Download The Philosophy of Tim Burton (The Philosophy of Popular by Jennifer L. McMahon PDF
By Jennifer L. McMahon
Director and manufacturer Tim Burton impresses audiences with lovely visuals, sinister delusion worlds, and characters whose personalities are unusual and but prevalent. Drawing idea from assets as diversified as Lewis Carroll, Salvador Dalí, Washington Irving, and Dr. Seuss, Burton's creations often elicit either alarm and sweetness. no matter if crafting an offbeat lively characteristic, a box-office hit, a set of brief fiction, or an artwork exhibition, Burton pushes the envelope, and he has emerged as a robust strength in modern renowned culture.
In The Philosophy of Tim Burton, a exceptional team of students examines the philosophical underpinnings and value of the director's oeuvre, investigating movies comparable to Batman (1989), Edward Scissorhands (1990), The Nightmare prior to Christmas (1993), Sleepy hole (1999), gigantic Fish (2003), Sweeney Todd (2007), Alice in Wonderland (2010), and darkish Shadows (2012). The essays during this quantity discover Burton's special sort, usually hectic content material, and renowned attraction via 3 thematic lenses: identification, perspectives on authority, and aesthetic vision.
Covering issues starting from Burton's fascination with Victorian beliefs, to his occasion of formative years, to his own expression of the wonderful, the individuals spotlight the filmmaker's atypical narrative variety and his use of unreal settings to suggested heightened information of the realm we inhabit. The Philosophy of Tim Burton deals a penetrating and provocative examine one in all Hollywood's such a lot influential auteurs.
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Extra resources for The Philosophy of Tim Burton (The Philosophy of Popular Culture)
Example text
Her participation in those discourses—which dictate the hierarchical relationship of men to women in the working world as a system of legitimized power—got her killed. ” As she dons her Catwoman costume for the first time, we see the results of her smashing the neon sign on her wall. ” Selina has been to hell—or the underworld, at least—and returned, and she brought some of that back with her. It could be assumed at this point that issues of existential authenticity might no longer pertain. After all, it is a supernatural intervention that allows this transformation in Selina’s character and her abilities.
Selina’s apartment and her dialogue with her answering machine further illuminate the societal forces that have shaped her character. Her small apartment is painted a girlish shade of pink and festooned with decorations and curios that could only be charitably described as ingenuous, and uncharitably described as cutesy. Drawing from Beauvoir, the stereotypical femininity of her apartment also demonstrates a lack of opportunities for authentic social development and may represent a tension between the ideals and trappings of her youth and her goals for an independent future.
Specifically, childhood is often characterized by what philosophical psychiatrist R. D. Laing, in his major work The Divided Self, referred to as ontological insecurity: a state of felt alienation, loneliness, or anxiety. Obviously, the extent to which this is true of each child’s experience varies. 4 Following Laing and others, I will argue that fantasy—including the fantasy of horror—often represents a form of retreat from precarious existence and a striving for surrogate control among ontologically insecure individuals.