Unsettling films designed to frighten and panic the audience
The cause dread and alarm
Usually provoke our hidden fears
The conclusion of the film usually draws up a 'shocking finale'
Entertaining through its use of scaring
The usually centre at the 'dark side of life', highlighting forbidden or strange or alarming events
They aim to intoxicate the audience through terror of the unknown, our vulnerability, nightmares, loss of identity, etc...
Can often be combined with the science fiction and the fantasy genre (as reflected through technology, the supernatural and monsters, for example) Also, aspects of the thriller genre can usually be found, as seen with revolting and bloody acts (such as slasher scenes and madmen attacking individuals)
Horror films can also be seen as chillers, scary movies, spookfests and the macabre
Characters - as noted from the earlier 'Gothic' film styles - can usually include 'unknown' individuals, supernatural creatures, grotesque mutants, vampires, demented killers, devils, unfriendly ghosts, mad scientists, monsters, demons, zombies, evil spirits, arch fiends, Satanic villains, werewolves, freaks and those who are 'possessed'
After discussion in our media lessons, myself and my group have decided to change our ideas completely. We do not feel comfortable filming a crime/gangster trailer, as we feel the conventions may be difficult to shoot - for example, the use of guns/drugs/violence may be difficult to film without looking too extreme, whilst we would have to focus upon bloody make-up and corrupt props without looking too dangerous. We also aim to make our trailer actually look realistic, which with the above may be difficult and we may look like we're making a joke out of our trailer. On top of this, we are not impressed with our plot summary as shown in the previous blog. Although the plot will not have to be completely covered in the trailer, it may still be difficult to express the narrative. On top of this, certain areas of filming will be impossible for us at this time e.g. the party scene: would need a large luxurious house, numerous extras members, etc... making it too difficult Therefore, after discussing this further, we feel changing our previous ideas would be the best option. Therefore, relating back to our 'genres' sheet, the two other favourites were of romantic-comedy and horror. We discussed the idea of completing a rom-com trailer, although we felt producing a clever plot that would fit into conventions and casting boys (for possible intimate scenes, which may also be awkward) has differed our ideas. From this, we are left with horror. We discussed the ideas of producing a horror, and were positive about this. Although we have studied horror previously in GCSE and we both completed horror-themed films last year, we feel this would be the best option. Positively, we have a rough background of this area through previous research, on top of there being numerous plot ideas we could follow. We browsed through horror stories and trailers in our lesson, and numerous ideas from slasher films to horror loner individuals to ghosts and paranormal activities were brought up within our research. Therefore, we all feel comfortable within this area, and have decided to produce a teaser trailer within the horror film genre.
After discussion in class, we progressed further on our ideas for our media project. We delved further into traditional crime and gangster conventions, and tried to base our film ideas upon a particular criminal activity that could be highlighted in the trailer. We decided that we should have one main boss with two gangster 'sidekicks', followed by focusing upon the following crimes:
Armed robbery
Importing prohibited weapons
Handling stolen goods
Witness intimidation
Threat to kill
We focused on these ideas, even considering shots we could use within the trailer from them. These included:
The trailer concluding with the three main characters walking away from a bank, holding bags of money (therefore having just committed robbery) we thought techno music would be suitable for the trailer, which would begin to fade alongside this shot. We would be edited in slow motion in order to add tension and shock to the audience
In relation to importing weapons, we thought we could show a aerial shot of a row of weapons e.g. fake guns, whilst the camera panned along them, whilst a hand is seen displaying them out in a row quickly. We could fast-pace this shot in order to add a rushed atmosphere that is seen in teaser trailers.
In relation to witness intimidation/threats to kill, we thought we could tie a 'policeman' to a chair (which one of us may dress up as, with our face not shown but the typical white shirt/police badge highlighted. We have already looked into buying a fake police badge from the toy store 'Dominoes' and possibly a police hat
From these starting ideas, we felt it would be ideal to focus upon a plot of a crime and gangster film first of all. From this, the following features our initial ideas upon this:
START: shows the Boss' as important/talking/committing various crimes
MIDDLE: A range of criminal activities will be committed. The group discuss wanting more money, so they feel they need to commit a large crime. From this, they kidnap a police officer (as inspired from Quentin Tarantino's 'Reservoir Dogs' police scene) who would be integrated and punished until they released the needed information. This information would be of a high millionaire fraudster, to who has deviant inside corrupt police officers helping contribute to his acts against the law. The policeman being questioned would be avoidance and a 'good guy', but due to violence would in finale give information. This policeman would then secretly bring the 'gang' along to a party hosted by the fraudsters
END: the trio and police officer would arrive at the party, and fit in by drinking and dressing formally. However, the two side-kicks would escape upstairs inside the fraudsters house, and therefore look for information/a safe, etc... to steal money from the fraudsters. However, the police officer deceives the boss' and informs the corrupt police upon their acts. Therefore, the police arrive to take them down. The Boss is still downstairs, however, and escapes in time, whilst the sidekicks are taken away in a dramatic ending. The Boss may then be shown to carry on their criminal deeds, and this concludes the film
So far, I have studied three teaser trailers. Although I have learnt many conventions from these - such as varied shots, a man with a deep voice who narrates, and the use of 'coming soon' featured at the conclusion of the trailer - I feel I should study an english trailer in order to variate my research. Although 'Amelie' is a foreign film, the trailer I studied was reflected through an American approach, therefore advertising within another country
From this, I have searched the internet and found the teaser trailer for British director, Noel Clarkes' film, '4.3.2.1'. Below I will present the trailer, on top of analysing it and comparing it towards my previous research:
Likewise to the American trailers, this film opens with the distributor's logo/trademark. Therefore, I will make sure I create a distributor and feature this in my film, at the beginning of the trailer
A rumbling sound is heard during this clip, which fades to the visuals within the film, alongside the shots. It is quite menacing and suspense-like, almost resembling an approach veichle/train. It indicates that something frightening may be coming
A close-up of a teenage girl is this clip, adding to the non-diegetic sound heard. She speaks: 'you are about to die' and fixes a glare upon a supposed camera past the lens. She appears serious and messed up with her hair on her face, which indicates trouble has happened to her previously within the film. The statement is very harsh and menacing, indicating the genre of this film could be either crime, horror or thriller, due to her negative harsh words
The thundering sound/clip continue for approximatley 3 seconds, until a cut onto a further image follows. The clip is of a girl, also appearing menacing, appearing to throw something at someone and seeming angry. Between the clips, the rumbling sound emphasizes, until its echo is heard onto the next clip. From this, a beating sound - resembling a heart beat or a fast journey - is heard, possibly from a synchronizer or a keyboard. The use of animation converges with this clip too, with a large, tilted, white number stating '30' wipes from the right hand side of the shot, and shortens in size, as it almost fades away and disappears into the girl.
The shots after this follow, all repeating the same actions, although the numbers gradually decrease e.g. '30', '29', '28' etc... with each clip having the next number. The same non-diegetic keys are heard in each shot, too, with their sounds covering the shot which then cuts to the next shot and therefore the next decreasing number. These shots last approximatley 1 second each
Each shot varies, from angry girls, confused individuals and people running, to violent actions such as people holding swords and guns, and physically hurting people. These ranges of shots connote the criminal/thriller genre previously mentioned, therefore indicating the plot of the film. It is obvious people are in trouble, bemused and inflict violence upon one another, as well as featuring only elder teengers, or both sex's.
Various other harsh sounds are featured in this recording, such as the sound of a car screeching with the image of the car, as well as a repetitive rushing sounds and banging.
Within the top 10 countdown, the numbers then dissolve into the shots that follow, with the next number being instantly afterwards. This speeds up the pace, alongside far more rushed shots (such as a car smashing into a window) which sends the illusion that the trailer is getting faster towards the end: indicating that the disequilibrium has been achieved
This cuts to a blue background, with the numbers '4321' moving alongside to the left from the right
This then cuts to three slower shots, first of a girl standing on a bridge, to her reaction, to the next shot showing a woman driving a car, stating 'Is that blood? Don't get it on the seats' and disappearing out of shot with her fancy car. This adds to a wealth reference, which isn't indicated previously, therefore turning a change in the plot
The trailer concludes on advertising the film: 'Noel Clarkes 4321', answering the title's name.
In relation to the American trailers I have featured, no narration covers this British advert. The only speech is that of the girls menacing statement at the start is the only indication towards a hint of the plot. The rest of the shots are far more faster in comparison to the previous trailers, too, showing far more anticipation and rushing compared to them. It is far more to the point and almost harsh in presenting it. Added to this, typical British references can be found, such as the alleyways, bridges/streets which appear more murky in comparison to the brighter shots in the American trailers. This makes this film seem far more realistic
After deciding on the Crime and Gangster genre, the next lesson we discussed what we could include in the trailer. We found it difficult to begin with a plot as we wanted this to come spontaneously, so therefore we talked about areas that we could include. We firstly decided upon using a female cast, due to this being easier for us as a female group to take part. Although we could ask a range of people to take part, it may be difficult with unreliability as well as actually finding people willing to act, who need to understand the whole concept and narrative of our trailer. Therefore, we will find it easier to complete our piece as only our group.
However, last lesson we did discuss ideas still, and how we could reflect our ideas into our piece. From deciding that the three of us would take part in the video, our ideas reflected onto the conventions that we had research and we recognised that usually criminals boss' or victims are featured within these films. Therefore, we discussed the idea that the three of us could play three female gangster bosses, who would be superior to criminals who would inflict criminal acts e.g. diamond raids, bank robberies, murdering the enemy. The three superior boss' would be extremely rich from this, as they organised the crimes and paid the criminals first hand. Therefore, they are working against the law, but we are considering police insiders who tip them and work with them, although from the law side.
We also considered the idea of one head gangster with two main sidekicks, which would work out well alongside the three of us as a group. We would hope to show various characters, such as other criminals and police, which could be played again by us (but in different costume) or cast other individuals if they're willing
We have initial costume ideas, that would fit into stereotypical gangster costumes, such as pencil skirts, high heels, fishnet tights, leopard print, big hair, lots of make-up, leather, and various jackets such as a leopard print coat, a leather jacket and blazer. Also cigarettes, guns and big hair would fit alongside our preliminary ideas
After listening to my music the day before the lesson, I came across the single 'Keep My Composure' by The Chemical Brothers, which has a fast, messy beat which I thought would work well alongside the action-packed, face-paced edits that would stereotypically fit with a crime film. However, after speaking to my teacher we were told that from this year copyright tracks should be avoided for teaser trailers, even though we were searching for how to gain permission for the track. Therefore, although disappointing, we shall not include this track, and may have to conduct our own on Garage Band on the AppleMac's, or else search for a local band that have not been signed and grant their permission instead
From this, we set up further initial ideas by discussing how the trailer could start. As obvious through research, trailers usually open with a slow-paced equilibrium, which is steady and not too confusing, before the disruption to outline the adventures of the plot. Therefore, we conducted an initial idea upon how we could upon up our trailer in a crime/gangster conventional genre:
An establishing shot of a room with low-key lighting, showing a desk in the centre with various messy props covering it. A dim light above the desk would highlight this, although the rest of the room should be dark. This shot could open with a 'bang' sound, resembling a gun shot or a simple beat of a drum, which fades away as the shot lingers, allowing the audience to absorb the visual
After approximately 2-3 seconds, this shot fades to black
A repeat of the 'bang' sound, with a cut-in shows a gun on the table, introducing a crime/violent theme, as well as pondering questions. This is a binary opposite, due to the violent connotation alongside the peaceful, quiet shots.
This then lingers for approximately 2 seconds again, until once again fading to black
A cut alongside the 'bang' sound follows, showing a cigar/cigarette lit, inside a silhouette of an individuals hand, which is hidden in the dark area behind the table. This adds to further connotations, with the hand casually holding a lit, almost lethal object highlighting power and superior. Added to this, the connotation of a criminal smoking can be found with Marlon Brando in 'The Godfather' as well as Sharon Stone in 'Basic Instinct'
Again, this fades to black
A cut to the table from a medium shot follows. It lingers for a moment, allowing the audience to take in what is on the table (such as the gun), when a chair situation behind the desk begins to swivel around and reveal an individual. This individual casually swirls around, throws their legs up on the desk and poses, looking at the camera. This is a female, alongside iconic red high heels, dressed in a formal state as well as holding the cigar/cigarette. The individual would smile slyly, and then wait for about 2-3 seconds again, allowing the audience to absorb the non-stereotypical character.
These are initial ideas, and therefore they need to further be discussed. However, we feel we are along the right conventions so far, and are feeling positive about delving deeper towards our plot of the film next lesson.
Sinister actions - characters include bankrobbers, underworld figures and ruthless hoodlum. These usually steal outside of the law, co-operate with the police/work against them, steal, work outside of the law and co-operate with violent murders
Development from 1940's - dark cynical (film-noir)
Post-war film noir and detective mystery films
Highlights the crime figure and victim, with their rise and falls
Set in large crowded cities: secret world
Rivalry - gangster gangs
Questions from police, private eyes, law and special agents
Usually urban phenonenm, including rural settings and rundown towns
In the next media lesson, we discussed further on the three genre choices we narrowed our decisions down to: rom-com, horror or crime and gangster
Although all three options seemed ideal, we have decided upon producing a teaser trailer for the crime and gangster genre. This is due to having produced horror videos before, which may seem ideal as we have currently prepared for this genre, but we feel it will not be a challenge and may become tedious due to doing this before. In relation to rom-com, we like the idea and feel it is simple, entertaining conventions, although we may find it difficult to combine two genres together, as well as having to cast males for possible intimate scenes (which may be awkward for non-actors) as well as the plot becoming difficult due to the focus on comedy elements. Both of these genres would be interesting to complete, although at this time they are not at our main interest.
From this, we narrowed our decision down to the Crime and Gangster genre. After discussion, we realised that this would be amusing and enjoyable to produce, as well as be a challenge due to having no experience in this area. We feel we could make this unique, as it is doubtful other groups will particular with a genre of this choice, therefore giving us an advantage.
From this, we will have to come up with a unique plot due to them usually being stereotypical, but we feel we can overcome this by acting in the trailer ourselves, therefore overcoming the convention of all-male casts. On top of this, there may be safety issues (e.g. guns, blood, knives, violence, etc...) but after further discussion, we will avoid acting violence outdoors (as this may attract the wrong attention and scare the public) on to of using fake props (such as toy guns and fake blood)
Therefore, we feel this is an ideal genre to choose from. We can overcome the negatives thrown upon this genre, as well as have a choice of numerous possible plots; go against conventions with a female cast, as well as the costumes being stereotypical and therefore easy to access.
This year I am working with a group which consists of Jessica Turner and Sophie Beck. We have decided fully upon producing a teaser trailer this year after some discussion. From this, last lesson we went through various film genres together, alongside their good points and bad points in relation to producing them. From this, we conducted the table below to clearly illustrate our points:
We felt these were clear and to the point, being simple for us to follow. From this, we seperated the genres in the same lesson, stating whether we felt personally they would be ideal for us to actually produce. As indicated on the graph, the blue marks are those that two of us agreed to and we put into a 'maybe' option, whilst the green marks are those genres that we all decided would be ideal to produce.
Therefore, we are deciding whether to produce a teaser trailer for either Horror, Romantic-Comedy or Crime and Gangster.
This opens with the distributor for approximately 2 seconds and quickly fades into the trailer alongside a chiming xylophone sounds - adds a mystical feel referring to the narrative and genre of the film
Fades onto a confused man which adds to further questioning references - lingers for a few seconds then fades to black and onto a confused woman. Repetition of confusion follows, as shown through a befuddled individual, to a slow fade to black, followed by further more confused people. Alongside the questioning music, which compliments each other well. A man is also shown with binoculars, which has watchful attributes, adding to further questionings within this film
Art is displayed in the background: arty feel with a French film, which is associated with one another. This adds a stereotypical feel. From this, other settings are revealed behind these 'confused individuals', such as a mass amount of cigarettes (hinting at a shop?) and a large building that may represent a train station
These images last for approximately 2-3 seconds each which emphasizes a heightened pace, although the use of non-diegetic music again adds an instant slow-pace of the trailer, not breaking through too quickly - mainly audibly
Further images of people follow, with the pace fastening e.g. from 2 seconds to the last close-up shot being only 0.5 to 1 second. This allows the audience to recognise the plot of the trailer is opening as the pace introduced further areas.
A typical American's male voice opens the narrative, asking the audience: 'do you know what these people have in common?' This lures in the audience allowing them to join in with the plot rather than just view the film.
From this, I have acknowledged that an American voice for a French film has been used: a typical convention, highlighting this is an American advert. The use of a male narrator could rebel from the female audience, which lessens attention upon gender bias. On top of this, I have noted that the previous trailers that I have analysed also follow the convention of using a male narrator, both American with a deep, bold voice. As this French film has been portrayed in an American style, it has been re-worked and stylized for the particular audience. However, I shall next focus upon an English film, and view whether any variables follow alongside a different country choice
The use of including the actors with the narrator adds to further joining in, highlighting that this is a friendly, comforting film. This can be found with footage of a child actress, as she replies to the narrator's previous question with a shaking of the head whilst maintaining eye-contact with the camera. This adds to a postmodern feel, with the audience recognising the use of technology and that this is in fact a film. This compliments the genre, noting that this is not a serious film and has a comic feel.
The introduction of the characters in the intro is quite fast, although the slow pace of the edits (as shown through the fades to black) softens the speed, therefore not rushing the plot too thoroughly and relaxing the audience
A graphic match from the little girl to a cut to an adult woman is positive, as we understand they are a transformation in age; this is the same female, but grown up (this is obvious through her eyes, face shape and short, square-like haircut) This highlights that we may follow her life-story, as she transforms from a child to a woman - further hinting at the plot of the movie
The narrator answers our questions, stating 'This is Amelie' in respond to the shot of the grown up woman. A fast-tracking shot of the woman falls alongside this, first revealing her from a medium-shot to close-up of her face. This is in contrast to the previous shots, which are slow and dream-like in response to the music. However, this instantly opens up the trailer, heightening the speed. Alongside this, the jingle sounds heard before continue but with a lessened gap between each sound, complimenting the speed of the shot. This tells the audience that excitement will follow in the trailer, answering their information needs upon the plot.
This Amelie also matches the camera lens with her eyes, highlighting further acknowledgment of the audience. Through this use of repetition, we understand the character may allow the viewer to join in, may interact with them or possibly even talk to them throughout the film. This would compliment the previous 'fun' feelings of the film
A cut follows an establishing shot, which reveals large windows within a large building. A thunder and lightning sight is shown here. The use of this setting could be significant, as well as the use of the thunder sound highlighting possible negatives here. The thunder could also highlight disequilibrium, therefore being a change in the trailer; it may highlight the change of narrative and busy shots that are to come, heightening the audience's expectations. A large clock can be seen in this clock, referring to the previous acknowledgment of it being a train station: could this be the significant setting?
Three quick paced shots follow. They reveal Amelie kneeling down, then a crab shot from a crack in the wall with a box, and then her picking up the box through shot reverse shot. The camera then focuses on the box, revealing this may be a significant part of this film; the prop may reveal areas of the plot, be an importance to somebody, etc...
The narrator reveals more areas of the plot, showing the box inside the hand of a man in a telephone box - referring to setting, more characters, meaning and symbols, etc... - as well as him stating: 'childhood treasure', which possibly reveals what the box in fact is
The use of reaction shots and POV shots follow, upon people's feelings towards this box and other areas of the film. In relation to the start of the trailer, they also appear dazed and confused. This furthermore allows us to follow the film. A shot reverse shot shows the man's face as he opens the box, followed by a bewildered appearance. An edit divides his shocked reaction, with a 'flash' feel - this could represent a flash of memory, shock or acknowledgement from opening the box
Romance connotations are hinted at, with a shot of Amelie looking to the side (which lasts approximately 2 seconds) followed by a shot of a male appearing to look in the opposite direction, therefore diverting his gaze at her. The music signifies this, with gentle musical tones which set a peaceful setting, but also have a French feel, therefore reminding us of the setting as well as concentrating on the storyline
The next cut is a long shot of both the male and Amelie being pulled together into the same shot, although with a noticeable distance, highlighting possible problems within their romance settings. The setting is clear, as shown through food advertisements and the tables, showing a cafe. Amelie is in uniform, which reveals her occupation within the plot
A reaction shot shows the man, furthermore appearing confused, which follows a cut of Amelie looking sad, and appearing the melt. The use of animation here therefore adds to further entertaining connotations, although displayed in a dry manner due to her sad appearance. In contrast to the previous entertaining values, this film is represented with a mixture of emotions
The camera pans down to the 'melting Amelie', which shows her dissolve into a splash of water. This could highlight disappearances and typical emotion aspects (people feeling like they want to vanish when they feel sad). The water quickly fades into writing, with the background fading to black. The water has metamorphosed into orange, spiky font, reading the director and a previous film - therefore recognising past elements, which may have been put into this feature. This is an advertisement ploy, as if previous audiences enjoyed the film told, they may enjoy 'Amelie' too
Sharp fast-paced shots follow, revealing different sides to the supposed characters shown. A black and white shot shows Amelie dressed up, furthering the mystical feel, with the male 'lover' character being presented with an extreme-close up again. Further shots follow, such as an elderly man stereotypically doing the gardening, Amelie smiling, etc... This achieves a trailers need for pace, beginning with a short, slow introduction followed by a rushed need to reveal the plot. As well as represented through the fast-paced images, the music also contributes to this, as revealed through the violin, high-pitched sounds, which fasten in pace and become almost unrecognisable through the distorted use of clashing violins
The use of fast-paced shots works well to fasten the pace alongside the music. These correlate well to make the trailer far more entertaining. In relation to this, the repetition of the previous flash and a fast-paced editing to show people moving at a higher, unrealistic speed which fastens the pace further. As this is an actual clip from the film, we also acknowledge that the narrative may be pushed forward throughout. This adds further to the narrative, but in this point to the speed
Answers are told in relation to the previous shots, such as Amelie dressed in costume again, revealing a ripped up photo of this image, as well as her undressing - highlighting the purpose of this costume was through taking a photograph. This could add to a motif of the film
As the pace fastens, so does the music. Further shots are used, approximately lasting for 0.5 seconds each, as well as the use of fast-paced editing to fasten the speed and the excitement of the trailer. Further violins are brought into the soundtrack, distorting a rushed but peaceful sound. It is rather romantic but rushed, also relating to the plot and the images previously shown
The shots shorten further as the finale of the trailer succumbs, almost aiming to rush in as much information as possible within a short time. The music follows this, fastening further until it denotes a 'squiggle' like sound. The shots continue to be shorter and faster, until an close-up shot of Amelie mirroring the introduction shot of her is shown, although this time in different dress and outside - showing a 'brightening' ending for the film, as shown through the trailer. This shot lingers for approximately 2-3 seconds, which hints it may be the lasting shot. She is also looking at the camera - and therefore the audience - again, but this time she smiles in a shy and secretive manner. This relates to the questioning theme throughout the trailer, and her smile almost says, 'watch this film to find out'.
A cut follows, concluding the trailer, of a black background (likewise to the director title beforehand) with the same spikey, orange font. This time however, it simply reveals the title of the film - 'Amelie'. The music is previously distorted, but as this title wipes onto the screen, the violins halt to an abrupt stop, adding a bold effect that would attract the audience.
This title then fades after 2 seconds onto a further image of Amelie asleep. A slow piano sounds can be heard, adding a lullaby, peaceful feel which may show the emotional side of the film. Further animation can be found with a cut-in to Amelie's lamp, which shows an ornament pig reaching out to turn off the lamp. This relates to the 'melting' animation beforehand, hinting at cartoon areas within the movie. However, as shown next to a sleeping Amelie, this could suggest her imagination as she sleeps, which concludes nicely to the bright, fluorescent colours and variation of both events, people and situations as shown previously throughout the entire trailer.
A final piano key is played, being of the last sound of the trailer, as the image fades into a black background again (SVS) but this time highlighting background info of the film (e.g. the director, producers, further actors, etc...) which is shown in tiny orange writing again (highlighting intertextuality) from this we can also view the distributor logos in the corners, as typical convention, which needs to be provided for the film to even take place
• This is a French poster promoting the film, ‘Amelie’. It is ideal for me as I have only focused upon American posters previously through my research, so it will be interesting to acknowledge any differences with a different foreign advertisement • In relation to the font, most of the writing featured on the poster features the same format, which portrays slit-like, stretched words. At the top of the poster, the two main actors’ names are shown, with one on the right and one on the left. These take up about a tenth of the poster vertically, showing they may not be the main importance but their bold white lettering makes them an essential read. Approximately a third of the poster between them is free, although in small writing – slightly above their names – features the ‘[distributors] presents’ typical logo. • Approximately 7/10ths down of the poster is the title of the film. This has been shown in yellow, so it stands out further in comparison to the other colours featured on the poster. Shown in French, it reads: ‘The fabulous Destiny Amelie’ . This clearly presents the film’s title and is an interesting way to introduce the character. The actual title of the film ‘Amelie’ has been shown in larger font, therefore noting that this is the main focus. Underneath the bold title, in approximately the same font as the actors titles, is the director. Therefore, the individual names that are important for this film’s advertisement are all equal, and also in white font, to enlighten them in comparison to the other areas featured. • Below this, also in white writing, is the information for the background of the film, the distributors, who contributed to its making, etc... This is not as important to a mainstream audience, to who may read this if they wish but it is not clearly highlighted for an eye-glance. I have noticed this throughout the other posters I have viewed, therefore making me acknowledge this convention. This area takes up about 1/10th to 2/10th’s of the poster • There is only one image on the poster, to which is a bold photograph of a female, who is presumably Amelie due to this being a popular French female name. Three colours are featured on the image, noted as black, white and red – this could connote she is a dull, boring individual, although the other colours of the poster contrast away from this idea due to them being bright. Although the colours used together are dull, she surprisingly stands out due to her alarming pale complexion – which is snow white – as well as her haircut, being short but choppy with an obvious fringe. The red colours shown add colour to her almost boring persona, with a rose-red top and matching lipstick to match. However, the other colours shown alongside this highlights her image. Her eyes are striking due to being quite hollow black, which connotes negativity but her smile defers from this and she appears both shy and cute. Therefore, ignoring the dull colours, the audience are made to feel happy towards this character. This appearance of her is likewise to the one featured within the film, being of our first introduction to her adult persona. Therefore, intertextuality can be found here, being of another introduction to her in this costume. • This image covers the core of the photo, both in the middle and sideways. There is a slightly further gap to the right in comparison to the left, however, which may be open due to open interpretations. • The bottom of Amelie’s persona is black, which fades into a black background for the white information at the bottom • The background contrasts completely from the other colours highlighted; it is green. However, it is quite blotchy and the green, almost appearing smoke-like, which adds a mystical effect. This works well alongside the jingle sounds featured on the trailer, as a mystical sense can then be found again, complimenting the plot of the film. The colour is gas-like, which may contribute to her bizarre imagination featured in the trailer (e.g. the animated pig whilst she sleeps) A drug hint may even be contributed to the colour, but no hint of this can be shown within the trailer. Overall, the colour is a bizarre use and doesn’t appear positive, but in comparison to the remaining images and colours shown on the poster, it combines well – furthering the mystical, bizarre theme.
Spider-Man is a 2002 American superhero film, the first in the Spider-Man film series based on the fictional Marvel Comics character Spider-Man. It was directed by Sam Raimi and written by David Koepp, and stars Tobey Maguire, Willem Dafoe, Kirsten Dunst, and James Franco.
TRAILER
I analysed the trailer for this film; here is the link to it: http://www.imdb.com/rg/VIDEO_PLAY/LINK//video/imdb/vi579469593/
• Opens with distributor, lingering with its stated soundtrack. Then fades to black, and again, opening the shots for the trailer
• Shot reverse shots of male star and his spiderman persona – graphic match to highlight that it is him. Speech follows this too, stating how his life has changed, indicated by the contrast of daytime and an average looking man, to dark time (adds more mystery) and an individual in a spider man suit. The graphic change is also indicated by the man slowly walking towards the camera (slow pace) whilst the spiderman lurches towards it. These shot reverse shots speed up, until the camera stays on the spiderman and follow him with a pan to the left as he lurches into the air and flies. Instantly adds questioning from the man’s speech, hinting at a thriller, although it is followed by the huge jump, leaning towards the action genre • ‘The choice to live an ordinary life is no longer an option’ adds to suspense and ponders on a sci-fi level • Silence is then heard as the spiderman draws back towards the camera. Up close of his reaction – although hidden by mask, he is staring straight ahead – and a quick pan of the camera reveals a woman (romance connotations?) being knocked off a pipe, as the music begins with a loud clash of a cymbal.
• The typical ‘villain’ character follows, with a hidden costume again although the markings on the face connote evil e.g. sharp eyes, arched eye brow, sinister grin. We then understand spiderman saves people – essentially the girl – by defeating the baddy to save the day. Typical intertextuality • Large explosion follows, highlighting destruction throughout the film. Good use of editing through up close of eye witnessing building. We then see girl fall and scream – adds to tension • Technology show through special effects of explosion/flying/falling – adds to typical action genre connotations • Fast paced tracking from aerial shot of traffic – yellow taxis connote setting, hinting at being in New York • Animated titles, with building-like blocks corresponding – metallic. Shows a contrast between background and font, as font appears from centre and looks luminous, advertising the film with ‘this season’. Electric guitar plays just afterwards for approximately two seconds, then silence for a brief moment, adding to the suspense. Highlights editing in time to the clips, in order to add suspense • Three fast paced shots highlight areas of the film, from spiderman looking then flying then an explosion. This adds to further action genre references. It also hints at the plot, with hints that he may cause explosions or work/fly in reference to these explosions
Romance connotation of rescuing girl –ads further elements and mixture of genres to the plot. We hear the girl’s speech, from both verbally and visually and the diegetic sound continues over further shots within the film, following the girl. More references to the plot follow, as she walks out of a cafe dressed in uniform – adding to the background of some of the characters featured within this trailer • Use of slashing sounds as the main music quietens and goes out of being the main focus. The slashes work with titles and shots, such as ‘turn’ and ‘your’. In between the slashes are action shots, which correlate well together. The shots working alongside the titles fasten in pace in relation to the slash sounds and guitar riff, adding to a fast-paced, exhilarating feel which tightens continuously. • Following these titles are highly fast-paced shots, which feature people in pain, further explosions and spiderman constantly flying around from his spider web throughout the city of New York (as shown from more taxis and high buildings) therefore, the audience presumes a lot of action and melodramas will follow in the film • The images fall alongside the tom drum beat, adding to further tension
• These continuous shots are interrupted with an approximately 3 second shot, featuring spiderman on a pole, from a great height. It lingers for a moment, and then the fast paced shots continue. Spider man has been portrayed in this way in order to show his significance within the city, as it is clear he is on a high building, towering above the busy city, expressed through this establishing shot. Further quick shots continue, to a shot reverse shot showing him from the poll again, to him lurching into the screen and disappearing to black – adding to his power over the audience as his superior character even takes control as almost a hero to us • This then cuts quickly to a black background, with the title ‘SPIDER-MAN’ concluding the answers to whom this individual is. The font is of the same as the previous titles
• Four shots are then inserted with diegetic sounds to the girl looking troubled, although spiderman falls down beside her, they kiss, and he shoots back up to the sky. A reaction shot concludes the trailer, as she appears wet – hinting at harm in some way – although still looking happy as her smile expresses her mood. She looks up at spider man in amazement, hinting to the audience he is going to do phenomenal things throughout the film • The penultimate shot is likewise to the title shot, although it reveals ‘COMING SOON’, answering the viewers questions of when they can see this film • This shot fades to black then reveals various information to the viewers, used as last as it is probably the most unimportant area to the audience, to who will only value the images and plot of the film within the trailer, and therefore not the production behind it. Information revealed includes its website, its sound track and the film’s distributor
MAGAZINE
Following this, I went on and focused on synergy, focusing upon a magazine front cover of 'Empire' advertising the film. Here is the cover alongside my notes:
• Expressed as a new film ‘THE NEW LOOK’, which alerts attention to the reader. • Intertextuality found between the previous ^^ and the title of the film, ‘SPIDER MAN’ – full caps and same font, although the title is highlighted more broadly through silver coloured writing
Advertisement through the words ‘SPIDERMAN SPEAKS’ which hints at an interview. Therefore, there will be inside information from the main star, which will explain areas of the film, why it should be watched, etc... this will interest a viewer • The background is dark at both the bottom and top, whilst gradually fading to grey, silver and almost white in the centre. Although dark and not exactly appealing, it compliments both the image and the font colour, as well as hinting at the feeling of this new movie. It also contrasts with the boldly red ‘EMPIRE’ title of the magazine • The image features the main star of the movie, Toby Maguire, who may be a well-known face • He has a typical male face, with nothing in particular drawing you to him, with the costume drawing the attention. It is a black and silver webbed bodysuit, known through intertextuality as the spiderman suit, although that is originally red. This adds further questions to the film, with the title ‘The stars of 2007’s darkest sequel is unmasked’. This compliments the image, revealing he is not in his typical red costume due to a change with the term ‘sequel’ revealing this, as well as his face being uncovered – not noticeable in the previous ‘Spiderman’ films. Therefore, a change has occurred here, which will appeal to the viewers. • His posture is also note able. He appears quite serious and determined, which may hint at a serious themed film. On top of this, in relation to rule of thirds, his face owns a great deal of the photograph, with his body hidden (with a small spider revealing his identity on his chest), whilst his hand takes up approximately half of the photo. It is positioned in a trademark way, as in the previous films he positions his hand like this before he allows the spider web to unleash. Therefore, it is as though he’s aiming it at the audience, which could make one feel uncomfortable but also curious. It is threatening, adding to a possible feel of the film. • As well as this, in relation to promoting the image, this posture could also hint that he may burst out of the magazine – a.k.a. onto cinema screens. It is promoting the ‘sequel’. • The magazine features various more typical magazine-cover connotations. For example, the bold title of the magazine has been featured, with a bold red ‘EMPIRE’ logo. This contrasts with the bleak background, highlighting its iconic name and attracting the movie audience • The magazine also features a list of films, reviews and ‘specials’ featured within the magazine, with further advertising. The use of a red ‘plus’ sign above this is in bold red, highlighting inter-textuality between the title and the advertisement of the interview inside. The added accounts featured within the magazine are displayed in white and silver, correlating with the ‘SPIDER-MAN’ title. This shows that the colours compliment one another through the magazine front cover • The bottom left hand corner features further advertisements, luring in the audience further. These advertisements include Free posters, which would intrigue the viewer and lure them more towards purchasing the magazine. The font for this advertisement is also in white and red, with the white ‘FREE!’ sign is in white, making it more bold against the two colourful pages featured behind it. The two images of the posters featured in side have been placed on the front cover, therefore visually introducing what is available inside, therefore luring the viewer in further to buy the mag.
In relation to synergy, the actor is the same character as the spiderman featured on the trailer; the costume is the same, although the colour varies, but the web-like body suit and spider logo on the chest correlates; high posture, as said, it a typical spiderman pose, whilst the silver writing for 'SPIDER-MAN' is likewise to the silver flash of writing featured in the advert, advertising the film.
POSTER
From this, I then went on to analyse the poster for the film, adding further to the advertisment campaign. The poster is below, following my analyse:
• The main focus of the poster is the image that has been included. This is of the character ‘spiderman’, with his typical webbed body suit, known as his trademark costume. The web-like metal features on his dress portray a spider-like web, therefore complimenting his name well. The suit is clearly visible within both the trailer and the magazine cover (although the magazine features a black suit). • Like wise to the magazine, he is posing in an iconic way. The poster features him aiming his ‘spider web’ towards the audience, as shown through his hand expression. Likewise to the magazine, here he also appears to be lurching towards the audience, although in a different posture – crawling (likewise to a spider). However, the graphics shown here reveal him crawling up a building, therefore defying gravity, due to his spider web making him stick. Therefore, the use of the bold image and the character alongside the CGI effects makes this an appealing poster. It is bold and eye catching mainly due to the highlighted image • From this, the titles are at the bottom/centre of the poster, below the image. The title of the film spreads across the poster, taking up all thirds. It is silver and of the same font of previously shown advertisements, adding to synergy and intertextuaility • Below this features behind-the-scenes information, such as actors involved, producers, the director, etc… For a mainstream audience, very few individuals would take great interest in how the film was actually moulded: they would only care for the visuals and the plot of the film. Therefore, these have been placed in small font size, in order to draw little attention. They have been placed in black font so they contrast with the yellow and orange shades reflected onto the building from behind. • Underneath this information is of the release date, which is most important to those who the film appeals to and hope to go on to view it. This font and colour matches the title, making them both stand out the furthest and therefore being the main information function for those who wish to view it.
'(500) Days of Summer' is a 2009 romantic comedy-drama film written by Scott Neustadter and Michael H. Weber, directed by Marc Webb, produced by Mark Waters, and stars Joseph Gordon-Levitt and Zooey Deschanel. The film includes a non-linear narrative, following a protagonist male (Godron-Levitt), admiring his past relationship. He follows the ups and downs of his first love, that last 'five hundred days of summer'.
TRAILER Below is the teaser trailer of '(500) days of summer' following its analysis:
• Opens with ‘the following preview has been approved for all audiences...’ etc, which highlights that it is a reliable movie • Film pens with distributor 20th century fox, as music gradually begins. Is quite quiet, with a low guitar riff. The screen then fades to black and cuts to the opening of the trailer, as the music continues • The shot shows a couple from behind on a bench, which hints that it is a typical romance or possibly rom-com from the connotations of the couple. Therefore, the predicted genre has been revealed within the first shot of the trailer, instantly absorbing the audience • The shot then cuts in to their hands, which are placed on top of one another. This adds to the presumed romance, due to the physical contact of the male and female. A narrator’s voice is then heard, misguiding the audience with the line, ‘this is not a love story.’ Therefore, the equilibrium has been disrupted, which adds a twist to the trailer, avoiding its expectations. • However, in the next cut the narrator speaks again, to reveal ‘this is a story about love’, simply adding a unique twist to establish this advert as a new film – with the use of this unique line – however, the conscious predictions shown beforehand are revealed as correct. Within this, two reaction shots are shown separating the boy and the girl, adding to the stereotype of romance as they smile at one another
• A typical American, male narrator has been used (showing that this is probably an American film). His voice is deep and quite strong, used in aiming to alert the viewer to both the screen and the happenings of the actual plot • The use of fading to black is repeated, which could highlight the changes in time in both the narrative shown as well as the aim of the advert – to express various different images from throughout the film. The use of black works well, both in time to the rhythm as well as highlighting the skip in time and the distorted images (being in non-linear order) • The narrator sums up various areas of the plot, although the images have obviously been selected purposely, for example the most appealing and revealing in relation to the story, as well as working well alongside what the narrator is revealing. However, the entire film or story is not revealed, therefore being the main aim of an advert – to not reveal too much, but to appeal
• Throughout this only music can be heard, but the lyrics begin, with a long vocal complimenting the visual well, as it parallels in length of the shot – to which pans from the male to the female, whilst revealing the setting – a library. This could have been selected due to the camera use, although it may have worked in order to reveal an essential destination within the film • The shot then fades to another setting at the guitar begins again • Typical ‘romance’ connotations continue, with the use of the male standing over a balcony, appearing to ponder. As well as revealing another setting, hinting at the destination of the film, it could also reveal his thoughtful character, his preference or his emotions in relation to the assumption he is considering the female previously repeatedly revealed throughout the trailer. Therefore, the trailer is full of revelations about the film, although in a subtle manner; rather than just stating the plot, from either the narrator or revealing full conversations between the characters • The narrator continues, hinting at areas of the plot, such as stating ‘within five days of summer...’ as well as revealing the destination of ‘Los Angeles’, both correlating with appropriate shots, e.g. – a sunny day or a large building emphasized with America. In mention to Los Angeles, the man is thoughtful against a wall peering out, when the camera pans upwards and the use of fast-paced editing allows the shot to begin in the morning and range to night time. This is shown through the darker setting of the night sky and the vast amounts of lights within the Los Angeles building, an association of the city. • The clips are cut in time to the narrator’s speech, with an example including ‘uncertainty’ and the use of reaction shots complimenting the emotion. Between each speech he pauses slightly, before his speech fastens alongside the quicker shots • Repetition of faded summer shots relates to the title of the film as well as showing further romance connotations and the overall setting of the film – possibly late afternoon occurrences? Nighttimes/dusk is better associated with romance in previous films, with night time having connotations of love e.g. going out on a ‘date’, intimacy, etc... Also, there is a shot of the male star at what is presumed a wedding (as expressed from the mise-en-scene) adding to further romance. • The use of a tom drum being used in time to the cuts adds to the editing team appreciating the music of the trailer, too. The vocals are also slow, with the male vocalist sounding dreamy and focusing on his chords, adding emphasis to the soundtrack too. The use of the vocals alongside the drum beat makes it seem less harsh, and therefore more peaceful, relating to the intimate connotations of this film • The use of a focus pull is used, with a long shot of the couple approaching a bed. As they reach the bed, the focus pull is pulled into a lamp, adding to it being inside and a bedroom. From this, we understand further romantic links – sexual in relation to the couple and bed – as well as a trailers aim of hiding some secrecy from the viewer, therefore not revealing too much in these opening shots. Added to this, questions may probe throughout the narrative of the plot, as parts are hidden here • The male narrator’s voice speaks again, following the male walking onto an open street, through an establishing shot. The use of animation follows within this, adding to a technological aspect of the film rather than plain filming. It adds appreciation to the amount of input put into the film. During this shot, the narrator reveals the distributor, followed by the title – the use of these in little narrative highlights they are an important aspect of a movie • Following this, the imagery follows the narrators voice, as he speaks the title paralleling it be revealed ‘(500) Days of Summer’. The title is shown with a black background, and plain font, although the colours vary from blue to yellow to red on the font. These are colours linked to summer (yellow being bright, red being the sun and blue the sky) • The chorus of the song here follows, being numerous sentences sang with emphasis and quite quickly. To match this, numerous shots are shown through the film in relation to his fast vocals, ranging from happy times to sad times – different possible emotions within the film • The narrator then speaks again, relating the title to a number of adjectives, such as “’ (500) days of...magic’”, and then a shot corresponding with his speech. With this example, the male character appears to be dancing in the street appearing very jolly, with the use of an animated bird on his hand – emphasizing this film is ‘magical’. Other examples are of the narrator reading ‘(500) days of uncertainty’, with the use of a split screen highlighting the main actor’s emotions. The use of the split screen and the animation adds to a technological value the film, highlighting a romance doesn’t have to just have plain filming, in comparison to the assumed use of animation within cartoons and possibly action movies. In relation to this, there are further romance connotations with his ‘(500) days of...’ speech, as he links in adjectives such as ‘tenderness’.
• The narrator eventually introduces the actors. During his speech, a separate shot of each one is shown, presumably being of a clip from the film. These clips show the male appearing quite thoughtful and serious, whilst the female laughs aloud, possibly introducing us further to their characters. • The narrator concludes the teaser trailer with the speech: ‘(500) days of summer’, which tells the audience the main aim – being of the title – and that the advert is therefore over. The title expresses the same font and changing colours of before, contributing to intertextuality, as well as including typical trademarks needed for behind the film. This includes the distributor, the use of colour, camera equipment, etc... They include this as it is vital to advertise these areas due to the contribution they inflicted within the film, although they are shown in small grey writing at the bottom of the title, highlighting how unimportant this piece of evidence is to the audience. The audience focus on the images/plot/title, rather than how it was actually made • The trailer finished with a ‘COMING SOON’ message, also with the same font/black background as the title. This is the release date, so the audience know when to look forward and out for the picture. It is the small advertisement essential for a teaser trailer, which releases little information.
MAGAZINE Following this, I went on to analyse a magazine cover featuring the film. Although I was unsuccesful highlighting an actual film review featured on a cover of a magazine, I came across the below cover, which features the main female character. I will overcome this issue next time by noticing a magazine cover firstly, to then following on with the trailer and poster. Below is the cover, followed by an analysis:
• This magazine features an interview with the joint-main star of the film, ‘(500) days of summer’. This is clearly shown with her name and herself portrayed in the centre of the cover of the magazine • The title of the magazine is ‘NYLON’, which has been shown with bold clear lettering, hot pink in colour and the title being spread across the top. The use of the title covering the length of the magazine portrays that this is the title, and in high importance. The use of hot pink indicates that this is for a female-audience, due to its stereotypical connotations • Underneath the title, adding to being a female magazine, the colour baby blue has been shown to portray the word ‘featuring’, followed by a list of powerful women’s names, shown in the same clear, bold font but in black writing. From this, the colours change, highlighting different features shown within the magazine, but the use of the colours are stereotypically feminine and therefore right for a female’s magazine. The word ‘AND’ has also been shown within these titles, in pink, blue and purple, furthering the female assumptions • These colours are featured throughout the colour; from blue highlighting ‘THE IT GIRL ISSUE’ to further celebrities featured being told in pink • In relation to the main topic, Zooey Deschanel’s name has been clearly shown, therefore broadly indicating she is the main focus of this magazine’s issue. Her name has been shown just below the centre of the cover, on top of the image of herself. The font has been made to stand out in relation to the rest of the cover, therefore being shown in bold but italic, swirly writing. This adds a feminine touch – complimenting both the audience and the woman featured – as well as drawing attention to the actress’ name. If well known, the reader will be interested in reading her interview, as well as learning about her further • In relation to the image, a simple photograph of Zooey on a shoot has been shown. She is posing in a shy but cute manner and smiling slightly, adding to girl-like attributes. In relation to her outfit, she is wearing a baby blue shirt, tights and a girly hair piece in her hair, adding further to the womanly theme. She appears likewise to her character, mainly known through ‘(500) days of summer’, where she is presumably most recognised from. Her posture is small and petite as shown through her crossing her legs, although she is shown in the centre and covering most of the cover, adding to her being the main feature of that issue • The white background works well alongside both the image and the font, as the variation of colours don’t clash with the colours used, as well as this background clearly being from her magazine shoot. (As shown from the shadows of her persona.) The colours combine well, although the white may have been used as it is less harsh then black, as well as appearing more classy and formal. This could relate to the theme of that particular magazine • Further magazine stereotypes are shown, such as the date in black and the barcode below it. Although this needs to be featured, it is an eye-sore and not essential for the readers needs, so therefore it has been shown in small and in the bottom left-hand corner
POSTER
From this, I compared the poster that followed alongside the advertising compaign. This is to add to synergy, and relate to further understanding of how film posters are portayed, as well as how they work alongside both the video and magazine. Here is the poster, following a brief analysis of it:
• This poster consists mainly of images, which presumably relate to the film. The images are all different from one another and vary in areas of the plot of the film. Therefore, we get a slight insight of the narrative at glance • In relation to the title of the film, we could also note that there are ‘500’ photographs, in relation to five hundred days • The images vary in colour and size, and are frequently ripped and pieced together. This adds to further variation within the plots (the rips connoting bad times?) with the photos appearing to be pieced together. From this, we could analyse this piece as being a forced relationship, with the use of male and female hinting that it’s a romantic film • In the bottom left hand corner shows a man writing in a notebook. It is thought that this is the protagonist, due to him being clearly highlighted in comparison to the rest of the image. Animation has been used beside him, showing an outline of typical ‘scratchy’ grass. This adds a fun motif to the film with the use of childish animation, on top of relating the setting of the film outside – further more in relation to the ‘summer’ title • A main image shown behind the title is a yellow spiky shape; presumably a sun. Further images are shown here with a yellow filter, highlighting good times in these photos. However, these images are much smaller in comparison to the other images featured, possibly connoting that there are little good times. • This sun image further relates to the title. The title of the film is ‘(500) days of summer’, which has been broadly shown in white bold letters, highlighting this area. The use of the contrast of colour (yellow) behind this title further brightens the title. • The overall imagery appears quite fun yet thoughtful, as shown through the bright colours and animation, alongside a thoughtful motif, as shown through the loner man and the variation of the photographs – both in the image and the size • Information has been featured at the bottom of the poster, mainly covering two thirds along the bottom. From this, we understand the use of small letters highlights the unimportance to a mainstream audience, although the covering along most of the bottom is a key reminder that this information is in fact somewhat important. It has been portrayed in black, to contrast alongside the white background, with yellow areas portrayed to show key information – awards and the website. These would probably seem more interesting in comparison to the remaining information, therefore complimenting the yellow sun further. • The use of a white background connotes summer, as the light colour is more positive compared to black. We can see this background surrounding the images, as well as being at the bottom, illuminating the poster further – therefore adding to more attention
Goodwin focused on the narrative of media texts, and after analysing various sections, he summed up a general narrative theory. This theory included eight main principles, which are usually found in most texts. Although he focuses upon music videos, sections of his main principles could also be found in teaser trailers. These 8 stages include:
Links between lyrics and visuals
Links between music and visuals (e.g. complimentary, contradicting and amplification)
Genre characteristics
Intertextual reference
Notions of looking
Voyeurism (direct gaze, other people looking at artist, insight into artists life, screens and mirrors)
Demands of the record label (representation of the artist)
Performance based, narrative based or concept based music videos
In relation to trailers, the non-diegetic music put over the trailer would work in time to the beat, as well as the lyrics of a song corresponding the images e.g. there may be links between a repetitive drum beat and the editing of a shot. From this, we can notify voyeurism, the base of the narrative and focus on 'notions of looking' - therefore focusing on the shot. Therefore, areas of Goodwin's theory can be applied to the teaser trailer.
During the mid-20th century, two European academic thinkers (Claude Levi Strauss and Roland Barthes) focused on the theory that when we focus upon a word, we do not focus on its meaning or surroundings, but in fact the understanding of the opposite of the word; therefore known as the binary opposite. They acknowledged that ‘words merely act as symbols for societies ideas’ as well as opposing words having relationships. For example, the word ‘coward’ can only be recognised by words that act as a difference, such as the word ‘hero’. From this, we can understand how society and our culture associates with certain words, therefore obliterating their meanings. Popular binary opposites included good/evil, youth/age as well as masculinity/femininity. Usually one of these words are more valued than the other, therefore one being negative.
Tzvetan Todorov focused on the narrative of a text, going on too in-depth analysis of the area, until he simplified the idea of the narrative theory, developing a complex interpretation of film texts. These interpretations were know as Equilibrium and Disequilibrium. The fictional piece starts with Equilibrium, which highlights everything that’s there in equal balance, noting that equality is important. The narrative then suffers from some form of disruption, which is known as the disequilibrium, which is a change of path and variation from the ‘balance’ previously found. Therefore, Todorov noticed the eruption of a clear narrative, with how this progressed downwards.
Born on 17th April 1895 and passing away on 22nd August 1970 in Leningrad USSR, Vladimir Propp was a Soviet formalist scholar who studied Russian Folk tales, analysing their basic plot which developed into identifying their narrative elements. This involved the typical characters that were repeatedly featured in these folk tales, which after in depth research he concluded that, after studying 100 of these tales, the characters used fell into eight categories. These categories fell under:
1. The villain — who was known as the 'baddy', struggling against the enemy, the hero. 2. The donor — prepares the hero or gives the hero some magical object. 3. The (magical) helper — helps the hero in the quest, usually in the form of magic, as shown in the title. 4. The princess or prize — the hero aims to retrieve her throughout the story, but is unable to marry her because of an unfair evil: in the form of the villain. The hero's journey is often ended when he marries the princess, thereby beating the villain. 5. Her father — gives the task to the hero, identifies the false hero, marries the hero, often sought for during the narrative. Propp noted that functionally, the princess and the father can not be clearly distinguished. 6. The dispatcher — character who makes the lack known and sends the hero off. 7. The hero or victim/seeker hero — reacts to the donor, going on to marry the princess. 8. False hero — takes credit for the hero’s actions or tries to marry the princess.
The roles could pass throughout the characters, as well as numerous roles engaging in more than one character/persona.
The form of narrative and use of characters could be found in the present era. For example, typical romance-genre films entail a 'princess' and a 'hero', which could entail a man falling in love. Instances or mishaps may block their pathway - such as a 'villain' individual unhappy with the romance, or someone such as the females father blocking their happiness. An example of this could be found in 'Meet the Parents' and 'Meet the Fockers', where although Adam Sandler is in love and aims to marry his lover, the 'villain' - her father Robert De Niro - interferes and makes the overall narrative of the film following their awkward relationship.
Vladimir Propp also noticed a particular narrative structure. He acknowledged the formalist approach, which included sentence structures being broken down. He analaysed these elements, by breaking down the Russian folk tales he studied and focused on the smallest narrative units (also known as narratemes) which concluded into 31 functions. From this, he arrived at a typology of narrative structure, which he concluded within the following:
1. Preparation
2. Complication
3. Transference
4. Struggle
5. Return
6. Recognition
Some of these functions are inverted, and usually occur in Western cultures approximatley three times.
After discussion, we have decided to produce a teaser trailer for a film. From this, we will follow the brief and probably create a magazine front cover featuring the film as well as a poster for the film alongside it.
Below is a brief definition of the term 'teaser trailer':
A teaser trailer, or just teaser, is a short trailer used to advertise an upcoming film, television program, video game, or product.
Teasers, unlike typical theatrical trailers, are usually very short in length (between 30–60 seconds) and usually contain little, if any, actual footage from the film. Sometimes, it is merely a truncated version of a theatrical trailer. They are usually released long in advance of the film they advertise. One of the reasons for the name "teaser" is because they are shown usually a long time (one or one and a half years) before the movie comes out, so as to "tease" the audience.
Teasers are also commonly used in advertising. The so-called teaser ad or teaser campaign typically consists of a series of small, cryptic, challenging advertisements which anticipate a large(r), full-blown campaign for a product launch or otherwise important event.
Tester trailers are usually only made for big-budget and popularly themed movies. Their purpose is less to tell the audience about a movie's content than simply to let them know that the movie is coming up in the near future, and to add to the hype of the upcoming release. Teaser trailers are often made while the film is still in production or being edited and as a result they may feature scenes or alternate versions of scenes that are not in the finished film. Other ones (notably Pixar films) have scenes made for use in the trailer only. Teaser trailers today are increasingly focused on internet downloading and the convention circuit.
