The visual genius of Tim Burton’s gothic aesthetic

Characterised by his imaginative blend of horror and humour, Tim Burton’s distinct aesthetic began its development in his childhood, when he would watch silent gothic horror films such as Frankenstein (1931), Hammer Horror Films starring Christopher Lee and the horror films of Vincent Price.

Inspired by the genre, Burton made his earliest short films in his childhood backyard, creating his very first stop motion animations using makeshift techniques, and recording silent movies on 8mm film.

In 1981, twenty-three year old Burton was offered an animator’s apprentice position in the animation division at Walt Disney Productions. During his time there he worked as an animator, a storyboard artist, graphic designer, art director and concept artist on films such as The Fox and the Hound (1981) and The Black Cauldron (1985), alongside continuing to make his own short films including Frankenweenie (1984). By the end of the decade he was making some of his most iconic feature films.

Burton’s second feature film, Beetlejuice (1988) is a fantasy horror comedy, that with its iconic stop motion sand worms and award winning make-up, could have only come from the mind of the gothic director. Named after the second-brightest star in the Orion constellation, the titular character Betelgeuse, a ‘bio-exorcist’ is the unconventional choice to help rid newly deceased Barbara and Adam Maitland of the unwanted Deetz family from their home. 

Betelgeuse, Beetlejuice, Beetle..huh? Have you ever wondered why the spelling of Betelgeuse’s name differs when written in the film versus the film’s title? The anglicisation of the red supergiant star’s name proved hard to pronounce, (even confusing Adam in his first attempt at pronouncing it) which led to the title of the blockbuster being changed to the easily pronounceable, and phonetically correct, Beetlejuice.

This original photograph (below), taken on set of the final and humorous scene, captures Betelguese in the Neitherworld waiting room, where earlier in the film Barbara and Adam found themselves figuring out the complexities of the afterlife’s bureaucratic system.

Cast back into the afterlife’s realm, Betelgeuse finds himself sat between a Witchdoctor and Harry the hunter, who has a suspiciously shrunken head. In a wait that could last an eternity, the ever mischievous and unnerving protagonist attempts to distract the Witchdoctor whilst switching their ticket numbers to jump the queue. It’s perhaps a little late for a spoiler alert, but in case you haven’t yet seen this unmissable box office hit, we’ll let you guess the repercussions of this trickster demons actions!

Burton’s 1989 blockbuster hit Batman was the first time that the DC Comics superhero had been imagined for the big screen. In his playful and imaginative style, the director brings the city of Gotham to life, with dark gothic tones, set off by vibrant pops of colour to depict the horror spree of The Joker.

Working once again with Micheal Keaton in the starring role, Jack Nicholson takes on the role of Jack Napier – the films villain, who, following an incident where Batman inadvertently causes the gangster to fall into Acix chemical acid, begins his transformation into the psychotic Joker.

Compared to today’s interpretations of the superhero and villain, Burton’s take feels very close to the comic book with its layers of comedic movement performed by the stellar cast, artistic direction and costume design, plus a script that blends the darker themes with humour. 

Alongside Danny Elfman’s score for the film, the pop star Prince recorded a full studio album soundtrack, with most of the songs including ‘Batdance’ (view the surreal music video here) being interwoven throughout the film.

In this film still (below), the Joker – who’s surgical smile is somehow more terrifying when witnessed without his white face and crimson lips – sits opposite photojournalist Vicki Vale, who he has coaxed to Gotham’s Flugelheim Museum under the false pretence of meeting Bruce Wayne. Before approaching an unnerved Vale, the Joker and his entourage of Goons enter through the gallery where they vandalise artworks including a Degas, with Prince’s ‘Partyman’ blaring from the boombox. 

To an extent autobiographical, Burton first conceived the character of Edward Scissorhands in a drawing he made as a teenager. Growing up in suburban Burbank, California, he struggled to retain friends, claiming, ‘I get the feeling that people just got this urge to want to leave me alone for some reason, I don’t know why exactly’.

For the story, he and screenwriter Caroline Thompson pulled on the conventional Fairytale structure, where the story is bookended by the narration of an elderly Kim Boggs (Winona Ryder) telling the cautionary tale. 

The film also borrows from one of Burton’s all time favourite stories, Mary Shelley’s Frankenstein. At the end of the gothic tale, angry villagers chase the lab created monster back into the derelict castle from where it came, and back into isolation once more.

The gentle and naive, and tragically misunderstood character of Edward enabled Johnny Depp to move away from the typecasting that the young star’s breakout role in 21 Jump Street had afforded him. In preparation for the role, he reportedly watched Charlie Chaplin films to study the idea of creating sympathy without dialogue. 

As for Scissorhands creator, Burton cast one of his personal heroes Vincent Price, who is known for playing villainous characters in horror films from the 1950s through to his death in 1993. Price’s role as The Inventor in Burton’s 1990 romantic fantasy turned out to be his last significant role, but one that was written especially for the king of horror.