Edward Scissorhands Ice Dance Scene \\\ Mise-en-Scene ///

The white, pure clothes traditionally associated with angels (What Edward Scissorhands is making) and a wedding dress represents the beauty of Kim in Edward's eyes. Throughout the film, people have been trying to change Edward, but as this all starts to unravel his clothes get ripped apart while carving the statue of Kim. He now has a hybrid costume of his original clothes and his new clothes. This could represent how his obsession with Kim has both made him and broken him.

Kim's hair is large and puffy, almost as if it's floating. It moves slowly with Kim's movement and could be a sign of her elegance. Her makeup is not very obvious, it's only used to make her skin look smoother, whereas Edward has this pale, abrasive makeup applied with huge crazy hair, very representative of his strange character and creates sharp contrast between the two characters and subtly makes the audience be more interested in their love story as two polar opposite personalities in a difficult situation.

There's a strong use of green and red in the natural and peaceful surroundings, covered by fake snow and Christmas lights that gently bring out the nice surroundings. It may be worth noting that the only real snow is Edward's, showing that although he is the strangest person in the town, he may also be the most real person in touch with himself. (Even if he's not in touch with others) When Anthony Hall (Jim) arrives and aggressively demands for Winona Ryder (Kim), the background is dark and sinister in usual Tim Burton style.

Edward's sharp, deadly knife fingers carve a beautiful statue, Tim Burton is once again creating contrast with this idea. Piling on to the avalanche of contrast, Kim and Edward's hands are vastly different, and during the scene, Edward's hands are pointing to the right with and are framed on the left hand side of the screen, with loads of negative space on the right, which according to the cinematography law-book, is typically a technique for somebody staring and directing their attention to the area with negative space. Then a sharp cut to Winona Ryder's hand on the right hand of the screen, with negative space on the left hand of the frame. This shows that Johnny Depp is looking at Winona Ryder, and yet carving a statue, as if he's modeling it off of her. Kim's hand then drifts to the left towards Edward, and though they cant hold hands, it's a good use of visual storytelling to build their bond.

As Kim steps out of her comfort zone, or, house, the orange glow on her face turns to a natural white light from the moon beaming down to her face, creating a rim light around her head as if she has a halo. She's lit very angelically where-as Edward is lit devilishly with a hint of light showering him, a beam of purity. Outside, all the lights come from street lamps and the Christmas lights plastered around the town, giving the world a magical , fun feeling to it.

Edward is concentrating purely on his sculpture seemingly, but his eyes are slightly off kilter, as if he's focusing more on Winona Ryder than his sculpture, creating art from life. He's got a very distressed, concentrated expression plastered across his face, and moves with precise yet sweeping motions of his arms, carving away at the ice, creating snow that Kim is moving slowly and elegantly to, with a slightly bent backwards hand like she's from a renaissance era painting in a big cathedral, suiting the angel vibes. She makes almost ballerina-like movements, very precise and slow with sweeping movements.