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Contents
List of Figures
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Mainstream Outsider: Burton Adapts Burton
Jeffrey Andrew Weinstock
1
Part I Aesthetics
1 Burton Black
Murray Pomerance
2 Costuming the Outsider in Tim Burton’s Cinema, or, Why a
Corset Is like a Codfish
Catherine Spooner
3 Danny Elfman’s Musical Fantasyland, or, Listening
to a Snow Globe
Isabella van Elferen
4 Tim Burton’s “Filled” Spaces: Alice in Wonderland
J. P. Telotte
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Part II Influences and Contexts
5 How to See Things Differently: Tim Burton’s Reimaginings
Aaron Taylor
6 “He wants to be just like Vincent Price”: Influence and
Intertext in the Gothic Films of Tim Burton
Stephen Carver
7 Tim Burton’s Trash Cinema Roots: Ed Wood
and Mars Attacks!
Rob Latham
8 A Monstrous Childhood: Edward Gorey’s Influence on Tim
Burton’s The Melancholy Death of Oyster Boy
Eden Lee Lackner
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133
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Contents
9 It Came from Burbank: Exhibiting the Art of Tim Burton
Cheryl Hicks
10 “Tim Is Very Personal”: Sketching a Portrait of Tim Burton’s
Auteurist Fandom and Its Origins
Matt Hills
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179
Part III Thematics
11 Tim Burton’s Popularization of Perversity: Edward
Scissorhands, Batman Returns, Sleepy Hollow, and Corpse Bride
Carol Siegel
12 “This is my art, and it is dangerous!”: Tim Burton’s
Artist-Heroes
Dominic Lennard
13 Tim Burton and the Creative Trickster: A Case Study of
Three Films
Katherine A. Fowkes
217
Contributors
245
Index
249
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Mainstream Outsider: Burton
Adapts Burton
Jeffrey Andrew Weinstock
T
he original Frankenweenie (1984)—a 25-minute black-and-white
reworking of James Whale’s 1931 version of Mary Shelley’s
Frankenstein (1818) with nods to Whale’s 1935 sequel, The Bride of
Frankenstein—was Tim Burton’s third professional directorial effort. It followed Vincent (1982), a six-minute black-and-white stop-motion film made
while Burton was working at Disney, and a live-action version of the
Grimms’ fairy tale Hansel and Gretel (1982) for the then embryonic cable
Disney Channel.1 Championed by Burton’s advocate at Disney, Julie Hickson,
Frankenweenie was financed by Disney at a cost just shy of $1 million and featured the voices of Shelley Duvall, Daniel Stern, and Paul Bartel. Intended to
be shown with Pinocchio upon its re-release in 1984, the film was shelved by
Disney after it received a PG rating. Parents shown the film as part of its two
test screenings found the film too “intense” (Smith and Matthews 37) for
children, and Smith and Matthews observe that the reason for Disney’s lack
of support for this venture was similar to that offered for its lack of support
for Vincent: the film’s approach to childhood and death was too dark.
Almost 30 years later, a greatly expanded Frankenweenie—a full-length
3D stop-motion remake of the original (also rated PG)—was released in
2012, having been produced by Disney at a cost of approximately $39
million. Frankenweenie “2.0,” which features the voices of Burton mainstays
Catherine O’Hara, Winona Ryder, and Martin Landau, placed fifth among
films that opened the weekend of October 5, 2012, grossing $11.5 million
and, as of late February 2013, had grossed over $35 million (IMDd).
The 2012 Frankenweenie is an especially useful film to introduce this volume of essays on Tim Burton—surprisingly, the first of its kind—for two
reasons: first, the film itself functions as a kind of textual Frankenstein’s monster, a cinematic pastiche assembled out of the bits and pieces not only of
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Burton’s cinematic career but of Hollywood horror more generally.2 To the
viewer with the requisite Burton and Hollywood horror “literacies,” it quickly
becomes clear that the expanded Frankenweenie engages in complex and persistent processes of citationality and adaptation as it derives its charge from its
connections to other works—Mary Shelley’s canonical Gothic novel, Burton’s
earlier works, and classic horror films. What Burton has done with the 2012
Frankenweenie is to take the original work from 1984, build onto it with
pieces from his other films, and then shock it into life by connecting it to the
whole history of cinematic horror. By focusing on Frankenweenie, one can in
fact cast one’s glance broadly across the vista of Burton’s entire career.
Second, the process of moving from the original 25-minute Frankenweenie
of 1984, which Disney quashed because it was too dark, to the “reimagined”
but equally dark full-length general release Frankenweenie of 2012 is emblematic of the ways in which Burton has taken his quirky aesthetic and seriocomic
vision from Hollywood’s margins to its center—all while staunchly continuing to insist on his outsider status. Burton positions himself repeatedly as
the rebellious outsider (an identification that, as Cheryl Hicks points out in
her essay for this volume, becomes the narrative of his twenty-first-century
art exhibition initiated by the New York Museum of Modern Art), while
in fact now standing at the center of New Hollywood. This transformation of Burton into an oxymoronic “mainstream outsider” can be mapped
by surveying the journey from Frankenweenie 1984 to Frankenweenie 2012.
The Frankenstein’s Monster
Frankenweenie, the story of a grieving young boy, Victor Frankenstein, who
reanimates the corpse of his beloved dog Sparky, is obviously intended as a
parody of Mary Shelley’s Frankenstein and, as such, gestures toward an entire
history of Gothic literature and film that informs both Frankenweenie and
Burton’s oeuvre more generally; however, the extended and reworked 2012
version of the film, in both its specific details and general themes, also functions as a highly condensed recapitulation of Burton’s entire career—if one
were to consider Burton’s films as a sort of cinematic universe, Frankenweenie
2012 would be the black hole at its center, with the other films orbiting
around it and being sucked in by its irresistible gravity at differing velocities.
Accordingly, close attention to the film permits insight into the recurring
motifs and preoccupations that have structured Burton’s body of cinematic
work, and this in turn allows for speculation concerning his success. With this
in mind, in this chapter I will first offer summaries of the original 1984 film
and the 2012 remake and then, turning my attention to the latter, consider
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the film as a pastiche of significant recurring Burton elements. Because one
could write entire chapters on individual themes and devices in Burton
(as indeed do the contributors to this collection), this survey, rather than
being exhaustive, will focus on particularly resonate themes and images as it
moves chronologically through the films Burton has directed (or, in the case
of The Nightmare Before Christmas [1993], created). Intended to be more
suggestive than complete, these commentaries will be developed in varying
lengths.
The original 1984 Frankenweenie is the story of Victor Frankenstein
(voiced by Barret Oliver), who is himself a filmmaker who directs amateur
productions starring his bull terrier Sparky. After Sparky is hit and killed
by a car, Victor—having learned at school about the electrical stimulation
of muscles—decides to reanimate Sparky by creating an elaborate apparatus to harness the power of lightening. He is successful, but his neighbors
are terrified of the resurrected Sparky. After Sparky runs away, Victor follows him—now pursued by the de rigueur angry mob—to a miniature golf
course, where they hide in a prop windmill. When the windmill is set on fire,
Victor falls and is knocked out; Sparky comes to his rescue but is crushed
by the windmill. The mob, then recalibrating its animosity, revivifies Sparky
with jumper cables connected to a car battery and the renewed pup falls in
love with a black poodle with a Bride of Frankenstein hairdo, complete with a
shock of white fur.
The 2012 reboot done as a 3D black-and-white stop-motion release uses
this same general framework, but elaborates upon it greatly. In the updated
version, the reanimation of Sparky by Victor (voiced by Charlie Tahan) is discovered by Victor’s hunchbacked classmate Edgar “E” Gore (Atticus Shaffer),
who blackmails Victor into reviving a departed goldfish and then shares the
news with other classmates who themselves seek to resurrect pets of their own.
All the revivifications go terribly awry resulting in a Mad Monster Party-esque
mélange of supernatural nasties, including a winged vampire cat, a were-rat, a
mummified hamster, a giant Gamera-like turtle, and a squadron of Gremlinesque sea monkeys that terrorize the town of New Holland. The townsfolk
turn on Sparky, blaming him for the chaos and chasing him to a windmill
to which the winged vampire cat (Mr. Whiskers) has carried off Elsa van
Helsing (Winona Ryder), the niece of the town’s mayor Mr. Burgemeister
(Martin Short). The windmill is set ablaze and Victor and Sparky enter and
rescue Elsa, but Victor is trapped inside. Sparky then rescues Victor, only
to be dragged back inside by Mr. Whiskers and both pets are killed; as in
the original, the town’s sentiment shifts and Sparky is reanimated once again
(Figure i.1).
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Figure i.1
The reanimated Sparky
Vincent (1982)
It is perhaps not surprising that Frankenweenie, both the original and the
remake, bears close kinship to Burton’s first professional cinematic production, the six-minute black-and-white stop-motion Vincent, written, designed,
and directed by Burton while working as a conceptual artist at Walt Disney
Animation Studios. In the short, which is narrated by Vincent Price himself, Vincent Malloy is a seven-year-old boy who wishes to be like Vincent
Price and is obsessed with the Gothic tales of Edgar Allan Poe. His reading
and viewing prompt him to conjure up a variety of dark fantasies—seemingly
influenced by Poe’s “Berenice” (1835) and “The Fall of the House of Usher”
(1939); for example, he fantasizes that he has buried his wife alive (which
leads him to dig up his mother’s flower garden); he experiments on his dog,
Abercrombie, seeking to transform him into a zombie; he imagines that he
has been entombed in his room for years; and, at the end, quoting from Poe’s
“The Raven” (1845), he fantasizes his own madness and death—seemingly
preferring this to playing outside in the sun with other children.
What is particularly fascinating about Vincent is precisely how “Burtonesque” this six-minute film from the beginning of his career actually is;
present within the film in embryo are multiple themes and motifs that
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resonate throughout the body of Burton’s work. Vincent is a wild-haired
outsider attired in horizontal stripes who views his world through the imaginative lens afforded by classic Gothic texts and films. Although urged by
his mother to “get outside and have some real fun,” Vincent—like Victor
in Frankenweenie—isn’t interested in participating in “normal” suburban life
and eschews the sun in favor of dallying with darkness. Vincent, the narration informs us, “doesn’t mind living with his sister, dog and cats.” However,
“he’d rather share a home with spiders and bats/There he could reflect on
the horrors he’s invented/And wander dark hallways, alone and tormented.”
In this, Vincent is the prototype for Burton’s characteristic imaginative outsider protagonists—among them, Lydia Deetz (Winona Ryder) in Beetlejuice
(1988), Michael Keaton’s Batman in Batman (1989) and Batman Returns
(1992), and just about every character played by Johnny Depp across Burton’s
oeuvre.
Most striking about Vincent, however—and linking it across Burton’s
career to 2012’s Frankenweenie—is its distinctly Burton-esque Expressionistic
aesthetic. Within Vincent, forms are elongated and disproportionate, and
straight lines are eschewed in favor of jagged teeth-like stairs, wobbly banisters, and tilting walls. This Expressionistic aesthetic finds repeated emphasis
in Burton, from the afterlife in Beetlejuice to the Penguin’s lair in Batman
Returns to the hellish basement in Sweeney Todd (2007) to Burton’s characteristic chiaroscuro lighting in almost all of his work (see Pomerance in
this collection). This aesthetic is realized throughout the black-and-white
Frankenweenie, from extreme contrasts of black and white to the abstractionism of the characters’ large white eyes trapped in rings of white to the “angular
shadows and architecture that stretch through the town” (Wade) (Figure i.2).
Pee-wee’s Big Adventure (1985)
Pee-wee Herman in Burton’s full-length directorial debut is a perpetual child
who delights in toys, Rube Goldberg breakfast-making machines, and, above
all, his bicycle. The novelty of Pee-wee is that, unlike the conventional
Hollywood psychosocial narrative of the child propelled into adulthood as a
result of a traumatic loss, Pee-wee is not forced to grow up at the end—nor is
this childish persistence a form of fantastic disavowal. Rather, he exists within
a carnivalesque cartoonish world in which adults act like children and plenitude is possible. Pee-wee is not an alienated loner disgruntled with the world
and cursed by fate like Batman or Sweeney Todd; nor is his world enlarged
through an encounter with a parallel universe (although Large Marge is pretty
scary) as in Sleepy Hollow (1999) and Alice in Wonderland (2010). Pee-wee
rather is a quester supported in his venture by the forces of the universe and
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Figure i.2
An Expressionistic image from Vincent
rewarded in the end with fulfillment—and in this, Pee-wee is unusual among
Burton’s films.3
A direct link between Frankenweenie and Pee-wee is the bicycle wheel.
In both films, Burton exploits the symbolic connection of the bicycle with
childhood and uses it to frame parallel narratives concerning the restoration
of a loved object and the childish denial of the possibility of true loss. Peewee, as noted above, is an eternal child who delights in toys, games, gags, and,
more than anything, his prized bicycle, which is central to the film. The film
opens with Pee-wee dreaming of winning the Tour de France. He later does
tricks on his bike in the park and feverishly dreams of the bike being melted
down by the devil before the film culminates with an extended chase sequence
through the back lot of Warner Studios as Pee-wee reclaims his stolen bicycle.
The final shot of the film (in a nod toward Spielberg’s E.T ., released three
years earlier) shows the silhouettes of Pee-wee and Dottie (Elizabeth Daily)
bicycling across the screen at a drive-in where a “Hollywoodized” version
of Pee-wee’s story featuring James Brolin as Pee-wee is being shown. While
Pee-wee’s invitation to Dottie at the end to join him as they ride off possibly
suggests the onset of adult sexuality for him, the restoration of the bicycle and
its privileged place in Pee-wee’s life undercuts this, indicating that the status
quo ante has been restored and Pee-wee’s childish existence in which true loss
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plays no role continues—in other words, Pee-wee continues blissfully to roll
along, not headed anywhere in particular.
Frankenweenie’s parallel rendering of this image is especially compelling
when juxtaposed with Pee-wee’s because not only do both films connect the
bicycle to the childish disavowal of loss, but they also do so in ways that
foreground the suturing of the cinematic experience. At the beginning of
Frankenweenie, Victor has premiered his latest cinematic creation, an Ed
Wood-esque B film entitled MONSTERS from BEYOND, only to have the
film stock melt against the projector lamp. Retreating to his attic studio, he
repairs the film, sets it on the projector, and gives the reel a healthy spin. The
spinning film reel then is superimposed over a spinning bicycle wheel as the
former dissolves into the latter. The camera pulls back to reveal a paperboy
making his rounds and the pastoral suburban town of New Holland. At the
end of Pee-wee, “life” becomes “art” as Pee-wee’s experience is “fictionalized”
in a Hollywood film and this transformation is highlighted beautifully by
the silhouettes of Pee-wee and Dottie moving across the screen showing Peewee’s story. At the start of Frankenweenie, “art” becomes “life” as the cinema
reel transforms into the bicycle wheel.
The connection between the bicycle wheel in Pee-wee and Frankenweenie,
however, becomes even more explicit during the revivification-of-Sparky
sequence. Part of Victor’s apparatus consists of two bicycle wheels, each with
the same spiral pattern found on the front wheel of Pee-wee’s bicycle. These
spin wildly as the force of the storm is harnessed to bring Sparky back to life.
In Pee-wee, the reclaimed love object is the bicycle itself; in Frankenweenie, the
bicycle wheels from Pee-wee are seemingly put to use to achieve the same end:
the disavowal of death and the restoration of childish faith in the possibility
of plenitude.
Beetlejuice (1988)
In Pee-wee, Burton presents one world—a stylized version of the world we
know in which eternal childhood is possible. More characteristic of Burton is
the disavowal of finitude associated not with perpetual childhood but rather
with life after death—and the distinctly Burton-esque ironic twist is to make
the afterlife much more colorful and lively than the washed-out and vitiated
land of the living. In Burton’s second full-length directorial outing, the 1988
Beetlejuice, he takes Pee-wee’s world of constant play and adds a macabre twist
by shifting it to the afterlife. This then becomes a significantly recurring pattern in Burton: in general, it ironically takes death—actual death, figurative
death, or the encounter with death—to restore life and a sense of playful
wonder to the world.
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Beetlejuice most readily shares with Frankenweenie the conceit of life after
death and gives us a full-blown vision of the afterlife—one that will be
reprised with even more joie de mourir in Corpse Bride (2005): the afterlife
as carnival. Rather than overlaying a patina of perpetual childhood upon
the world of reality as in Pee-wee, in Beetlejuice Burton consoles the living
with the fantasy that death is simply a transition to a different—and in many
respects weirder and more liberating—state of being. While it is true that in
Frankenweenie the afterlife is not explored, the resurrection of Sparky—who
seemingly returns as his old loyal and friendly self, just with a little more
“character” in the form of stitches and scars—nevertheless suggests that death
is not necessarily an end.
Worth noting as well is the more immediate connection between
Beetlejuice and Frankenweenie established by Winona Ryder (and to a lesser
extent Catherine O’Hara, who plays a mother in both films). In Beetlejuice,
Ryder plays Lydia Deetz, a depressed goth teen relocated from the city to an
idyllic New England town. In Frankenweenie, she voices Elsa van Helsing, a
moribund goth-looking girl conscripted by her uncle, the mayor, to be the
town carnival’s “Little Dutch Girl” and to sing a paean to New Holland
while dressed in ridiculous outfit complete with fake blond braids and a
hat sporting lit candles. Reprising Lydia’s desire in Beetlejuice to be dead
like Barbara and Adam Maitland (Geena Davis and Alec Baldwin), Elsa here
expresses her embarrassment as wishing to be dead. Ryder’s character in each
film (and her role in Frankenweenie seems intentionally meant to reprise
her role in Beetlejuice) is representative of the recurring Burton character
type of the alienated individual—often, though not always, a youth (Edward
Scissorhands, Ichabod Crane, Alice, and so forth)—oppressed by restrictive
social expectations and jeopardized by inflexible authoritative structures.
Batman (1989)
The reference to Burton’s two Batman films—his third full-length directorial effort, Batman (1989), and his fifth, Batman Returns (1992)—in
Frankenweenie is direct. Attempting to harness the power of an electrical
storm to resurrect Sparky, Victor flies three kites from his attic laboratory,
one of which is in the shape of the bat symbol, and the knowledgeable viewer
of Frankenweenie can chuckle with a sense of satisfaction at the recognition
of this allusion. The bat symbol here does not summon the Caped Crusader;
however, it does channel from on high the powers of the elements to restore
life where it has been cruelly snuffed out.
Looking up at the bat signal in both Burton’s Batman films and in
Frankenweenie reminds one as well that the trajectory of Burton’s films is
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almost always literally first down then up. In Batman, the action moves from
the perpetually dark streets of Gotham city to culminate at the top of a
decaying Gothic cathedral and the final shot is of Batman (Michael Keaton)
himself, standing at the ready atop a building as the bat signal lights up the
night sky; in Edward Scissorhands (1990), Edward (Johnny Depp) emerges
from and ultimately returns to a Gothic mansion that looks down up the
town—also the case for Barnabus Collins (Depp) in Dark Shadows (2012).
In The Nightmare Before Christmas (1993), Jack’s laboratory is at the top
of a tower and his flight is across the sky over the world of the living; in
both Corpse Bride (2005) and Alice in Wonderland (2010), the protagonists
descend to an underworld before returning; in Ed Wood (1994), Planet of the
Apes (2001), and Mars Attacks! (1996), one looks to the skies as real or fictional aliens, astronauts, and flying saucers populate the screen. And in both
Sleepy Hollow (1999) and Frankenweenie, the action takes the protagonists up
into a precarious windmill.
Edward Scissorhands (1990)
Edward Scissorhands—the film perhaps most intimately associated with
Burton, with the possible exception of Nightmare Before Christmas—is of
course immediately connected to Frankenweenie by way of the theme of the
Frankenstein’s monster. In Frankenweenie, Sparky, who sports neckline electrodes in a nod to James Whale’s films and whose very name puns on the
method of his resurrection, is not built from scratch but rather is sutured
and reanimated. In Edward Scissorhands, the unfinished Edward is seemingly
a new entity, fashioned by his maker—played by Vincent Price—perversely
out of scissors and who-knows-what in a Gothic castle overlooking the town.
Both narratives, however, borrow heavily from Mary Shelley’s canonical 1818
Gothic nightmare.
Perhaps less obviously but equally compellingly what links both films is
the bland suburban neighborhood and most especially the hedge, symbolic
of unimaginative suburban existence, conventional single-family homeownership, and the taming of nature. In Edward, Edward transforms these porous
barriers separating one cookie-cutter home from the next into works of
whimsy and, in the process, magically infuses the middle-class neighborhood with the freedom, individuality, and vivacity Burton associates with the
world of art. In contrast, in Frankenweenie, when the town’s stern mayor—
the redundantly named Mayor Burgemeister—ominously brandishes a set
of hedge clippers at Sparky while warning Victor to police where his dog
poops, he is presented as the antithesis of Edward Scissorhands; Mayor
Burgemeister is indeed everything a Burton movie despises: a stalwart
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champion of conservative middle-class values who insists on conformity and
respect for the rules. In Burton, hedges serve as symbols of middle-class
conformity that exist to be either transformed into art or trampled to the
ground.
Batman Returns (1992)
Stitches are precisely what suture together Frankenweenie and Burton’s fifth
directorial offering, Batman Returns. Among the most insistent themes within
Burton’s body of work is the shared exhilaration and anxiety concerning bodily transformation, and among the most notable characteristics of Burton’s
imagined worlds are the sutures—the literal stitches that, often tenuously,
hold the characters’ bodies together. Sparky in Frankenweenie and Sally in
The Nightmare Before Christmas are literally stitched together and constantly
on the verge of falling to pieces—Sparky’s tail in fact drops off, while Sally
repeatedly sews herself back together. In Mars Attacks!, Natalie Lake (Sarah
Jessica Parker) ends up with her head sewn roughly onto the body of her
beloved Chihuahua, and it is not clear whether Edward Scissorhands even
has skin beneath his black leather fetish suit.
In Batman Returns, following the revelation that a power station proposed
by her boss, the allusively named Max Shreck4 (Christopher Walken), will
actually drain energy from Gotham City, secretary Salina Kyle (Michelle
Pfeiffer) is pushed out a window. Revived by alley cats, she reinvents herself as Catwoman—and the most notable (and oft-remarked) feature of her
transformation is her homemade patent leather cat suit with its prominent
stitching. While it is not clear whether Salina survives her fall or is somehow
magically resurrected by felines, she—like Sparky—nevertheless returns from
the dead and the stitches on her second skin testify to her reanimation.
The Nightmare Before Christmas (1993)
While The Nightmare Before Christmas was directed by Harry Selick rather
than Burton, it nevertheless is so closely associated with Burton (who both
co-wrote and produced the film) and bears so many of his hallmarks that
some attention seems warranted here. The film itself originated in a poem
written by Burton in 1982 while working as a Disney animator, and early
versions of Sally and some of the monstrous denizens of Halloweentown are
clearly evident in Vincent. Nightmare is connected broadly to Frankenweenie
(and also to Corpse Bride) through the stylized stop-motion figures and in
particular through the relationship between the residents of Halloweentown
and the revivified and transmogrified pets of New Holland.
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Index
Note: Letter ‘n’ followed by the locator refers to notes.
Abecendarium, 153
Abraham Lincoln: Vampire Hunter,
113, 117
Abrams, J. J., 113
Ackeren, Robert van, 203
adaptation, 2, 14, 19, 23, 26, 84,
99–114, 117, 123, 125, 126, 127,
128, 130n5, 133, 138, 145, 170,
186, 187
Aladdin and His Wonderful Lamp, 130
Aladdin’s Lamp, 122
Alexander, Scott, 136, 138, 146n10
Ali Baba Bound, 122
Alice (character). see Kingsleigh, Alice
Alice’s Adventures in Wonderland
(children’s story), 26, 36, 42, 59,
61, 84, 85, 92
Alice in Wonderland (1951 film), 84, 87
Alice in Wonderland (2010 film), 5, 9,
17, 18, 21–2, 26, 29n6, 42–3,
47–8, 50, 54, 58–62, 72, 73–6, 80,
83–95, 101, 103, 111, 112, 145,
220, 228, 231
Allen, Woody, 146n7
Alma-Tadema, Lawrence, 61
Althusser, Louis, 221
Amarcord, 40
Amazing Stories, 175
American International Pictures (AIP),
120–1, 129, 130n3
Andac, Ben, 219
Anderson, Carolyn, 138, 146n7,
146n10
Anderson, Hans Christian, 152,
161, 163
animation, 83–95, 119, 170, 172,
175–6, 180, 233
Arendt, Hannah, 44
Arkham Asylum: A Serious House on
Serious Earth, 130n6
Arkin, Alan, 73
Armstrong, Alun, 14
Arnold, Jack, 130n2
Arquette, Patricia, 13, 52
Artist, the, 9, 20, 21, 23, 38, 217–30
Art of Tim Burton, The, 183
Asma, Stephen T., 23
Atta, Karen, 167
Attack of the Killer Tomatoes, 109
Atwood, Colleen, 48, 49, 50, 57, 177
auteurism, 55, 104, 107, 112, 113, 119,
127, 133, 140, 147n13, 179–92,
227, 232, 243–4
Avatar, 86
Avengers, The, 107
Bacon, Francis, 224
Bacon-Smith, Camille, 109
Badmington, Neil, 145
Baecque, Antoine de, 28n2, 102
Baker, Kathy, 36–7, 205
Baker, Roy Ward, 130n2
Bakhtin, M. M., 52, 189–90, 233
Baldwin, Alec, 8, 69, 86, 235
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Index
Bambi Meets Godzilla, 24–5, 25
Barker, Benjamin. see Todd, Sweeny
Barsanti, Chris, 106
Bartel, Paul, 1
Basinger, Kim, 224
Bassil-Morozow, Helen, 119, 126,
130n6
Bataille, Georges, 200
Batman (film character), 5, 9, 20,
21, 44, 51, 53, 55, 65, 66–8,
104–5, 109, 113, 127, 133, 197,
207, 225
Batman (comic), 104, 109, 127
Batman (film), 5, 8–9, 44, 51, 52–3, 65,
67, 71, 101, 104–5, 107, 109–10,
111, 124, 125, 127, 134, 137,
146n1, 186, 217, 224–5, 238–9
Batman (television series), 104, 118
Batman Forever, 141
Batman Returns, 5, 8, 10, 44, 52, 53, 65,
101, 109, 122, 124, 125, 127, 134,
137, 182, 197, 199, 207–9, 218,
228, 229
Batman Unmasked: Analyzing a Cultural
Icon, 130n7
Bava, Mario, 102, 200
Bayer, Samuel, 106
Baym, Nancy K., 184
Beastly Baby, The, 160
Beetlejuice (character), 70, 121, 124,
190, 231, 235–40, 238
Beetlejuice (film), 5, 7–8, 13, 21, 22, 26,
28n5, 35, 47, 50, 51–2, 69–70, 80,
83, 85, 86, 114, 124, 125, 128,
134, 137, 138, 146n1, 146n9,
182, 222–3, 225, 226, 232–3, 234,
235–40, 242
Bekmambetov, Timur, 113, 117
Belafonte, Harry, 70, 80
Bello, John De, 109
Belloc, Hilaire, 123
Benton, Mike, 130n4
Berlant, Lauren, 214
Berman, Ted, 95
Bernard, James, 24
Bernardo, Susan M., 210
Bernstein, Rachel, 173
Betty Boop, 123
Biallas, Leonard J., 232
Bielby, Denise D., 179
Big Fish, 16–17, 21, 22, 28–9n5, 33, 37,
50, 85, 101, 107–9, 124, 125, 128,
218, 232–4, 240–3
Bill, Leo, 61, 73, 90
Bingham, Dennis, 139, 146n10
Biodrowski, Steve, 91
Black Cauldron, The, 95, 174
Black Sunday, 102, 200, 210
Bloody Chamber, The, 124
Bloom, Edward, 16, 21, 34, 124, 231,
240–3
Bloom, Will, 17, 108, 240–1, 243
Body Snatchers, 133
Boggs, Kim, 203–5, 221
Bogue, Ronald, 201, 208–9
Bonanza, 102
Bond, Christopher, 106, 129
Bonner, Frances, 111
Booy, Miles, 182
Boulle, Pierre, 128
Bourdieu, Pierre, 146n4
Braidotti, Rosi, 201
Brain That Wouldn’t Die, The, 120–1
Branagh, Kenneth, 107
Brecht, Bertolt, 129
Breskin, David, 48, 233
Bride of Frankenstein, The, 1, 3,
24, 128
Bride of the Monster, 11, 135, 138
Brolin, James, 6
Brooker, Will, 130n7, 186
Brooks, Mel, 125–6
Brosnan, Pierce, 13, 142
Brother Bill, 147n12
Brown, Len, 108–9
Browning, Tod, 130n2
Bruzzi, Stella, 49, 50
Bryant, Anita, 202
Burgemeister, Mr., 3, 8, 9–10, 14
Burne-Jones, Edward, 57, 58
Burnett, Frances Hodgson, 152
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Burton, Tim
appearance, 54–5
art exhibit, 2, 28n1, 38, 120,
165–78, 180, 183–6, 219, 220
as auteur, 107, 113, 119, 147n13,
179–92, 232, 244
biography, 1, 4, 10, 38, 43, 108, 119,
122, 139, 146n8, 165–78, 180,
188–91, 200, 206, 219
color, use of, 33–45
expressionism of, 5, 6, 42–3, 50–1,
108, 118, 120, 122, 126, 129,
130n5, 173, 175
influences on, 23–5, 29n7, 38, 43,
50–1, 56, 117–29, 130nn2–3,
133–47, 151–63, 175, 191, 200
outsider status, 2, 25–7, 165–78,
180, 219, 232
space, construction of, 83–95
Burton on Burton, 139–40, 180, 219
see also Salisbury, Mark
Buscemi, Steve, 242
Butler, David, 188
Buttgereit, Jôrg, 213
Cabinet of Dr Caligari, The, 51, 118,
120, 122, 174
Califia, Pat, 209
California Institute of the Arts
(CalArts), 122, 165–6, 172, 173
Calloway, Cab, 79
Cameron, James, 86
Canby, Vincent, 225
Cannon, Robert, 123
Carpenters, The, 99
Carroll, Lewis, 42, 59–61, 84, 85, 87,
88, 92, 133, 154–5
Carter, Angela, 124–5
Carter, Helena Bonham, 16, 18, 19, 21,
26, 33, 37, 55, 57, 87, 88, 94, 128,
198, 211, 213
Catwoman, 10, 53, 55, 113, 126, 127,
177, 180, 197–8, 202, 207–8, 208,
218, 219, 229
Cautionary Tales for Children, 123
Cavallaro, Dani, 52
●
251
Chaffey, Don, 130n2
Chandler, Raymond, 219
Chaney, Lon Sr., 129
Charlie and the Chocolate Factory
(children’s book), 18, 26, 107–8
Charlie and the Chocolate Factory (film),
17–18, 21, 38, 41–2, 65, 66, 76–8,
81, 101, 107, 108, 123, 125, 127,
128, 145, 200
Charlie Brown Christmas, A, 158
Charisse, Cyd, 40
childhood, treatment of, 3–7, 11, 16,
17–18, 21–2, 23, 28n5, 65–6, 108,
151–63, 202, 206, 209–10, 239
Children’s and Household Tales, 152
Child’s Garden of Verses, A, 152
Cholodenko, Alan, 85–6
Citizen Kane, 227
Civilizing Rituals: Inside Public Art
Museums, 166–7
Cline, John, 146n3
Clive, Colin, 126
Clouzot, Henri-Georges, 221
Clover, Carol, 22
Cocteau, Jean, 213
Cohen, Sasha Baron, 223–4
Collins, Andrew, 225
Collins, Barnabas, 8, 21, 22, 99–100,
102–3, 105–6, 114, 117, 125, 129
Collins, Jim, 101, 118
Colossus of New York, 39
Company of Wolves, The, 124–5
Conversations with Vincent, 129
Cooper, Alice, 23, 99, 118, 130n2
Cooper, Merian C., 130n2
Corman, Roger, 121, 130n3, 138
Corpse Bride (character), 19, 21, 78,
126, 128, 198, 211–14, 213
Corpse Bride (film), 8, 9, 10, 19, 21,
22–3, 35, 121, 125, 126, 128, 177,
198, 199, 211–14, 218, 219, 220,
228, 229, 231, 233
costuming, 47–62
Cowboys vs. Aliens, 113
Crane, Ichabod, 8, 14, 16, 57, 70, 72,
108, 111, 198, 209–11, 214
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Index
Craven, Wes, 203, 204
Creature from the Black Lagoon, 130n2
Criswell, The Amazing, 11, 48, 135
Crudup, Billy, 17, 108, 240
Cruising, 203
Cruising Utopia, 200
Crypt Keeper, The, 121
Cult Cinema, 181
Cunningham, Hugh, 152
Curse of Frankenstein, The, 121
Curtis, Dan, 101, 117
Curtis, James, 120
Czapsky, Stefan, 49, 138
Dahl, Liccy, 107
Dahl, Roald, 18, 40, 107, 108, 123
Daily, Elizabeth, 6
Daly, Steve, 129
Dante, Joe, 24
Dark Knight Returns, The, 186
Dark Shadows (film), 9, 17, 18, 22–3,
49, 50, 94, 99–100, 101, 102–3,
105–6, 114, 117, 125, 129,
145, 219
Dark Shadows (TV program), 22, 26,
27, 101, 102–3, 111–12, 114, 117
Davis, Geena, 8, 52, 69, 86, 235
Davis, Jack, 123
Dawn of the Dead, 107
Day the Earth Stood Still, The, 142
DC Comics, 127, 225
Deadly Mantis, The, 40
Dean, James, 40
death, 2–3, 7–8, 9, 10, 11, 12, 14, 15,
17, 19, 20, 21, 23, 124, 153–5,
161, 212–14, 232, 234–40
Deetz, Delia, 222–3, 236
Deetz, Lydia, 5, 8, 28n5, 47, 49–50,
51–2, 124, 223, 225, 226, 236–7,
239–40
de la Tour, Frances, 22, 60, 90
Deleuze, Gilles, 199–201, 202, 204,
205, 208–9, 212–13
Depp, Johnny, 5, 9, 14, 18, 19, 20, 21,
26, 28n3, 33, 36–7, 37, 41–2, 48,
49, 50, 57, 65, 70, 72, 89, 99, 105,
108, 114, 118, 128, 129, 136, 138,
185, 198, 211, 213, 217, 218,
219, 227
Destroy All Monsters, 130n2
DeVito, Danny, 16, 65, 209
Dewhurst, George, 115n1
Dick, Philip K., 42
Dickens, Charles, 60, 152, 162–3, 211
Diebenkorn, Richard, 43
Dien, Casper Van, 209
Di Novi, Denise, 49
Disney, Roy, 84, 172
Disney, Walt, 43, 84, 123, 172
see also Walt Disney Productions
Disneyland, 43
Disney Channel, 1, 125, 175, 187
Doctor of Doom, 130n3
Donnelly, Kevin J., 67
D’Onofrio, Vincent, 12, 140
Doré, Gustav, 129
Doty, William, 232, 240
Doueihi, Anne, 240, 243
Dracula (literary character), 125
Dracula (1931 film), 130n2, 169
Dracula: AD 1972, 118
Dracula Has Risen From the Grave, 102
Dreyer, Carl, 127
Dr Jekyll and Sister Hyde, 130n2
Duggan, Lisa, 215n3
Duncan, Carol, 166–7
Duncan, Lindsay, 21, 47
Dunlop, Blair, 17
Dürer, Albrecht, 35–6, 37
Duvall, Shelley, 1, 130n5
Earth vs. the Flying Saucers, 108, 142
Ebert, Roger, 225
EC Comics, 121, 130n4, 143
Eco, Umberto, 183
Edelstein, David, 54, 206, 233
Edmundson, Mark, 25
Edwards, Blake, 213
Edward Scissorhands, 9–10, 19–20, 22,
36–7, 43–5, 49–50, 53–5, 57,
72–3, 80, 84, 101, 113, 125, 126,
128, 129, 134, 137, 167, 182,
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187–8, 191, 198, 199, 202–7, 217,
218–23, 225, 226, 228–9
Ed Wood, 9, 11–13, 17, 24, 26, 28n3,
35, 48–50, 51, 52, 84, 121, 125,
127, 133–42, 144, 146, 146n2,
146–7nn10–12, 191, 197, 214n1,
217, 226–8
Eisenstein, Sergei, 119
Elfman, Danny, 49, 50, 65–81, 114,
142, 144, 147n14, 167, 233
Elliott, Kamilla, 103
Emily (Corpse Bride character). see
Corpse Bride (character)
Emmerich, Roland, 119, 145
Empire Online, 225
Enchanted, 85
Englund, Robert, 204, 229
Enholm, Molly, 206, 215n2
Estes, Richard, 43
E.T. the Extra-Terrestrial, 6
Everglot, Victoria, 18
Expressionism, 5, 6, 42–3, 50–1, 120,
121, 122, 126, 127, 129, 175
fairy tales, 1, 56, 60, 66, 72–6, 120,
122, 124, 128, 129, 130n5, 152–3,
175, 202, 219
Fall of the House of Usher, The, 121
Family Dog, 175–6
family values, 22, 23
Fandom, 100, 102, 103–6, 108–14,
127, 130n7, 134–6, 139, 145,
177–8, 179–92
Father Knows Best, 169
Favreau, John, 113
Fellini, Federico, 39–40, 209
Ferenczi, Aurélien, 28n2, 105, 119, 128,
130n8, 180, 233
Ferretter, Luke, 221
Ferretti, Dante, 56
Fiend of Fleet Street, The, 128
Finlay, Victoria, 34
Finney, Albert, 16, 34, 218, 240
Fisher, Terence, 121
Fleming, Victor, 38
Fleischer, Dave, 84
●
253
Fleischer, Max, 84, 123
Flinn, Caryl, 67
Foster, Harve, 84
Foucault, Michel, 180, 186, 188, 198
Fouché, Joseph, 106
Fowkes, Katherine A., 188, 238
Fox and the Hound, The, 95, 173
Francis, Freddie, 102
Fraga, Kristian, 28n2, 48, 49, 54, 125,
126, 174, 177, 190
Frankenstein (1931 film), 1, 24, 56, 120,
121–2, 125, 126, 169, 177, 222
Frankenstein (novel), 1, 2, 53, 125, 128
Frankenstein, Victor (Frankenweenie
character), 2–3, 5, 7, 8, 9, 12, 13,
16, 18, 20, 24, 25, 26, 124,
126, 129
Frankenweenie (1984), 1–4, 101, 117,
119, 124, 125–6, 127–8, 184,
187, 188
Frankenweenie (2012), 1–27, 101, 113,
117, 118, 125–6, 127–8
Frank, Scott, 42
Freud, Sigmund, 60, 204
Freunde, Karl, 129
Frid, Jonathan, 105, 114, 117
Friedkin, William, 203
Frierson, Michael, 138
Fuller, Graham, 118–19, 204
Furby, Jacqueline, 188
Furst, Anton, 125, 225
Gabler, Neal, 84, 123, 130n1
Gambon, Michael, 72
Gamera, 3, 13
Gans, Herbert, 146n4
Gashlycrumb Tinies, The, 123, 153, 155
Gates, Henry Louis, Jr., 240
Geisel, Theodor Seuss, 118, 122–3, 171
Gelman, Woody, 108–9
Genet, Jean, 146–7n11
Genette, Gérard, 101
Geraghty, Christine, 102, 103
Gerald McBoing-Boing, 123
Ghandi, 139
Ghoulardi, 121
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Index
Ghoul, Tarantula, 121
Giant Zlig, The, 171, 173, 175
Gibson, Alan, 118
Girard, René, 221–2
Glen or Glenda, 11, 135, 137, 140
Glover, Crispin, 87, 93
Godard, Jean-Luc, 136
Goddard, Peter, 219
Godzilla (film), 26, 130n2, 228
Godzilla (monster), 12, 24, 228
Goethe, Johann Wolfgang von, 35,
36, 37
Goings, Ralph, 43
Golden Turkey Awards, The, 136
Goldman, Michael, 87, 89
Gombrich, E. H., 35, 36
Gone With the Wind, 105
Gorbman, Claudia, 68, 69–70
Gore, Edgar “E,” 3, 24
Gorey, Edward, 123, 151–63
Gothic (architecture), 35–6
Goth (subculture), 51–2, 53–5, 57, 124,
138, 191, 202, 223, 236
Gothic (genre), 2, 4–5, 9, 17, 20, 23–7,
35, 51, 54, 55, 56–7, 60, 61, 70–2,
78, 80, 102, 107–8, 111, 114,
117–29, 145, 191, 213
Graham, Allison, 135–6
Grahame-Smith, Seth, 117
Grant, Catherine, 186
Grant, Richard E., 19
Gray, Jonathan, 180
Green, Eva, 22, 125
Green, Joseph, 120
Green Beads, The, 151
Gremlin, 3, 13, 24
Gremlins, 24
Grey, Rudolph, 126, 136, 146n6
Grieg, Edvard, 70
Grimm Brothers, 152, 175
Gross, Ed, 103, 111–12
Guattari, Félix, 208
Haas, Lukas, 13
Halfyard, Janet K., 67, 68, 70, 71
Hall, Arch, Jr., 134
Hammer Studios, 20, 23–4, 56, 102,
121, 129, 191, 200
Hannaham, James, 51
Hansel and Gretel, 1, 119, 125,
130n5, 175
Hantke, Ken, 137, 141–2, 143, 146n8,
147n17, 200, 205, 209
Hapless Child, The, 151
Harryhausen, Ray, 142, 170
Hathaway, Anne, 36, 42, 89
Hattenstone, Simon, 55
Haunt of Fear, The, 121
Hawkins, Joan, 137
Hayward, Philip, 80, 133, 142, 144,
147n14
Hazel, Harry, 106
He, Jenny, 50–1, 120, 166
Headless Horseman, 27, 70–1, 89, 211
Heathcote, Bella, 22
Heinrichs, Rick, 49, 50
Herman, Pee-wee, 5–6, 16, 124
Hermes (god), 240, 241, 242
Herrmann, Bernard, 67, 142
Hickey, William, 79
Hickson, Julie, 1, 125
Highmore, Freddy, 76
High Spirits, 124–5
Higson, Andrew, 55–7
Hills, Matt, 111, 181, 183, 187
Hilton, Ken, 122
Hines, Claire, 188
History of Sexuality, 198
Hitchcock, Alfred, 40, 201
Hoberman, J., 142–3
Hockney, David, 43
Holder, Geoffrey, 76
Holmes, Sherlock, 102
H(ome) B(ox), O(ffice), 121
Home Video, 134, 136, 137, 140
Hopkinson, Martin, 39
Honda, Ishirō, 13–n2
Horn, John, 107
Horowitz, Josh, 103
Horror of Dracula, The, 24, 26, 121
Houdini, 170
Houdini, Harry, 170
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House of Wax, 122
Howard, John, 40
Hughes, Kathleen, 104
Hunter, Nan D., 215n3
Hunter, Tim, 119
Huston, John, 127
Hutcheon, Linda, 26, 101
Hyde, Lewis, 232, 234, 239, 240,
241, 242
Hynes, William J., 232, 234
In a Glass Darkly, 127
Incredibly Strange Films, 135, 136
Independence Day, 133, 145
Inner Sanctum Mysteries, 121
Inside the White Cube: The Ideology of the
Gallery Space, 166
Invisible Man, The (film), 24
Irony (Gothic), 26–7
Irving, Washington, 14, 26, 133,
209–10
Island of Dr. Agor, The, 170
It Conquered the World, 130n3
Jabberwocky (film), 21, 26, 62, 66, 75,
89, 92, 93
“Jabberwocky” (poem), 154–5
Jack Sheppard, 128
Jackson, Rosemary, 125
Jackson, Wilfred, 84
Jacobs, Jason, 111
James, Edward, 69
James, Geraldine, 90
James and the Giant Peach (film), 123
Jameson, Fredric, 120
Jason and the Argonauts, 130n2
Jenkins, Henry, 181, 182, 184
Jessica’s First Prayer, 152
Joker, The, 52–3, 66, 68, 109–10, 111,
126, 127, 177, 217, 224–6, 238–9
Jones, Alan, 51, 104, 125
Jones, Jeffrey, 11, 14, 48–9, 236
Jones, O-Lan, 223
Jones, Terry, 199, 203
Jones, Tom, 144
Jordan, Neil, 124–5
●
255
Jung, Carl Gustav, 130n6, 231
Juno, Andrea, 135, 136, 140
Juran, Nathan, 40, 130n2
Kandinsky, Wassily, 40
Kane, Bob, 104, 107
Karaszewski, Larry, 136, 138, 146n10
Karloff, Boris, 24, 123, 126, 177
Kassabian, Anahid, 68
Kaufman, Andy, 146n10
Keaton, Michael, 5, 9, 65, 70, 72,
104–5, 121, 127, 197, 238
Kelljan, Bob, 130n2
Kelly, Laura Michelle, 128
Kerenyi, Karl, 232, 234
Kersten, Annemarie, 179
Kervorkian, Martin, 209–10
Killing Joke, 186
King, George, 115n1, 128
King, Stephen, 126
King Kong, 130n2, 169
Kingsleigh, Alice, 8, 21–2, 26, 29n6, 36,
47, 54, 58–62, 65, 73–5, 85,
88–95, 95, 103, 111, 124, 220
Kingsley, Charles, 152
Kosinski, Joseph, 85
Krauss, Werner, 123
Kroger, T. Jeanette, 171
Krueger, Freddy, 204, 205, 229
Krzywinska, Tanya, 199
Kurtzman, Harvey, 123
Kyle, Selina. see Catwoman
Lacan, Jacques, 65–6, 74
Laemmle, Carl, 120
Lambert, Mary, 25
Landau, Martin, 1, 14, 24
Landis, Deborah Nadoolman, 49, 50, 51
Lang, Fritz, 225
Latham, Rob, 146–7n11
Leave It to Beaver, 169
Lee, Christopher, 14, 17, 24, 191
Lee, James Hiroyuki, 24
Le Fanu, Joseph Sheridan, 127
Lefebvre, Henri, 83, 86, 92
Legend of Sleepy Hollow, 102
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Index
“Legend of Sleepy Hollow, The.” see
Irving, Washington
Legros, Alphonse, 40, 41
Leitch, Thomas, 101, 105, 107
Le Mystère Picasso, 221
Leni, Paul, 120
Lethal Weapon, 139
Lewis, Herschell Gordon, 134
Liddell, Alice, 61
Liebesman, Jonathan, 106
Lima, Kevin, 85
Lisberger, Steven, 85
Little Dead Riding Hood, 174
Little Princess, A, 152
Little Shop of Horrors (1960 film), 130n3
Lizardi, Ryan, 112
Lloyd, Edward, 128
London: A Pilgrimage, 129
Lone Ranger, The, 106
Lord of the Rings, The, 105
Lorre, Peter, 129
Lourié, Eugène, 39
Luau, 130n3
Lucas, Matt, 87
Lugosi, Bela, 11, 24, 48, 127, 135, 138,
146n8
Lupo, Jonathan, 138, 146n7, 146n10
Lustig, Aaron, 73
Lynch, David, 147n13
Lyne, Adrian, 199
MacDowell, Michael, 128
Mad Hatter, 21, 26, 33, 42, 50, 61,
89, 93
Mad Love, 129
Mad Monster Party, 3, 123
Madonna, 202–3
Magliozzi, Ron, 50–1, 120, 152,
166, 172
Mair, Jan, 145
Maitland, Adam, 8, 26, 28n5, 52,
69–70, 86, 235–40
Maitland, Barbara, 8, 26, 28n5, 52,
69–70, 86, 235–40
Maîtress, 203
Malcolm X, 139
Malevich, Kazimir, 40
Malloy, Vincent, 4–5
Mannix, Daniel P., 95
Man on the Moon, 146n10
Mapplethorpe, Robert, 203, 210
Marangoni, Tranquillo, 40, 41
Maria Marten, 128
Marie, Lisa, 177, 210
Markley, Robert, 203
Marling, Karal Ann, 43
Mars Attacks!, 9, 10, 12–14, 50, 80, 85,
101, 108–9, 121, 133–4, 142–6,
143, 146n2, 147n18, 169, 191
Martin, David, 34
Mary Poppins, 84
Mary Reilly, 137
Matthews, J. Clive, 1, 28n2, 108, 197,
203, 209, 210
Mathijs, Ernest, 146n5, 181, 183, 191
Maturin, Charles, 117–18
McCay, Winsor, 84
McGrath, Gulliver, 22
McGregor, Ewan, 16
McGrory, Matthew, 16, 242
McKean, Dave, 130n6
McKenna, Kristine, 111
McMahan, Alison, 28n2, 110, 119,
130n1
Medved, Harry, 136
Medved, Michael, 136
Meese Report, 202
Melancholy Death of Oyster Boy & Other
Stories, The, 123, 126, 151–2,
155–63, 167, 168
Mellamphy, Deborah, 146–7n11,
214n1
Mendlesohn, Farah, 69
Menzies, William Cameron, 39
Meyer, Stephanie, 111
Middleton, Thomas, 129
Mighty Mouse, 122
Miller, Frank, 186, 208
Miller, Jonny Lee, 22
Miller, Julie, 106
Milligan, Andy, 115n1
Milton, John, 128
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Minority Report, 42
Mitchell, John Cameron, 206
Moby Dick (film), 127
Moers, Ellen, 60
Mondrian, Piet, 169
Monk, Claire, 181
Monsters, 3, 10–11, 12, 13–14, 15,
16–17, 22–4, 26, 113, 124, 125,
126, 153–63, 242
Moore, Alan, 109, 186
Moretz, Chloë Grace, 18
Morrison, Grant, 130n6
Mothra, 24
MTV, 202
Muir, Kate, 62
Mulholland Drive, 147n13
Munich, Adrienne, 49
Muñoz, José Esteban, 200, 201–2, 213
Murnau, F. W., 28n4, 118, 122, 126
Museum of Modern Art (MoMA), 2,
120, 165, 180, 183–6, 219, 220
Music, 65–81
Nabokov, Vladimir, 33, 34
Nashawaty, Christopher, 54, 200
Nasr, Constantine, 105
Nekromantik, 213
Newland, Merv, 24–5
Newley, Anthony, 41
New York Times, 225
Nicholson, Jack, 52, 109, 142, 217,
224, 225, 238
Nightmare Before Christmas, The, 3, 9,
10–11, 16, 21, 38, 50, 53, 76,
78–80, 113, 119, 123, 126, 127,
137, 177, 190, 218, 219, 227–8,
232–5, 238, 242
Nightmare on Elm Street, A, 106,
204, 229
Nine 1/2 Weeks, 199
Nixon, Richard, 99
Nosferatu, eine Symphonie des Grauens,
28n4, 122, 126
Nostalgia (Gothic), 26–7
Novak, Kim, 40
Novi, Denise De, 123
●
257
O’Brien, Harvey, 137, 140
O’Doherty, Brian, 166, 168
O’Hara, Catherine, 1, 8, 78, 79,
222, 236
see also Deetz, Delia
Oliver, Barret, 3
Oompa Loompa, 41, 76, 81
Orpheus, 213
Orr, Philip, 208
Owen, Peter, 56
Owens, Jesse, 219
Oz the Great and Powerful, 106
Padva, Gilad, 205
Page, Edwin, 28n2, 119, 138, 200, 203,
211, 213
Page, Ken, 79
Paradise Lost, 128
Parker, Sarah Jessica, 10, 11, 13
Parker, Lara, 114
Parody, 13, 17, 78, 139, 224
Party Girl, 40
Pastoureau, Michel, 34–5
Peck, Gregory, 127
People vs. Larry Flint, The, 146n10
Pee-wee’s Big Adventure, 5–7, 8, 26,
28n3, 126, 134, 137, 146n1, 233
Penguin, The, 5, 53, 65, 66, 123, 177,
180, 209
People Under the Stairs, 203
Perfect Moment, The, 203
Personal Connections in the Digital
Age, 184
Personal Services, 199, 203
Pet Sematary, 25
Pfeiffer, Michelle, 10, 53, 197, 218, 229
Phantom of the Opera, The, 169
Picasso, Pablo, 242
Pierce, Jack, 126, 177
Pigott-Smith, Tim, 21, 90
Pinocchio, 1, 126
Pisters, Patricia, 201
Pitt, George Dibden, 106, 128
Pizzello, Stephen, 99
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Planet of the Apes, 9, 15–16, 17, 18, 26,
50, 86, 101, 110–11, 113, 125,
128, 145
Plan 9 from Outer Space, 11, 13, 14,
117, 135, 136, 137, 139–40, 141,
147n12, 226–7
Poe, Edgar Allan, 4, 118, 121, 122, 123,
124, 125, 138
Pollock, Griselda, 220
Porky Pig, 122
Postmodernism, 27, 57, 67, 99, 120,
126, 127, 142
Poverty Row, 84, 135, 145
Powell, Bob, 108–9
Powell, Jemma, 18
Prawer, S. S., 127
Prest, Thomas, Peckett, 106, 128
Price, Victoria, 118, 121, 129
Price, Vincent, 4, 9, 14, 24, 26, 44, 50,
118–19, 121–2, 124, 129, 130n2,
130n5, 138, 169, 175, 191
Pride and Prejudice and Zombies, 113
Prince (musician), 223
Prometheus, 106
psychoanalysis, 205, 208, 240
see also Freud, Sigmund
Psychotronic Encyclopedia of Film, The,
134, 136, 146n3
Psychotronic Video, 146n3
Pulp Fiction, 203
Punk, 67, 202
Queer Child, The, 199–200
Queerness. see sexuality
Radcliffe, Ann, 60, 117
Raimi, Sam, 106
Rankin/Bass Productions, 118, 123
Raskovsky, Yuri, 107
Rathbone, Basil, 102
Raven, The (film), 121
“Raven, The” (poem), 122, 124
Ray, Nicholas, 40
Rebel Without a Cause, 40
Rees, Jerry, 130n3
Reid, Jennifer,
Reimagining. see adaptations
Remakes. see adaptations
Renoir, Jean, 39
Reubens, Paul, 79
Revenger’s Tragedy, The, 129
Ricci, Christina, 209
Rich, Richard, 95
Richardson, Miranda, 57, 59, 210
Rickman, Alan, 20, 21, 92, 129
Riley, Brian Patrick,
Ring, The, 187
Ringu, 187
Ringwood, Bob, 51, 53, 177
River’s Edge, 176
Robin Hood, 106
Romero, George, 107
Rosenbaum, Jonathan, 142
Rota, Nino, 67
Roth, Tim, 128
Rowling, J. K., 111
Roy, Deep, 76
Rudolph the Red-Nosed Reindeer, 123
Ryder, Winona, 1, 3, 5, 8, 51–2, 203,
221, 223, 236
see also Boggs, Kim; Deetz, Lydia
Rymer, James Malcolm, 106, 118
Sacher-Masoch, Leopold von, 202, 204
Sade, Marquis de, 204
Salisbury, Mark, 28n2, 51, 52, 56, 89,
95, 110, 114, 120, 122, 124, 126,
127, 134, 137, 138, 139–40, 142,
145, 146n9, 147n16, 169, 172,
173, 175, 180, 200, 206, 209, 210,
213, 214, 219, 228, 233
Sally (Nightmare Before Christmas), 10,
50, 53, 54, 78–9, 113, 126, 234–5
Sanders, Ed, 128
Sandvoss, Cornel, 182, 183
San Francisco Chronicle, 203
Saunders, Norman, 108–9
Schaefer, Eric, 146n3
Schneider, Karen, 145
Schoedsack, Ernest B., 130n2
Schönberg, Claude-Michel, 79
Schreck, Max, 28n4, 105
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Schroeder, Barbet, 203
Schwartz, David, 107
Science, 11, 14–16, 38
Scissorhands, Edward, 8, 9, 10,
19–20, 21, 37–8, 42, 43–5,
49–50, 51, 53–4, 55, 65, 66, 72–3,
108, 118, 124, 126, 128, 138, 139,
166, 167, 177, 182, 185, 190, 198,
202, 203–7, 217, 218–23, 225,
228–9
Sconce, Jeffrey, 134–5, 136, 146nn3–4,
226–7
Scott, Kathryn Leigh, 114
Scott, Ridley, 106
Scream Blacula Scream, 130n2
Sears, Fred F., 108
Secretary, 199
Seekatz, Johann, 36, 37
Selby, David, 114
Selick, Harry, 10, 123, 233
Senses of Cinema, 219
Seuss, Dr. see Geisel, Theodor Seuss
Seventh Voyage of Sinbad, The, 130n2
Sex and the Cinema, 199
Sex Pistols, The, 202
Sexton, Jamie, 146n5, 181, 183, 191
Sexuality, 197–214
Shadi, Glenn, 223
Shaffer, Atticus, 3
Shainberg, Steven, 199
Shelley, Mary, 1, 2, 9, 24, 126, 128
Short, Martin, 3, 24
Shortbus, 206
Sidney, Sylvia, 13
Sixth Sense, The, 236
Skellington, Jack, 9, 16, 78, 174, 180,
218, 219, 227–8, 231, 233–5, 241
Slaughter, Tod, 115n1, 128–9
Sleepy Hollow, 5, 9, 14–15, 16, 22–3,
28n4, 35, 36, 50, 55–7, 69, 70–2,
84, 89, 101, 102, 111, 121, 125,
126, 188, 191, 198, 199, 209–11
Smith, Allan Lloyd, 56
Smith, Jim, 1, 28n2, 108, 197, 203,
209, 210
Smith, Justin, 182
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Smith, Liz, 76
Smith, Victoria, 209
Snyder, Zack, 107
Social Network Sites, 181–92
Sommers, Stephen, 119
Sondheim, Stephen, 19–20, 106–7,
128, 129, 145
Song of the South, 84
Sonnenfield, Barry, 119
Sparky (Frankenweenie character), 2–3,
7, 8, 9, 10, 11, 12, 13, 16, 18, 24,
113, 126, 127–8, 129
Species, 133
Spielberg, Stephen, 6, 42, 146n7
Spinks, C. W., 240
Stäheli, Urs, 144
Staiger, Janet, 179, 185
Stainboy, 38
Stalk of the Celery Monster, 122, 130n3,
172–3
Stam, Robert, 101
Star Wars, 183
Steele, Barbara, 210
Stern, Daniel, 1
Stevenson, Robert, 84
Stevenson, Robert Louis, 152
stitches, 8, 10, 13–14, 20, 50, 53, 113,
126, 127, 177, 218, 229
Stockton, Kathryn Bond, 199–200
Stop Motion, 1, 3, 4, 10, 78, 117, 118,
123, 126, 142, 170, 176–7,
211, 233
Streitenfeld, Marc, 106
Stretton, Hesba, 152
Stribling, Melissa, 24
Strickfaden, Kenneth, 126
String of Pearls: A Romance, The, 128
Stuart, Mel, 40, 108
Sturrock, Donald, 40
Suburbia, 9–10, 38, 54, 72, 83–4, 113,
126, 167, 169–70, 174, 206, 218
Sunset Stages, 135
Surrealism, 60
Sweeny Todd: The Demon Barber of Fleet
Street (1936 film), 129
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Sweeny Todd: The Demon Barber of Fleet
Street (Burton film), 5, 19–20, 37,
37, 50, 55–7, 101, 106–7, 122,
125, 128, 129, 145, 179, 218,
223–4, 226, 228
Tahan, Charlie, 3
Tai, Ada, 16
Tai, Arlene, 16
Tales from the Crypt, 121
Tales of the Grotesque and Arabesque, 122
Tallerico, Brian, 49
Tarrantino, Quentin, 203
Tenniel, John, 60, 62
Tex, 119
Texas Chainsaw Massacre: The
Beginning, 106
Textual Poachers, 182
Thompson, Caroline, 49
Thompson, Maggie, 104
Thor, 107
Thumbelina, 161
Tim Burton Collective, The, 181–91
Tim Burton’s Corpse Bride. see Corpse
Bride
Tirard, Laurent, 217
Tissot, James Jacques Joseph, 40, 41
Todd, Sweeney, 5, 20, 27, 106–7, 108,
113, 124, 126–7, 128, 185, 218,
219, 223–4
Todorov, Tzvetan, 125
Tolkien, J. R. R., 111
Tomb of Ligeia, The, 121
Toronto Star, 219
Toth, André de, 122
Touchstone Pictures, 133, 137
Trash Cinema, 133–47
Trashola, 134
T. Rex (band), 99
Trick or Treat, 174–5, 184
Trickster, 231–44
Tron, 84–5
Tron: Legacy, 85
Tryon, Charles, 181, 183
Twilight, 105
Underland, 21, 60, 84, 85, 86,
87–94, 103
Universal Studios, 120, 126, 129,
135, 177
(Untitled) Tim’s Dreams, 170
Vale, V., 135, 136, 140
Vampira, 48, 121, 135
Vampire Diaries, The, 105–6
Vampyr, 127
Van Dort, Victor, 18, 19
van Helsing, Elsa, 3, 8
Vault of Horror, The, 121
Veidt, Conrad, 120
Velázquez, Diego, 224
Venturi, Robert, 120
Venus in Furs, 202, 204
Verbinski, Gore, 106
Vertigo, 40
Victor/Victoria, 213
Vidler, Anthony, 92
Videogames, 129
VideoHound’s Complete Guide to Cult
Flicks and Trash Pics, 136–7
Vincent, 1, 4–5, 6, 10, 12, 17, 18, 26,
38, 39, 60, 95, 118–19, 121–4,
125–6, 129, 138, 175, 180,
183, 191
Vries, Hilary de, 104–5
Wade, Joseph, 5
Wahlberg, Mark, 15, 18, 86, 128
Walken, Christopher, 10, 28n4, 229
Wallace, Daniel, 101, 107, 124
Walt Disney Productions, 1, 2, 4, 10,
26, 84, 95, 102, 118–19, 122, 123,
124, 126, 133–4, 138, 141, 166,
169, 171, 173–6, 180, 184, 190
Warhol, Andy, 43, 184, 219
Warner Bros. Studios, 6, 104–5, 122,
126, 141, 144–5, 169, 186
Warner, David, 18
Warwick, Alexandra, 52
Wasikowska, Mia, 18, 29n6, 47, 61, 65,
85, 95, 220
Water-Babies, The, 152
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Waters, John, 146–7n11
Watson, Emily, 18, 212
Wayne, Bruce, 108, 111, 127, 207–8
Wegner, Philip, 144, 147n19
Weill, Kurt, 129
Weine, Robert, 120
Weiner, Robert G., 146n3
Welch, Bo, 49
Weldon, Michael, 134, 146n3
Welles, Orson, 140, 141,
146–7n11, 227
Wells, H. G., 108
West, Adam, 118
West, Walter, 115n1
Whale, James, 1, 9, 24, 118, 120,
121–2, 125–6, 222
What Color Is Your Handkerchief, 202
Wheedon, Joss, 107
Wheeler, Hugh, 19, 106–7, 128, 129
Whitman, Slim, 13, 80, 109, 144,
147n16
Wiegratz, Philip, 77
Wiest, Dianne, 50, 73, 206, 218
Wilder, Gene, 40–2
Willy Wonka & the Chocolate Factory,
40–2, 108
Winckelmann, Johann Joachim, 36
Winkler, Margaret, 84
Winter, Julia, 108
Witch’s Tale, The, 121
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Wizard of Oz, The (film), 38, 159–60
Wolf Man, The, 169
Wolper, David L., 40
Wolski, Dariusz, 87
Woman in Flames, A, 203
Wonka, Willy (character, 1971 film),
40–1
Wonka, Willy (character, 2005 film),
18, 21, 41–2, 65, 66, 77, 80, 108,
113, 124
Wood, Ed (character), 28n3, 48, 49, 50,
124, 126, 136, 139–40, 197,
214n1, 217, 227–8
Wood, Edward D., Jr., 11–12, 117,
133–41, 141, 142, 146n6, 146n8,
146–7n11, 166, 191, 197, 217,
226–7
Wood, Wallace, 108–9
Woods, Paul, 28n2, 110, 119–20,
123, 126
Wright, H. Stephen, 67, 72
Wright, Lee, 61
Wuggly Ump, The, 153–5
Yarbrough, Tyrone, 109
Young Frankenstein, 125–6
Žižek, Slavoj, 37–8
Zone Books, 202
Zontar, 134
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