` Film opens with a full body two shot of the protagonists. Large car in the background connotes some sort of film crew. An voice is heard off camera asking the characters to introduce themselves – this acts as an action code and connotes some sort of documentary style of filmmaking. Scene lasts for 4 seconds. Non diagetic dubstep soundtrack is prevalent throughout the trailer.
Cuts to an title sequence. Name of the studio is displayed and allows the audience to identify that this is some sort of film trailer. ‘Knight Studio Presents’ has a fade effect that brings the name of the studio into focus. Lasts for 3 seconds.
Cuts to a wide two shot of the protagonists who introduce themselves as “Bluetooth” and “Toothpick”. This early shot shows the characters breaking the fourth wall and talking directly to the camera. This is used to establish the film as some sort of documentary and displays the films implementation of cinema-verite conventions – provocation from director leading to subsequent action of the film. Buildings from the estate are visible in the frame, alludes to a looming presence over the characters. Scene lasts for 9 seconds.
Jump cut to a tracking shot of protagonists walking down the street. An over the shoulder shot is used to display the character’s interaction with the director. He is heard introducing the name of the area they are in – helps to establish the setting of the film for the audience. Scene lasts for 6 seconds.
Cuts to an second intertitle sequence, conveys the concept and synopsis of the film to the audience in way that confirms the documentary style that was alluded to in past shots. Establishes that the protagonists are musicians and that the film will contain elements of music. The intertitles are displayed on the screen in a fade effect. Scene lasts for 6 seconds.
Cuts back to an upper body two shot of the protagonists who are seen showing off and talking directly to the audience. The hyperbolic nature of the characters are recognised by the spectator who is aware that the characters are performing and what they say shouldn’t be taken too seriously. The comedy elements of the film are introduced at the end of the sequence as they are heard engaging in a joke – this subverts the audience’s expectations by displaying the film as a satirical mockumentary. Scene lasts for 16 seconds.
Quick cut to a close up two shot of the characters conversing in a chicken shop. When Toothpick is asked for a pound, he replies that he is short of funds. Upon noticing the presence of the director and the documentary crew, character puts on a facade pretending to have left thousands of pounds in the car. This displays the character’s fatal flaw (hamartia) and hints at the first signs of disequillibrium. 10 seconds is this shot duration.
Jump cut to a tracking shot of characters in the film crew car. This is used as an overlapping montage style editing technique exhibiting past events to the spectator (a montage editing technique typical of the documentary film genre). This shot reverts back to the previous shot in the chicken shop where the characters are seen arguing and challenging each other to a fight. After Toothpick makes a joke, the characters are seen laughing together further displaying the exaggerated nature of the characters. Scene lasts for 14 seconds.
Jump cut to a stationary three shot of new characters. The switch from handheld to static filming indicates the switch from the behind the scenes footage of the stars to the actual documentary itself. The characters are seen responding to an off camera director further displaying the codes and conventions of the documentary genre. Scene lasts for 4 seconds.
Quick cut to a tracking upper body shot of Bluetooth talking directly to the camera about the amount of music they have made today. He talks up the work they’ve done that day through a humorous metaphor about Louie Armstrong . Scene lasts for 7 seconds.
Jump cut back to shot of new characters who are heard making incendiary comments about the protagonists “Fuck Bluetooth and Toothpick bruv”. Their repetition of these comments reinforce the idea that their is a serious conflict between these characters. This unexplained hatred acts as an enigma code and establishes the film’s main binary opposition – comedy vs. drama (light hearted protagonists vs. no nonsense antagonists). Scene lasts for 4 seconds.
Jump cut back to a tracking two shot of the protagonists. Bluetooth claims that he always walks as if he has a gun in his possession – an action code is created as this indicates to the audience that something might happen and is used to build tension. However, the ambiguous nature of Bluetooth’s comments are linked to the character’s need to impress the film maker and audience, so the perpetual themes of facades and reality vs. fantasy are continued for comedic effect. Scene lasts for 5 seconds.
Cuts back to upper body group shot of the antagonists being interviewed. An off camera director queries what would happen if their rivals were in the area at that moment. The leader, framed in the centre, looks past the camera into space indicating he is in deep thought. Acts as symbolic bridge to events in the following scene. Scene lasts for 4 seconds.
Jump cut to a long shot of protagonists screaming and running away from members of the rival gang. This visual gag displays the first conflict between the protagonists and antagonists and sheepish cries illicit humour. The symbolic relationship to the previous scene makes this shot equivocal, as it could be interpreted as visual representation of the rival gangs wishes and not a literal presentation of what's actually happening to Bluetooth and Toothpick. Scene lasts for 4 seconds.
Cuts back to previous upper body group shot of antagonists who finally introduce themselves to the audience as a rival group called “B-Dubz”. An off air director questions the leader as to whether their name is just a rip off from pop group N-Dubz. Lasts for 5 seconds.
Jump cut to wide shot of B-Dubz walking menacingly through an underpass, indicative of the director’s utilisation of the montage editing technique (a typical feature in the teaser trailer form). This is followed by another jump cut to footage of the protagonists, Bluetooth and Toothpick, laughing with the director and making faces at the camera. The overlapping sound between the previous scene with the antagonists and the current shot of the protagonists smiling at the camera symbolically represents the audience’s amused reaction ( a postmodern framing technique, symbolising the role of the spectator through the actions of the characters). Shot lasts for 4 seconds.
Quick cut back to group shot of antagonists. The interviewers question from the previous scene has sparked an embarrassed reaction from the group who attempt to clear up the name “B-Dubz” and reinforce their originality. Their laughter and constant use of profanities highlights the characters fatal flaw (tough and aggressive facade) and subsequent deconstruction of the binary opposition – the interview becomes light hearted and the antagonists are revealed to be extremely similar in nature to the protagonists. Scene lasts for 5 seconds.
Cuts to a brief panning shot of the urban setting - iconography includes large buildings from the estate, CCTV cameras, graffiti. Used as a signing off shot for the film which proceeds to fade to black , signalling the final scenes of the trailer. A potential idea is to include intertitles mixed with the scene, displaying the director's previous films – a marketing technique used to incite awareness and generate hype. Shot lasts for 4 seconds.
Fades into the main title sequence. Each word proceeds to fall vertically into the centre of the frame, establishing the name of the film. Typography relates to possible themes of the film – white and red connotes murder, drama, crime, danger etc. Use of typography is an enigma code as it doesn’t correspond to comedic elements of the film so generates interest. Title itself is an evocative non sequiter, used as an enigma code to illicit a wide range of emotional responses (laughter, shock, disconcertion, anger etc). Title emanates from infamous murder of rapper Biggie Smalls and is also an intertextual reference to cult indie film ‘I Shot Andy Warhol’ – as our film contains many thematic and stylistic similarities, the title can be seen as an homage. Lasts for 6 seconds.
Main title sequence followed by the supposedly final sequence of the trailer. The intertitles fade in rapidly, ambiguous release date is used to generate a sense of salivation and relish from the audience in relation to details of the release date. Font of intertitles resembles the main title – displays the film’s retention of an aesthetic consistency in relation to colour. Lasts for 2 and half seconds.
Film quickly finishes with a return to the upper body group shot of the antagonists B-Dubz. A new mysterious character appears in the centre of the frame wearing a bike helmet, masking his identity (enigma code). He is then proceeded to be slapped by the leader, effectively breaking character in the middle of filming. This provides the trailer with a final visual gag to sign off with and also challenges the conventions of the documentary/cinema verite form. The sense of realism and verisimilitude implied by the documentary form is destroyed by the actors and re-establishes the film as a satirical mockumentary not be taken seriously. The high pitched laughter and reaction from actors to the slapstick humour generates a final sense of happiness and amusement within the spectator, adhering to elements and conventions of the comedy genre. Shot lasts for 7 seconds and finishes the trailer.