10. ALL OF US CANNIBALS: EATING BODIES IN CHARLIE AND THE CHOCOLATE FACTORY AND SWEENEY TODD: THE DEMON BARBER OF FLEET STREET

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. FIGURES viii
4. NOTES ON CONTRIBUTORS ix
5. ACKNOWLEDGEMENTS xiv
6. INTRODUCTION 1
7. PART ONE. ANIMATED BODIES
8. 1. TRANSFORMATION: METAMORPHOSIS, ANIMATION AND FAIRY TALE IN THE WORK OF TIM BURTON 13
9. 2. AGREEING TO BE A ‘BURTON BODY’: DEVELOPING THE CORPSE BRIDE STORY 27
10. 3. TIM BURTON’S UNRULY ANIMATION 42
11. 4. CORPSE BRIDE: ANIMATION, ANIMATED CORPSES AND THE GOTHIC 54
12. PART TWO. CREATURELY BODIES
13. 5. BURTON, APES AND RACE: THE CREATURELY POLITICS OF TIM BURTON’S PLANET OF THE APES 67
14. 6. DEAD PETS’ SOCIETY: GOTHIC ANIMAL BODIES IN THE FILMS OF TIM BURTON 81
15. 7. TOO DARK FOR DISNEY: TIM BURTON, CHILDREN’S HORROR AND PET DEATH 94
16. 8. MONSTROUS MASCULINITY: ‘BECOMING CENTAUR’ IN TIM BURTON’S SLEEPY HOLLOW 105
17. 9. ANOMALOUS BODIES IN TIM BURTON’S BESTIARY: REIMAGINING DUMBO 118
18. PART THREE. CORPOREAL BODIES
19. 10. ALL OF US CANNIBALS: EATING BODIES IN CHARLIE AND THE CHOCOLATE FACTORY AND SWEENEY TODD: THE DEMON BARBER OF FLEET STREET 133
20. 11. ‘I MIGHT JUST SPLIT A SEAM’: FABRIC AND SOMATIC INTEGRITY IN THE WORK OF TIM BURTON 148
21. 12. THE SEMIOTICS OF A BROKEN BODY: TIM BURTON’S USE OF SYNECDOCHE 161
22. 13. ART AND THE ORGAN WITHOUT A BODY: ‘THE JAR’ AS BURTON’S ARTISTIC MANIFESTO 174
23. 14. ‘HELL HERE!’: TIM BURTON’S DESTRUCTION OF MICHELLE PFEIFFER IN BATMAN RETURNS 185
24. PART FOUR. GOTHIC, MONSTROUS AND PECULIAR BODIES
25. 15. THE GROTESQUE SOCIAL OUTCAST IN THE FILMS OF TIM BURTON 201
26. 16. ‘A GIANT MAN CAN’T HAVE AN ORDINARY-SIZED LIFE’: ON TIM BURTON’S BIG FISH 219
27. 17. TIM BURTON’S CURIOUS BODIES IN MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN: A CONTEMPORARY TALE OF THE GROTESQUE 233
28. 18. ASEXUALITY AND SOCIAL ANXIETY: THE PERILS OF A PECULIAR BODY 245
29. 19. BURTON’S BENEVOLENTLY MONSTROUS FRANKENSTEINS 260
30. BIBLIOGRAPHY 273
31. FILM AND TELEVISION 294
32. INDEX 297