She situates Burton’s work in the tradition of the American grotesque. Virginie Vuiglio examines the illustrations in The Melancholy Death of Oyster Boy and their relationships with the texts, which relate the stories of rejected children or teenagers. Bérénice Bonhomme discusses the structuring role of drawing in Burton’s productions and argues that a Burton film is “a canvas that moves” (48). Many of his films originate in his own drawings, which are the main foci of two essays. There is some unavoidable overlapping and the articles in the third section are not as tightly connected as in the rest of the collection.Ĥ “Origin and Cultural Heritage” discusses some of the roots of Burton’s work, in both individual and collective soils. The twenty-four articles have been organized into five sections, a particularly difficult exercise given the repetitive dimension of Burton’s work. Inevitably, it contains a number of repetitions, but they contribute to highlighting the most salient features of the filmmaker’s work.ģ In his introduction, editor Gilles Menegaldo provides a welcome summary of the main films, which helps the reader sail smoothly through what follows, as does his highlighting of the most prominent aspects of Burton’s cinema. ![]() The volume contains close studies of specific films as well as articles with a wider scope, thus giving the reader both panoramic and close-up views of Burtonland. Some films may be less thoroughly discussed than others, but none goes unmentioned. Tim Burton’s cinema is, indeed, a cinema of transformations.Ģ The twenty-four articles gathered in this collection cover all of Burton’s production to date, from his little-known early short films to Miss Peregrine’s Home for Peculiar Children (2016). ![]() Burton not only borrows from many sources, but also re-uses his own earlier creations in endless variations. ![]() Frankenstein’s creature soon emerges as a central figure, as the literal patching up and stitching of bodies or costumes that mirrors what Mélanie Boissonneau aptly calls Burton’s “Frankenstein method” (318), which consists in appropriating, assembling, and thus re-inventing existing material. 1 What makes a Burton film Burtonian? This collection of articles explores the postmodern universe created by a filmmaker who mixes genres, aesthetics and cultural references in each of his productions.
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