Abstract
This paper examines the cinematographic techniques of Tim Burton, focusing on his use of color to express emotion in his films. First, the paper explores the importance of color in "Edward Scissorhands", further citing how color was used to represent society's expectations. Next, the paper discusses the Burton's film "Sleepy Hollow", showing how it was dominated by bleak, dull, dark and depressing sets of colors. Then, the review explores how Burton brought his very unique use of colours into his most recent film "Sweeny Todd: The Demon Barber of Fleet Street." According to the paper, Burton has used specific colors to express mood and emotion as in previous films. The paper goes on to discuss Burton's use of music and flashback scenes in these three films, and concludes by discussing how Burton's themes are emphasized by his cinematographic techniques.

From the Paper
"In contrast to these plain pastel colors, Burton also uses dark black colors in the film also, as seen with Edward's appearance and with his home. When the audience is shown the mountain with Edward's home atop, it is dark and evil, because of the use of black colors. This could be interpreted as foreshadowing the society's original view of Edward. Because dark colors are being used by Burton, this is traditionally a symbol of evil, and in turn marks how the society first feels about Edward; that he is dark and evil and un-human. However, by the end of the film, it turns out that the society, represented by the colour, is evil, and Edward, represented by black, is good. Colour is used to hint this change at the end of the film, when Peg enters the gates of Edward's home. She goes into an unexpected garden, full of bright lifelike colours. There are green bushes which have been trimmed into animals and other objects."

Tags:Edward Scissorhands, cinema, Sleepy Hollow

Abstract
This paper examines Tim Burton's films including "Edward Scissorhands", "Big Fish", "Bat Man", "Batman Returns", "Beetlejuice", "Alice in Wonderland", "Charlie and the Chocolate Factors" and "Ed Wood". The paper notes that Burton is a character study for the complexities of the director's psyche, because his film imprint is easily recognizable through the tools utilized by the director, such as casting, lighting, camera angles, sounds, costume and staging. The paper examines the genre of his films as well as the interplay of novelty and stability.

Outline:
Burton and Genre
Conclusion

From the Paper
"We can compare Beetlejuice to Burton's other strangely fantastical work where there is a merging conjuncture between the fantastical genre facilitated by the classical social concept of the suburban family and community. In Edward Scissorhands, there again emerges the contrast of fantastical and classical. Edward (Johnny Depp) is a person with hands of scissors, which were inserted by his Frankenstein type creator. It remains not a distraction to the viewer, but a mystery to the view as to why the creator chose to give Edward scissor hands instead of human hands. The character of Edward is expertly played Depp, who was able to bring to life the comic-like character of Edward Scissorhands. When Burton brings together the acting talent of Depp, an ability to play a character like Scissorhands in a semi-robotic way, with Ryder, who conveys the deep sense of dark depression, the result is a moody, contemporary drama with a surreal element of fantasy.
"Auteur theory suggests that Burton's work must be a decryptment of meaning of the film (Wollen, 104). Burton's work meets the criteria in that the fantasy element is used to forefront the social message. We find this not only in Beetlejuice, Edward Scissorhands, but certainly in the Batman films."

Tags:novelty, stability, fantasy, genre

Abstract
This paper explains that C. Emory Burton in "The Poverty Debate: Politics and the Poor in America" defines poverty as the point at which the individual or family unit is no longer able to sufficiently provide itself with the essentials of life. The author points out that Burton states (1) that the vast majority of the poor do not enjoy most of the benefits of "in kind" distributions, (2) that poverty should be measured in relation to the U.S. standard of living and (3) that the effects of poverty are insidious and far reaching. The paper relates that Burton's arguments are convincing although a bit too left-leaning and a number of his claims seem questionable.

From the Paper
"In chapter two, Burton addresses the theory of a "culture of poverty" in which those who are classified as poor are actually, in large part, to blame for their own circumstances. What the theory proposes is that those in poverty have characteristics which perpetuate and insure their condition. Be it a low interest in education, little work ethic, no desire to improve themselves, unwillingness to take responsibility, or the inability to plan ahead or look toward the future, these individuals have personal flaws which keep them in a state of poverty."

Tags:culture, definition, distribution, measurement, left-leaning

Abstract
This paper examines how a study of the significance of Richard Burton's disguise in his "Personal Narrative of A Pilgrimage to al-Medina and Meccah" has implications for both an assessment of his success in his examination of the people he encounters and of his ability to use this disguise as a means of learning by complete immersion. It looks at how his eagerness to perfect this "cultural transvestism" which he had employed previously in his travels was partly fueled by his desire to examine and map for the Western reader. It also discusses how the objectivity which Burton's disguise affords him is undermined by his fundamental colonial superiority.

From the Paper
"Burton's disguise affords him an omnipotence which lends itself to an reaffirmation of his assumed Western superiority over the natives. Firstly, he presupposes, with no moral reservations, a right to imitate the Arabs, to deceive them in order to infiltrate their most revered pilgrimage, and to accept their help and friendship. Secondly, he takes advantage of his ingrained superiority in the very act of "going native" and receiving wisdom from his experience with the Arabs. An Arab would never be able to enjoy the same kind of teaching from a European, learning through living on a European level. Indeed, the Arab could not "go civilized" in direct opposition to the European "going native." Burton is able to gain a measure of knowledge of the Arabs which they would not be able to match in terms of knowledge of the Europeans."

Tags:africa, empire, lawrence, wisdom, arabs

Abstract
This paper evaluates the films created by Burton in an effort to uncover what distinguishes his directorial style from mainstream Hollywood filmmaking, why he acquired this predilection and hang on to such artistic viewpoint, and how his films' inordinate preoccupation with the weird and the morbid hit if off with both the critics and the box-office.

Outline:
Introduction
Literature Review
Early Years
Filmography
Auteur
Trademarks
Mise En Scene
Conclusion

From the Paper
"Burton began drawing at an early age, but it wasn't until he has spent some time at California Institute of the Arts that he was given an opportunity that would change his life forever. Disney, after seeing Burton's artwork, hired him immediately. Amazingly, they didn't even have a job that specifically fit what he could do. He was hired on the basis that if Disney didn't hire him, someone else would. Long and tedious hours were burned away as Burton worked continuously on creating ideas for Disney. What he came up with wasn't exactly what Disney had hoped for. He developed two short films, Vincent (1982) and Frankenweenie (1984). The first film was a "claymation" (a film animation whose characters are sculpted from clay) tribute to his idol Vincent Price and, although not the most publicized film from the Disney Studios, it was certainly the most unusual because of the combination of bizarre characters and the constantly shifting expressionist backgrounds1. "

Tags:gothic, batman, edward, scissorhands

Abstract
This paper is a critique of Tim Burton's fantastical animated musical, "The Nightmare Before Christmas." It discusses the film's themes, imagery and use of music. The paper expands on the visual qualities of the film.

From the Paper
"This paper is a critique of Tim Burton's fantastical musical film, "The Nightmare Before Christmas" released by Touchstone Pictures. This stop-motion animation disguises a quite conventional story about conformity and keeping to the status quo as a tale of ..."

Tags:Burton, Elfman, Oogie Boogie, Thanatos

Abstract
This paper examines how, in the selected articles, both authors argue parallel, albeit different, views regarding Roosevelt. It looks at how Burton argues that Roosevelt had Darwinist views when it came to social reform in the world. In contrast, it shows how Oyos argues that a great, powerful, and prepared military is the cornerstone of a country's might and useful when spreading the foreign policy and how Roosevelt was the first president to think consistently about the link between military technology, national military power, and foreign policy.

From the Paper
"As President of the United States between 1901 and 1909, Theodore Roosevelt, while being one of the most ambitious political figures in American history, was also extremely influential, both culturally and socially, and reflected the times in which he lived as no other President. His political beliefs and attitudes, both progressive and conservative, shaped many domestic and international events which took place in the early 1890's and into the opening years of the 20th century."

Tags:foreign, military, navy, policy

Abstract
This three-page undergraduate paper offers a thematic analysis of the 1999 Tim Burton film, Sleepy Hollow. The author discusses what the director wanted to impress upon his audience, and what elements made the film unique and memorable.

Abstract
The paper shows how the fundamental structure of "The Arabian Nights" by Sir Richard Francis Burton, consists of frame texts, or stories within stories, with "The Story of King Shahrayar and Shahrazad" as the outermost tale. The stories possess common didactic lessons, or morals, that connect them to one another. The paper examines how the morals are not often initially stated but rather revealed or re-emphasized from one tale to another, and they all possess a common feature that relate them back to the outermost tale?"The Story of King Shahrayar and Shahrazad". The paper shows that the organizing guidelines of the fables in The Arabian Nights are the particular moral, or lesson, they each portray.

From the Paper
"The Tale of the Fisherman and the Demon divulges into The Tale of the Enchanted King. This tale, like The Tale of the King's Son and the She-Ghoul, displays the consequences of returning good with good. The king saves the enchanted king from spending his life as half man, half stone and gains his companionship as a result. Even more importantly, the tale connect back to the The Story of the Fisherman and the Demon because the fisherman "was the cause of saving the young man and the city" (66). The moral, therefore, is not only re-emphasized but connected with the previous tales."

Tags:analysis, literary, vizier, Fisherman, and, the, Demon, Yunan, Duban

Abstract
This essay draws on the similarities and comparisons between Washington Irving's "The Legend of Sleepy Hollow" and Tim Burton's film, "Sleepy Hollow" with specific reference to the daydream scenes.

From the paper:

"Yet this daydream has no few of the aspects of a nightmare as well. In the real world, the worst Ichabod will ever endure is a fall from his faithful, and borrowed, steed Gunpowder. In the daydream film, he shall be skewered with a ghostly sword, beaten, choked, and otherwise bodily assaulted. The horsemen will not be a possible figment, a traveler who merely keeps pace and tosses pumpkins; to the contrary, he shall kill any number of people."

Tags:scarecrow, fields, dreamer, hero, horsemen, fighter, pacifist, bookish, melodrama