty and the Beast" has a happier ending because in "Edward Scissorhands," Edward returns to isolation and never sees Kim again while in "Beauty and the Beast," Belle and the Beast get married. The movies can also relate to the fantasy genre because the characters of Edward and the Beast are both impossible.

Tim Burton produced, directed, and wrote (with Caroline Thompson) the movie. Tim Burton may have made this film because of how personal it is. It is all about how people begin to accept him, but the only one aside form Peg who really cares about him and never doubts his motives is Kim. It is definitely one of Burton's most emotionally captivating films.

Tim Burton can be associated with many dark fantasies, such as "The Nightmare Before Christmas," "Batman Returns," "Corpse Bride," and "Beetlejuice," so we can tell that Burton enjoys child-friendly stories with a dark twist to them. Therefore, this movie fits well with his other work. There are certainly significant similarities in theme and narrative. For example, in "Corpse Bride," a woman's (Helena Bonham Carter) fiance is killed on her wedding day. Years later, when a groom (Johnny Depp) is preparing his wedding vows, he puts the ring on a branch, which is really the corpse bride's finger. When they go to her home down below, she is so excited that she is finally married, and the man finally accepts her as a friend. However, he has his real marriage to worry about. She sadly lets him go. This relates to "Edward Scissorhands" because she is different from the world above, but the man sees her for who she really is. She and Edward both led tragic lives, but everything turns out fine for them in the end, even though they can' have what, or who, they sought to get."Corpse Bride" is animated, while "Edward Scossorhands" is not, but I do see a visual similarity in that the corpse bride and Edward are both pale, but dark and scarred in appearance. There is also a similarity in the style of music, which is orchestrated once again by the fabulous Danny Elfman. It is fast-paced at times, such as when the corpse bride is chasing the groom, and slow and sad at other times, such as when the groom rejects her as his wife.

The theme of "Edward Scissorhands" is that a a misunderstood man falls in love with a woman he can't be with because he is different, even though he is very gentlemanly, kind, and innocent.

The target audience includes teenagers, older children/preteens, and young adults. However, even adults may enjoy its whimsical charm and brilliant score. It addresses the audience with the sweet character of Edward, the fairy-tale-like music. the magical ice and hedge sculptures,

the occasional humor as Edward tries to fit in with society (here's one of the funny scenes), and the drama between Edward, the town's citizens, Jim, and Kim.

Sources: google (images), youtube (see links), IMDB, The Tim Burton Collective, and my memory.

The Hurt Locker Analysis

Last week we watched "The Hurt Locker" in film. All I knew to expect was a lot of explosions. I had no idea it would be so intense, though. I really enjoyed it because of the the bigger message it posed toward the end.

I think the director, Kathryn Bigelow, did a really great job as well, which can be seen through he actor's realistic expression and the variety of shots in scenes. This film was released in 2008 and is set in post-invasion Iraq (filmed in Jordan) in an area where there are a lot of bombs and where the American troops settled there are looked at by many with resentment (hence the bombs). It is related to films such as "Inglourious Basterds" because of how there is a group during a war in a specific place just trying to do their jobs for their country (US in both cases). Some thematic ideas I noticed in it were longing, resentment, carelessness, pride, and fear.

The visual style I noticed was that they tried to make it look very realistic with the use of shaky shots, extreme close-ups, casual language and a setting that wasn't too clean. In iconography, I noticed that there were a couple of stray and shabby cats in the beginning. I believe they are symbols of the poverty and loneliness these people are living in. For example, one of the cats is limping, which represents the struggle of many people in this area. Another is not limping, so it may represent the people there who are still struggling but may have it easier than others.




The acting was also very good because the foul language suggests the urgency and authenticity of certain situations, such as when they are looking for the bomb in the car. The Production design was also remarkable because, being set in Jordan just miles from Iraq's border, it looked like it was really in a city in Iraq. The marketplace also gave a very good glimpse of everyday life there.

I think it is formalistic because of the slow motion, multiple angles for significant actions, and ambient music. However, it may be seen as realistic as well because of the almost documentary-like way it's filmed. I like the angles because in every scene there is a shot that we've never seen before, such as from directly above.
I also like the extreme close-ups from the side because they really show how focused the character is. I also like the point of view shots when wearing the suit and mask because it isn't like we're watching the action from afar.
The framing is also nice because it is oftentimes not straight on, but to the side, instead (rule of thirds). I really liked the Canon zoom lenses as well because that added to the shakiness to make it seem like the person filming it is just a bystander with a handheld. The camera vs. actor blocking was oftentimes unique, such as when they are filming something very far away. It's like it's hard for the camera to leave the troops because the cinematographer (which is like a bystander) has the fear of leaving protection and getting close to the enemies far away. The dominant imagery is of bombs and camouflage uniforms because those represent the troops and their mission. The dominant color is beige, as seen with the ground, clothing, and landscape. The bombs are also dominant icons because they are what keep the troops moving close to the enemy. What I also like about the territorial design is the vastness of empty space between, whether out in the open rural area or the road between the troops and the enemies outside or looking outside from their houses or shops. I think it's open form because we also see glimpses of the enemies in their fort or running down the stairs. The only significant or special thing I noticed about the light design were silhouettes: for example, when an Iraqi man is running down the stairs after a bomb is discovered.

I like the silhouettes because they emphasize the strength of the sun in the Middle East.

The editing style is nice because at intense points there are fast cuts, but at others the takes are very slow to emphasize the action. For example, there are fast cuts when the first bomb explodes, but long cuts in the car in search of the bomb. The fast cuts show how such an enormous thing can happen in so little time, while the long cut shows the frustration of searching for the bomb. I like the slow motion of the first bomb exploding because it emphasizes what happened so the viewer has to suffer the action for longer than they really want to. It's especially great when the car implodes and the ground rises because it makes it a less boring way to suffer.


I like the flash forward to when James is in the supermarket because it provides a severe contrast to life in the war. This is a great technique because we're so used to being in Iraq that, like James, we want to go back. It makes normal life look bland. The parallel action is also good, such as when James is searching for the bomb and the Iraqi man is running downstairs, because it adds another perspective to the film. The montage of the first bomb exploding is amazing because it really sends the message that everything is going to be different now, and it is when James arrives.

For he most part, there is ambient music, which I don't think is all that special. What I do like, however, is that they add some slow Arabic music at some intense moments, such as when James is in search of his first bombs with Bravo company and when the Iraqi man is running downstairs. That definitely helped complete the setting.


A repeated motif was the sounds of breathing, such as when James is wearing the bulky suit with the mask. I think it represents the hard work that goes into their job as well as the intensity of the climate in Iraq. In particular, I liked the sounds in the car when James is looking for the bomb because it is realistic and hearing nothing but that heightens our awareness of the urgency of the situation. There are synchronous sounds that add to the realism of the film and compliment the shakiness and random zooms.

The narrative structure is that something important happens to change the lives of some people and they have to live with that change, eventually adjusting to that change. From that point we learn about the background of that change and how it influences them in the current situations. There is a climactic moment and then everything is back to normal, until the "change" can't deal with everything being normal again, so they go back to what they are used to. I like this style because at first it seems like the story is about Sanborn and someone new just pops up, but as the story goes on we realize it's more about James. I think the movie is character driven because it's mostly what James does that leads to certain actions, such as chasing after an enemy causes Eldridge to get shot and sent home. The nature of the dialogue is very much how I expected of these army guys. There's a lot of swearing, with adds to the authenticity of it. I like the irony at the end when James is in the supermarket because it's also humorous when not looked at more deeply. James knows exactly how to look for and disassemble bombs, but he can't even decide what kind of cereal to get. It also contrasts highly to his previous living conditions because there isn't as much choice in that poverty-stricken town.



I also think it's funny because of how James is so careless, while Sanborn is very anxious and cautious. At the same time, though, we are worried about James.

An obvious genre is war because it's about troops and their lives in Iraq. Another genre is dramatic, which can be seen at the end when the man has the bomb attached to himself and he is begging for James to take it off, but James cries that he can't do it in time. Another genre I noticed was suspense because we don't know whether or not someone will die any second or whether or not James will find the next bomb and disassemble it in time. Yelling from Sanborn and others also adds to this because it increases the anxiety. One last genre is action for the obvious aspects of gunfire and violence. This film also subverts the suspense genre because after hearing of James' bomb record (873!), we expect him to find the bomb next time and we put our faith in him. However, this suspense is brought back when the man has the bomb with a timer. I don't believe the war genre is ever subverted throughout the film because "war is a drug" and is therefore always on the mind of James. The dramatic genre is subverted at the end when JAmes is back home because everything seems easygoing and calm at last. The action genre is also subverted at this point because I believe it's the calm before the storm since James decides to go back to war.

Overall, I loved the movie for the shaky camerawork, good acting, Arabic music, irony at the end, and the story line.