Well-respected, director Tim Burton has always been credited for the uniqueness of his many films. He has directed, produced, and written many classic films in his life, and there is no doubt he will make any more. Often influenced by Edgar Allen Poe, Dr. Seuss, and Vincent Price, Burton’s films are regularly remakes of well-known tales, reimagined as twisted with dark spins. His films Alice in Wonderland, Charlie and the Chocolate Factory, and Edward Scissorhands all demonstrate how one of a kind his screenplays are. Though Burton uses many meaningful cinematic techniques across these films, his use of lighting stands out.
To the Pi Taus credit, it was an exceedingly well-edited video. With each frame carefully spliced for maximum effect, the end result told an erotic tale of uninhibited passion, the reenactment a far cry from the horror of the actual event. The first movement of Beethoven’s Moonlight Sonata projecting softly through the speakers, the powerfully dark piano concerto having a profound effect on both men, capturing their imaginations in an auditory meditation of the soul. As the visual story played out on Tom’s 25” television, Booker sat forward in his seat, his clenched fists resting stiffly on his knees. When Tom’s face filled the screen, there was no sound except the melodic whisper of one of the finest pieces of music ever composed.
Tim Burton uses many different cinematic techniques to achieve very specific effects in his movies. The most important cinematic techniques that he uses to create his unique style are Non-Diegetic sound, lighting, eye level, and zoom. These techniques that can be seen in the films Charlie and the Chocolate Factory, Edward Scissorhands, and Corpse Bride, create the effects of sadness, dark moments, express the feeling of other without telling. He uses Non-Diegetic sound when he puts a song, he uses sad songs, happy songs, and more to show the feeling of the character, to give us like a hint of something that is going to happen, if it’s going to be bad or sad. He uses lighting to make the moment or scene sad or mysterious.
German Expressionism has influenced thousands of films and filmmakers since the art movement began in the 1920’s. It is known for its dismissal of the standard conventions of Western filmmaking for a more off-kilter style of storytelling. Some film historians consider Metropolis (1927) to be one of the most groundbreaking German Expressionist films ever made. However, there are many instances throughout Metropolis in which it deviates from the eccentric Expressionist style. There are many obvious occurrences of expressionism during Metropolis, for example the opening machine sequence, but conventional Western techniques are also common in the film.
“Arrival” is a mystery, sci-fi drama directed by Denis Villeneuve in his wonderful betrayal of the unknown. ’Arrival’ digs deep into the unexpected, when a bunch of alien vessels land in 12 different spots on earth, leaving everyone curious about what their intent on earth is. With the military confused they pair together two scientists Louise Banks (Amy Adams) and Ian Donnelly (Jeremy Renner) who both study unique fields as Louise studies linguistics why Ian is a physicist, both are taken to a military base right outside of where one of the Heptapod’s (aliens) vessels have landed.
Lighting Gondry’s use of lighting is one of the most important filmic techniques employed to successfully construct the abstract memory scenes. As seen in figure 2, in the present time (in terms of narrative) lighting is usually natural or realistic. However, in memory shots Gondry creatively modifies this in order to distinctly differentiate the change in narrative. Darkness and low-key lighting are often used in these shots as seen in figure 3, with lights fading into black or turning off to represent Joel’s loss of these memories.
The Sound of Silence is a constructed aluminium, rectangular theatre installation where Alfredo Jaar tells the story of the South African photojournalist Kevin Carter and the controversial photograph he took in Sudan during the famine in 1993, the photograph famously known as "The Vulture and The Girl". Using the isolation of light and a narrative of Carters collected writings, to engage the viewer to focus on to a deeper path of understanding the human response to the intricacies of being an eyewitness to another human suffering. To understanding the reverberations of documentary photographs and the ways they can often be seen to exploit their subjects and implicate their makers. The eight-minute long movie allows for the devastating real-life story, to unfold.