The Nightmare Before Christmas - A Modern Take on Expressionism
Since its introduction in the early 1900s, the eccentric German Expressionist genre has had an immense influence on many modern directors and, consequently, the contemporary film institution. This has occurred despite the genre’s loss of popularity during the mid-20th century, as a recent rise in Hollywood directors who use Expressionistic techniques has revived the filming style. Directed by Henry Selick, The Nightmare Before Christmas (1994) is one example of a mainstream film that incorporates Expressionism codes and conventions, to convey its story. Specifically, the film’s depiction of Expressionistic characters; application of technical codes like warped imagery and symbolic conventions such as dull colours; all contribute to its appeal. Moreover, the presence of a Hollywood style narrative also ensures that the movie is relevant and engaging for contemporary audiences. It is evident that despite losing interest for a significant period, the Expressionist genre still manages to manifest itself through the works of mainstream film directors like Selick.
Originally produced by Tim Burton, the film’s central characters are clearly inspired by several typically Expressionistic conventions, to interest viewers. Notably, the protagonist, Jack Skellington, is constructed using multiple Expressionism characteristics, which contribute to his intriguing nature. These characteristics are exemplified through his dark, hollowed eyes and pale complexion. Such traits, which have historically been associated with characters like Cesare from The Cabinet of Dr Caligari (1920), help to alienate Jack, and, thus inspire empathy among audience members. This character’s ability to disconnect their limbs and skull is also an Expressionistic convention, as it represents their physical deformity. Such deformity thereby allows audiences to feel sympathy for the character, as it portrays vulnerability. Selick’s use of Close Up and Extreme Close Up shots, particularly on eyes and facial expressions, also permits the animated figures to visibly portray their emotions. This shot selection hence permits audiences to easily understand and connect with character thoughts, as eyes were often treated as ‘windows to the soul’ in conventional Expressionist media. The concept of vulnerability is also demonstrated through secondary protagonist, Sally, who is capable of removing her limbs in a similar manner to Jack. Evidently, Selick has utilised a plethora of Expressionistic conventions when bringing Burton’s characters to the mainstream audience, thereby exhibiting how German Expressionism has influenced the contemporary film institute.
The director’s use of technical codes and conventions is also integral in conveying an engaging Expressionist experience for audiences. In particular, the careful selection of shot types, camera angles and music all represent how this Hollywood institution movie has been heavily influenced by German Expressionism. Such influence is clearly noticed from the outset, whereby the film’s setting takes place within a solitary town that features distorted housing and warped structures. These shot types, which reflect the twisted sets of classic Expressionist films, help to draw viewers into the story by depicting madness and lunacy. A prolific application of Low Angle Long Shots and Dutch Angles also contributes to the picture’s warped landscaping. This imagery hence creates unease for viewers, as the cinematography contrasts with typically Hollywood conventions. Selick’s integration of high-pithed violins and organs, within the soundtrack, is also reminiscent of other Expressionist inspired films like Alfred Hitchcock’s Psycho (1960). The music within The Nightmare Before Christmas (1994) thus exhibits how Expressionism techniques have heavily influenced the modern film institute. Clearly, Selick has drawn upon several technical codes and conventions from German Expressionism, to portray an immersive world that can enthrall contemporary audiences.
Selick’s use of symbolic conventions, that are typically associated with Expressionism, is also highly important in allowing the film to captivate audience members. His application of a dull colour pallet, for example, draws viewers into the film as it conveys an atmosphere of gloominess and despair. This atmosphere is perfectly illustrated within the famous shot of Jack standing upon a curved hill, which is painted in shades of grey and navy. Such colours represent Jack’s loneliness, as darker shades are generally associated with anxiety and depression. The overlaying of shadow and chiaroscuro lighting, upon the beige building within Halloween town, also symbolises the setting’s sinister nature. Consequently, these colours are able to draw audiences into Selick’s world, as they can better understand the atmosphere and mood of the film’s location. Moreover, Jack’s distorted illustration, within a rippling puddle, is another Expressionistic symbolic code that is used to exhibit the character’s fractured mindset. Such imagery thereby demonstrates how the contemporary film institution draws upon Expressionistic conventions to convey character moods. It is obvious that Selick has used a variety of symbolic conventions from the Expressionist genre, to convey a contemporary institute film to modern audiences.
While the mainstream film institute has undoubtedly been influenced by German Expressionism, films drawing upon this genre still require the application of Hollywood conventions to engage contemporary audiences. Within Selick’s The Nightmare Before Christmas, this can be seen where the director has interwoven several Hollywood techniques into the movie’s narrative. His construction of a linear story, for example, is prevalent throughout the film as the use of subplots is minimal. Being a common Hollywood convention, this narrative structure enables the film to enthrall contemporary audiences, as they become familiar with the flow of events. This would imply that Selick has successfully combined both the Hollywood and Expressionistic movements. Furthermore, another Hollywood technique, within the film, is witnessed where the motion picture has a large budget and high-quality animation. This convention contrasts to the Expressionist genre, which is typically filmed on a low budget in live action and helps to engage a modern audience as they have become accustomed to well produced pictures. The film’s subjective plot hints at its Expressionistic origins however, as its matter is heavily focused around the concept of fear and terror. Nevertheless, because of the aforementioned Hollywood conventions it is evident that Selick has successfully combined both Hollywood and Expressionistic techniques to captivate a modern audience.
It is clear that Selick has utilised a variety of Expressionism and Hollywood conventions to bring Burton’s original vision to life. Specifically, his film, The Nightmare Before Christmas (1994), is laden with a range of technical and symbolic codes that demonstrate how the contemporary film institute has been influenced by Expressionism. This is witnessed through the picture’s Expressionistic characters, warped imagery and symbolic colours. Similarly, the use of Hollywood conventions, including a linear narrative and high-quality production, enables the film to engage contemporary audiences. Overall, Selick has successfully managed to convey an interesting take on modern Expressionism, by creating a film that will continue to enthrall audiences of all ages both now and in the future.