1. Edward Scissorhands
A close analysis of the opening scene of Edward Scissorhands reveals many of the
conventions associated with the horror genre as well as elements of comedy, fairy tale and
romance. The opening titles start with a blue, eerie light which has connotations of loneliness
and being withdrawn, this coincides with the falling of snow - however this can also seem to
bring about the fairy tale theme within the film, as snow has a view of Christmas and the
fantasy encompassed with the time of year for children.
Iconography is also used to veer towards a traditional horror film with big doors and
cobwebbed staircase; however the contrasting fantasy music keeps the scene appropriate
for the younger audience and opens up the themes of the film. The jagged, bold font of the
titles is relevant to the upcoming story as they are scissor like and plant images and ideas in
the audience’s minds as to what is within the film.
As the opening scene progresses we are introduced to the ‘house on the hill’, the director
Tim Burton chooses a traditional 18th century haunted mansion with a jagged architectural
structure, this helps to set the scene of how desolate and out of keeping Edward will be and
also allows the younger audiences to better grasp the theme of horror captured in the film.
The camera then zooms out from the dark view and the colours in the film change to
oranges and reds, which give the audience a sense of safety and warmth.
The Grandma is then seen in red, - further warm connotation - putting her granddaughter to
bed. The oversized bed and calm fairy tale music give a sense again of safety for the child
and the mood of the film has now changed from horror to a stereotypical opening to a fairy
tale; the telling of a bed time story is in keeping with the idea of fantasy and also easily shows
the audience that the film is about to lead back in time, the grandma talks of ‘scissors’ which
hints again at the upcoming story. We are equally as unaware as the granddaughter, who is
asking the questions which the audience itself are wondering about; this brings the audience
into the film and makes them feel more connected so they are now concentrating and the
story can begin.
The director now has opened the story of Edward Scissorhands and uses a number of things
to show the juxtaposition between the ‘perfect’ neighbourhood and ‘gothic castle’. The
scene is shown in the neighbourhood, where we are introduced suddenly to bright happy
colours and uniform houses, this is almost cynical in how quickly the mood of the film has
changed – the calm music is also different to that of what we have heard before. Tim Burton
uses a clever wing mirror shot to show both worlds in one shot, the dark mansion amongst
happy surroundings, sinister music is also used to make the audience wary that this is not a
happy film and bringing about the horror genre once again.
As the Avon lady gets out of her car at the mansion, instead of showing her get out with
traditional shots of the car door opening etc., the director chooses to stay on a wide shot
with the mansion looming in the background – as a result we are shown the vulnerability of
the lady and the emphasis is laid on the overpowering size of the mansion, sinister music adds
to the unease the audience is feeling.
The genre of the film is then switched back to fantasy as the music and colour are brought
back into the film, it is a shock to the audience as the picturesque garden is not expected
and does not fit with the iconography of a gothic mansion, again this is reflected on the face
of the Avon lady and the emphasis she puts into looking around in awe. This also prevents

2. the audience and especially younger viewers from feeling too uneasy, this is important in
how Tim Burton wishes to convey the film and his desire to appeal to many ages and
encompass multiple genres.
The element of comedy is further brought in at the calm and ease in which the Avon lady
moves about the house as if to still make a sale, this is contrasting with the camera angles
which tend to loom over the lady as well as the music which seems to be getting
progressively faster; these both seemingly make her look vulnerable despite the fact she is
not in the slightest uncomfortable.
Ad she is led to the top of the house, we are suddenly at unease as we see Edward and
meet him for the first time emerging from the shadows, also this is the first time we see
uncertainty on the face of the Avon lady. However our worries are quickly diminished as the
director wishes for us to feel empathy for Edward. The sad face and soft voice mean we are
not threatened by the character and instead see him as a vulnerable boy despite the
weapons making up his hands.
Again comedy is brought in as the Avon lady applies moisturiser to Edward’s face even
though she would not have encountered someone like him before – a modern day
Frankenstein. Connotations of care are felt and the contrasting ‘bleak’ clothing of Edward
compared to the bright suit of the Avon lady emphasise that they are from very different
worlds and yet we immediately see a connection between the two characters and see how
the mixture of genres begins to encompass together as the film starts to develop.