Insidious trailer analysis

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Insidious trailer analysis

  1. 1. Insidious TrailerAnalysis { By Tim Loe
  2. 2. The title screen at the start cuts to a medium close up of the protagonist with asound bridge. He is asked if he ‘is ready’, which he replies ‘yes’. This builds someanticipation towards the trailer. The protagonists expression, and desaturated gradeof the shot creates an intense atmosphere.
  3. 3. The previous shot then fades out, and a close up of a metronome then fades in.The diegetic and non diegetic sound of the metronome is a pace setter for thetrailer, it is set at a fast tempo, and the transitions between shots are synced with it,giving the trailer a continuously fast, and menacing pace.This close up cuts to a shot with text, promoting who the film was made by,creating anticipation to see it. The text is white on a
  4. 4. This cuts to a medium close up similar to the first shot of the trailer, however thistime the protagonist is closing his eyes, and the camera is zooming in. Thiszooming movements connotes that we are looking at his thoughts.This shot cuts to an establishing shot of what is assumed to be their house. Thecamera is tracking left, and the movement feels slightly unnatural, whichconnotes that someone is watching the house. The shot is also low angle,connoting the house is powerful, and giving it a menacing look.
  5. 5. The next two shots then give some exposition into the story, and reveals why theprevious shot was an establishing shot of a house.The first shot is a medium shot of a mother and her son. The composition of the shot,and the mise en scene allows the audience to see that they have moved house, andare settling in.The following shot is a long shot of the family, and the protagonist, who we can nowsee is the father getting ready for what we can assume is his new job, and the reasonthey moved.
  6. 6. The close up of the ladder, showcases conflict of the boy, this is synced with themetronome, connoting that the conflict is almost controlled, and in order. Thisemphasises the message the trailer is emitting, that the house is the antagonist,and causing conflict upon the family.That cuts to a two shot of the parents looking intrigued and terrified, this marksthe disequilibrium in the narrative (previous shots mostly of equilibrium). Thecomposition of the shot illuminates the fact that they are behind a window,connoting that what they are looking at what is unknown, and therefore needs tobe controlled.
  7. 7. The following shot is an OSS of what the parents where looking at. We can nowsee that the disequilibrium has been clarified, and is the condition the boy hasreceived (provoked by the house). The OSS re-enforces this connotation of theunknown, since it displays how far away they are, suggesting that they cannotget near since they do not know what the condition is.This cuts to a medium close up of the mother. We can see that she looks verydistressed and tired, and contrasts from the starting shots displaying herhappiness.
  8. 8. - This cuts to a medium shot of a shadow unnaturally drifting past the window. This unnatural movement has connotations of the supernatural, and the fact that we can only see the shadow connotes that the supernatural is outside the house, watching or trapping the family.- This cuts to a long shot, with an unnatural movement using a rig), connoting the supernatural. This low angle shot connotes that the family are being watched, but the composition of the shot (placement of light/parts of house) combine to animate the house, creating a sinister atmosphere. This also illuminates the antagonist, which is the house.
  9. 9. This cuts to an extreme high angle of the women connoting that she is beingwatched, and is vulnerable. The contrast between the following shot (extreme lowangle) and this high angle shot connotes that the house is watching them, andcontributes to the overall theme of the trailer, that the house is alive, and hauntingthe family.The next shot is a long shot of the boy sleeping, and the door slowly opens toreveal part of the supernatural. We could emulate for our trailer, since despite itbeing very minimal it is eye catching. The slow movement of the door also createsa sense of anticipation.
  10. 10. This cuts to a montage of the expert (which is narratively a conventionalcharacter of a horror). The montage is a series of close ups showcasing theadvanced equipment the expert has. The use of focus in this montage helpsmake it seem more interesting, since most shots start of out of focus, and go intofocus quickly, this reflects the setting up of the equipment.
  11. 11. This XCU showcases the eyes of one of the experts. Her eyes display theterrifying emotion she is experiencing. The use of XCU’s should be consideredfor our trailer, since it is an effective way of portraying terror to the audience.The next shot is a close up, combined with a sting this gives the audience asinister thrill, and the editing creates anticipation, since the shot was onlyaround 20 frames long, leaving the audience wondering what happened, andwanting to see the antagonist again. This also plays on our innermost fears,displaying the antagonist watch the father, intensifying the menacingatmosphere.
  12. 12. The end of the trailer displays the conventional title cards, and the date ofrelease. This is conventional of a trailer, since the one of the main functions isto be informative.The lighting is also not mentioned much, this is because the main location is ahouse, which is the antagonist, so therefore the antagonist is always present,meaning low key lighting will be regular, which re-enforces the scaryatmosphere the trailer emits.
  13. 13. There is a shot after the title card, it is a medium close up of the antagonistreaching out to grab someone. This is combined with a sting to provide theaudience with a final scare, making the trailer memorable.

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