An analysis of individuals behind the camera and the mise en scene scene in the film ed wood
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We also get another labyrinthine opening credits sequence, the camera weaving around a cemetery to reveal the credits written on various tombstones. The contrast is there in nearly all his films. Designer Bill Hurtz once described that cartoon as a film "without walls. As the checkerboard walls sway and bend, Burton animates a series of relief sculptures of skeleton hands, his "dead wife" and his dog Abacrombie in limbo light and supers them over a swooning Vincent, a montage of spatial representation systems which interact on a number of levels. Submit a letter to the editor or write to letters theatlantic. A cut on position brings the film back from his "dark hallways" to high key reality, returning Vincent to a regular kid, leaning against his aunt, who pats him on the head. The film is a humorous look at a suburban boy named Vincent who reads Edgar Allen Poe and identifies with horror film star Vincent Price. Scene by Scene The film opens as the camera follows a cat into an empty room where Vincent plays on his recorder a mournful version of "The Hoochie Kootchy Dance"--known to millions of children in its bastardized version by its opening line "Oh they don't wear pants in the southern part of France. It clicks in and out of reality so to speak. Without the use of color to establish spatial separation and define areas of screen space, the combination of 2D and 3D spatial representations is distilled and clarified. In Burton's words, "the film just goes in and out of Vincent's own reality. Legacy Burton understands, possibly better than any modern director, the struggle between artistic expression and commercial necessity. But what would Ed Wood be without Ed Wood?
Here, he came face to face with the reality of working in the animation industry. He recalled being "strapped to a table all day, and you have to draw.
All of the adults in the film are presented as faceless, figures whose faces extend beyond the frame. The spatial transformations continue as before, but here the cartoonish gloom descends when the "dark" Vincent, clad in Edwardian lab coat and gloves, imagines hoisting his aunt into a vat of boiling wax and performing Frankenstein-like experiments on his dog.
The camera tracks with Vincent as he exits right, and a black foreground mask with abstract shaped holes comes into view, eventually blacking out the scene. Currently, he is completing a documentary on the life and work of New Orleans photographer Clarence John Laughlin. The larger montage, which calls to mind many of the elaborate sequences constructed by Slavko Vorkapich in the s, also combines a close-up of lightning flashes on the 3D Vincent in the foreground against a warping 2D checkerboard background, and a shot of Vincent spinning in the center of the screen.
With his wife Martha Garrett, he has produced short clay animations for the Children's Television Workshop and Nickelodeon.
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The interplay of these systems for articulating screen space is the result of a strong design sense applied to the difficulties of combining 2D and 3D animation. The film is also an early stylistic benchmark for Burton, whose collaboration with Heinrichs established a pattern of combining 2D and 3D animation within a single film. With his wife Martha Garrett, he has produced short clay animations for the Children's Television Workshop and Nickelodeon. First, it is "a work that closely and deliberately imitates the style of previous work," and secondarily it is "an incongruous medley of different styles. One could even argue that the techniques used represent a pastiche of 2D and 3D animation methods, particularly UPA's limited animation style. Hutcheon discusses pastiche as one method that contemporary artists use to mirror other texts. In other words, I want to look at the world through your eyes. Black and white also reinforces the binary juxtapositions throughout the film: Burton effectively opposes light or high key scenes for Vincent's normal childhood with dark or low key scenes for his imagined torments. Like Welles, Burton wisely uses depth of field, particularly at the Brown Derby, where Depp begs on hands and knees deep in the background like a tiny pathetic creature, but one framed neatly with a frame within a frame.
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