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Tim Burton Cinematic Techniques

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Tim Burton Cinematic Techniques
Robbie Schwartz
3/12/13
English 1H
Tim Burton uses many cinematic techniques in his movies such as lighting and camera angles throughout his movies in order to create effects and moods. Cinematic techniques He uses both lighting and camera angles in Edward Scissorhands and Charlie and the Chocolate Factory numerous times. He uses them very effectively to portray different ideas such as showing strengths, weaknesses, or size in a character or setting, or revealing a depressing or cheerful surrounding. Tim Burton is a successful film maker and has inspired many to get into the movie making business due to his cinematic techniques.
In many of his films, Tim Burton uses lighting successfully to show happiness or sadness. He is known for having very low key beginning credits. Low key lighting can be used to show a sad, mysterious or scary environment. For example, the beginning credits of the movies Charlie and the Chocolate Factory and Edward Scissorhands are very dark cloudy scenes. They both have a solid black background and obscure objects appearing. Also, Burton used lighting perfectly in Charlie and the Chocolate Factory when the lucky children who obtain the golden tickets enter the huge room where the chocolate was made. It is a bright and colorful room filled with tasty goods. High key lighting is used to create a happy, exciting, or fun atmosphere. The lighting on the kids faces as they walk in the factory was very high key because they were bright and full of joy. Burton also uses a high key effect on the town in Edward Scissorhands; it is filled with brightly painted houses with beautifully cut bushes. Also the clothes that people wear in Edward Scissorhands are very brightly colored because people would wear a single colored outfit of much color. As a result, lighting is used effectively throughout his movies to show different effects.
Camera angles were very important in the films Edward Scissorhands and Charlie and the Chocolate Factory. In the

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