Character and point of view analysis

Have a read of this: Jane answered the door to find her new next-door neighbour standing there. He was six foot one, with soft brown eyes under thick black brows, sharp cheekbones and a friendly smile on a wide mouth.

Character and point of view analysis

This scene provides the foundation of the plot, as the often low-angle mid-shot employed by Burton suggests parallelism and equality between Edward and Peg. | Point of View Worksheets

Explain how at least two of the following production elements were used to develop a character, or the relationship between characters: Colour is used to immediately signify the distinction between good and evil; the kitsch s palette of the Florida community is presented in very bright colours which suggest safety and normalcy.

This symbolises the way in which Edward is perceived by the judgmental society, as the first impression of him is designed to be evil and menacing. In doing so, Burton heightens the dissimilarity of the two contrasting worlds and the individuality, yet sad isolation, experienced by Edward.

The skyward towers dominate over a fearful Peg Boggs as she approaches the castle, and the elimination of colourful decoration accentuates the gloom overwhelming the deteriorating mansion.

Through colour and architecture, the audience — unlike the suburbanites — can recognise the beauty of abstract forms and appreciate the irony inherent in rejecting a constructed being as Burton suggests we are all controlled and manipulated in order to be accepted into society.

Character and point of view analysis

This is entirely different from the operatic choruses and plucky strings adopted later in the film when Edward is seemingly accepted by the unforgiving town. Genre is a major source of audience expectations. In a romantic comedy, for example, the audience expects that the narrative will have a happy ending.

The opening credits, presented in scissor-shaped black and white graphics, roll over eerie music typical of the horror genre; visually, the audience are then presented with images of a stereotypical haunted house with a dark exterior, a large door closing and the existence of ever-present cobwebs.

The film explores these romantic themes with more subtlety; it begins with an unsuspecting anti-hero who later faces a conflict which ultimately requires a resolution. After initially being accepted into the community, Edward is later rejected and forced back to his own environment but this is not the resolution for which the audience had hoped; this romantic culmination arises when Edward is given the opportunity to show his love for Kim and is able to exact revenge on the antagonist, Jim.

In this way, Burton has both satisfied the genres he adopts, but has concurrently circumvented them.

From the SparkNotes Blog

Narrative Structure in Edward Scissorhands: Narrative progression entails the opening, development and closure of a film. Often characters and settings are established.

The opening begins the process of posing several narrative possibilities to the audience. Throughout the middle of the narrative the characters, storylines and themes are developed. This involves changes in character relationships or the introduction of new characters.

The closing sequence then brings the narrative to its conclusion, often through climax and invites the audience to reflect. In Edward Scissorhands director Tim Burton shows an old grandma and her granddaughter who wishes to hear a story, indicating to the audience the narrative of the film was set in a past time.

By introducing Edward early on, the audience is opened up to array of narrative possibilities as he is brought down into society. The introduction of Kim during the development of the narrative establishes the possibility for romance between her and Edward as well as the conflict between Edward and Jim.

The narrative closes with the budding romance complete yet an exile back to his castle which is rounded off by Burton revealing that the grandmother in the opening sequence is Kim.

Often storylines are linked without the characters knowing. Both the blossoming romance between Edward and Kim and his search for identity in society is contrasted to create the narrative in Edward Scissorhands.The Nurse - Juliet’s nurse, the woman who breast-fed Juliet when she was a baby and has cared for Juliet her entire life.A vulgar, long-winded, and sentimental character, the Nurse provides comic relief with her frequently inappropriate remarks and speeches.

Jack. The strong-willed, egomaniacal Jack is the novel’s primary representative of the instinct of savagery, violence, and the desire for power—in short, the antithesis of Ralph.

It's essential to remain always in the character's point of view. No matter if you're writing in first person point of view, third person limited point of view, or third person omniscient point of view, you need always to to describe things from the character's point of view rather than the author's point of reason for this is that the author has to be .

A stock character is a stereotypical fictional character in a work of art such as a novel, play, flim, or a movie whom audiences recognize from frequent recurrences in a particular literary characters are archetypal characters distinguished by their a result, they tend to be easy targets for parody and to be criticized as clichés.

Literary Analysis: Using Elements of Literature. Minor character - Often provides support and illuminates the protagonist. Point of View - pertains to who tells the story and how it is told.

Character and point of view analysis

The point of view of a story can sometimes indirectly establish the author's intentions. Analyze Point of View in Literary Texts/Fiction Silverstein’s point is critical for fiction writers. In fact, point of view is mentioned so often in literary analysis that it Flickr. When we talk about point of view, we talk about “person.” When a story is told in the first-person point of view, a character tells his or her own.

Character Analysis of Gregor in “The Metamorphosis” by Franz Kafka