acorn

1. Far From The Madding Crowd
(2015, directed by Thomas Vinterberg)
Accessed at https://www.youtube.com/watch?v=D9MclJzXe9g
At the time of publishing this Slideshare, Far From The Madding Crowd hadn’t
won any awards however the film trailer had been viewed 201,689 times.

2. Plot Summary
The independent, beautiful and determined Bathsheba
Everdene (Carey Mulligan), attracts three different
suitors: sheep farmer Gabriel Oak (Matthias
Schoenaerts) captivated by her attractive premeditation,
handsome and reckless Sergeant Frank Troy (Tom
Sturridge), and a wealthy and mature singleton William
Boldwood (Michael Sheen). This timeless, historical
adaptation of Tom Hardy’s world famous novel, explores
the nature of Bathsheba’s relationships and love
‘triangle’- as well as the human ability to overcome
sufferings through resilience, determination and
diligence.

3. Mise-en-scene: setting/location
The lush, green and plush rolling fields of Thomas Hardy’s fictional setting, Wessex
(corresponding with southwest county of Dorset), creates a feeling of oasis, rural,
expansion portraying the Wessex countryside and vast, Jurassic-like coast line as
Eden-like; allowing audiences a source of escapism. This also reminds audiences of
the films location being highly rich in agriculture, appearing to probably be the
main source of income due to the large amount of farm workers sifting through the
bundles of hay at the beginning of the trailer. This attracts and addresses
audiences as they react with spectacle and awe; influencing them to come and see
the film at the exhibition stages seeing the stunning, picturesque and scenic
landscapes in HD quality.
Extreme close up shots of nature such as blooming, flourishing brightly coloured
fuchsia flowers, beige coloured wheat and slow moving, peaceful and calming
streams delivers strongly vivid, acute and HD ‘mini’ montages portray Wessex as an
oasis of creation, breath taking views of nature; influencing character, individuality
and beauty. This makes the audience react with spectacle and awe at the beautiful
shots of ‘the cosmos’; attracting and addressing audiences with captivating, eye-
catching and scenic shots of nature and the varied landscapes (countryside and
oceanic views) of Wessex.

4. Mise-en-scene: iconography and props
Evidence of chaff cutters cutting wheat reminds audiences of the films location
being highly rich in agriculture, appearing to probably be the main source of income
due to the large amount of working class, farm workers sifting through the bundles
of hay at the beginning of the trailer. This attracts and addresses audiences as they
react with spectacle and awe; influencing them to come and see the film at the
exhibition stages seeing the stunning, picturesque and scenic landscapes in HD
quality.
Genre codes and conventions are clear from the constant use of the colour red such
as Sergeant Frank’s red richly coloured, gold ornate detailed, thick woollen army suit
and Bathsheba’s red, richly coloured, cotton, hand sewn detailed corset dress; in
turn this could be conveyed as an element of love as well as danger due to the high
competitiveness between the three men for Bathsheba’s love. The imagery of the
wedding ring placed on supposedly Bathsheba's left wedding ring finger at the end
of the trailer is a key focus of the film, a symbol of unity, bond and attachment all
three of the men are determined to achieve. The ring is the main focus as the
storylines is focussed on Bathsheba gaining a husband. This makes the audience feel
spectacle and awe over the final decision Bathsheba makes; further attracting and
addressing audiences to view the film.

5. Mise-en-scene: colour and lighting
There is a varied use of colour and lighting in the trailer. Loving and emotional scenes between both
Gabriel and Bathsheba and Sergeant Frank and Bathsheba convey a sense of attachment, connection
and chemistry between both Bathsheba and the two men as bright light is used showcasing richly
coloured costume worn by Sergeant Frank. For example in a scene when Sergeant Frank Toy
confesses that his obsession with her makes him able to ‘not think’ portraying her as dominating,
powerful and prominent in his mind the bright lighting makes their costumes and setting in a forest
look iridescent, HD, eye-catching and richly coloured, reminding me of a German Christmas story.
Due to the scene being eye-catching, attracting making the costumes luminous; audiences will react
with spectacle and awe attracting and addressing audiences to view the film.
Scenes between Bathsheba and William Boldwood are often darkly lit with dark colours being worn
by both characters as well as the set being dressed darkly, for example with darkly coloured curtains
and wallpaper in the background. This could possibly convey that they are both ill-suited for each
other resulting in their relationships ending in a failure or divorce if they pursue it with marriage;
audiences would react with jeopardy and suspense due to the couples lack of chemistry, bond and
attraction further attracting and addressing audiences to come and watch the film at the exhibition
stages to find out where Bathsheba’s emotions lye.
The sun rays hitting both Gabriel and Bathsheba’s face, on the top right hand side, convey a sense of
hope, promise, chemistry and connection with their relationship; this makes the audience feel
positive and in awe and spectacle of her attachment and new-found love interest, possibly
reassuring audiences that Gabriel may be her future husband. This would entice, attract and address
audiences to come and view the film at the exhibition stages as they have been teased about
Bathsheba’s future in terms of her relationship and want to know the outcome by viewing the film at
the cinema.

6. Mise-en-scene: Make up and costume
Characters all wear costumes of the 1870s such as Bathsheba wearing minimal makeup
showcasing her clear, glowing porcelain complexion, Victorian corset dresses in colours such as
royal blue, light violet and floral detailing as well as gingham, button up overlays; this was the
common style of dress at the time. However the use of richly coloured fabrics, good quality
material and neatly embroidery designs conveys Bathsheba as financially well off, independent
and stable making the audience react with awe and spectacle. This attracts and addresses
audiences to come and watch the film.
Facial hair is evident throughout the trailer as commonly due to the fashion men grew long
beards, side burns and moustaches. Due to the male characters difference in class and status:
sheep farmer Gabriel Oak wears the least expensive, poor quality and dull brown, navy and
khaki coloured clothing consisting of a thin cotton shirt, khaki trousers, a thick woollen beige
coat and beige felt hat; conveying him as working class and low in status compared to
Sergeant Frank Troy and William Boldwood. Sergeant Frank Troy wears his bright red richly
coloured, gold detailed woollen army suit consisting of a jacket, trousers and black leather
polished laced boots conveying him as middle upper class due to his army job with middle
upper status. William Boldwood wears the most expensive, richly coloured and high quality
clothes as he is the wealthiest being a land owner and aristocratic gentleman who is upper
class with a high status, he wears high necked white crisp shirts with a black, tweed woollen
suit and black leather polished shoes portraying him as conservative, powerful and wealthy.
The appearance of these men throughout the trailer make the audience react with spectacle
and awe due to the vast difference is appearance, class and status; further influencing them to
view the film at the exhibition stages.

7. Editing: sound and visionThe heavy, pacing and commanding low beating orchestral string soundtrack creates an atmospheric, bewildering and intimidating feel
to the trailer; the music appears to increase in pace and pauses when key moments appear in the protagonists relationships with three
prominent, captivating and authoritative men. For example, wild sound including the three men’s confessions of their feelings for
Bathsheba influences the audience to react with spectacle and awe due to Bathsheba’s difficult, complex and significant revelations:
Sergeant Frank Toy confesses that his obsession with her makes him able to ‘not think’ portraying her as dominating, powerful and
prominent in his mind; William Boldwood confesses that his main intentions are to ‘protect her for the rest of her life’ portraying him
as a financially independent, caring and considerate of her stability in the future conveying her as eligible, eye-catching and desirable;
Gabriel Oak states that ‘he is not going to be telling stories to her for the rest of her life’ portraying that he isn’t a financially
independent, wealthy man however he can provide his dedicated love, attachment and devotion to her. The deep toned, commanding
and authoritative confessions conveyed by all three men creates an emotive, overwhelming and perplex atmosphere; further attracting
and addressing audiences.
Pausing of the soundtrack when vital information such as the films title, the directors name and association with other films (or
previous work), release date and slogans such as ‘From Tom Hardy’s Classic Love Story’ allows audiences to pay key attention to vital
information previous to the films release, therefore attracting and addressing them to view the film at exhibition stages. A gun shot,
part of wild sound, adds suspense and tension to the already bewildering, commanding and intimidating atmosphere making
audiences react with jeopardy and suspense; further attracting and addressing audiences.
Carrie Mulligan (protagonist in film, playing Bathsheba) singing “Come all you fair and tender girls that flourish in your pride, beware
keep your garden fair, let no man steal your time” conveys Bathsheba wanting to be independent, free and a liberated by freedom of
having no man; being portrayed as a feminist. This portrays the three men’s confessions as unexpected in Bathsheba’s life; making the
audience react with jeopardy and suspense as she may be doubting, questioning and dithering over her final decision in marrying
either three of the men.
A voice-over announcing the wedding vows of supposedly Bathsheba and her male suitor (either of the three men) in old English:
“With thou have this woman unto thy wedded wife…would thou love her, comfort her and honour and keep her so long as he both
shall live” creates an overwhelming, dominating and authoritative effect; making the audience question, reacting with jeopardy and
suspense, over who Bathsheba has picked to be her wedded husband. Audiences would react this way due to no camera shots of
Bathsheba’s husband being revealed therefore making the audience react with enquiry, puzzlement and querying; further attracting
and addressing a wider audience as they would want to know who Bathsheba marries, answering their question for the trailer that has
teased them.

8. Cinematography
Establishing shots set the scene keeping audiences focussed and alert. Establishing shots of the lush, green
and plush rolling fields of Thomas Hardy’s fictional setting, Wessex (corresponding with southwest county of
Dorset), creates a feeling of oasis, rural, expansion portraying the Wessex countryside and vast, Jurassic-like
coast line as Eden-like; allowing audiences a source of escapism further attracting and addressing audiences
to come and see the film at exhibition stages.
Quick, fast paced tracking shots of Bathsheba cantering across a field on her horse with wild sound of
hooves thumping loudly on the grass portrays Bathsheba as a free spirit who is independent, untamed,
adventurous and outgoing woman, influencing the audience to react with awe and spectacle as she is a
revolutionary woman of the era she is a product of as women were commonly the possession of men– she
flouts the stereotype of a female at her time who would probably be part of the Suffragette movement.
Contrastingly, a fast paced, quick tracking shot of herself and supposedly her husband or Gabriel Oak
galloping across a lush green, richly pigmented in colour, field conveying a sense of unite, co-operation and
togetherness; having tamed Bathsheba from her previous adventurous, free spirited tendencies creating a
heroic, triumphant ending to the trailer making the audience react with spectacle and awe at what appears
to be Gabriel Oak’s achievement. Further influencing audiences to view the film at the exhibition stages.
Close up shots and extreme close up shots of all three of Bathsheba’s suitors: Gabriel Oak, Sergeant Frank
Toy and William Boldwood show each characters emotion towards Bathsheba; all sharing their obsession,
fascination and awe towards her developing a love for her. Examples of these include WilliamBoldwood
being situated to the far left of the frame, as seen in the second top photo on the right, creating a sense of
desperation for Bathsheba; agreeing with the quadrants system allowing audiences to witness each
character in the frames story offering depth to each shot and the story they are conveying. This would make
the audience react with awe and spectacle wondering whether his wishes are going to come true, further
attracting and addressing audiences to view the film.

9. Title and Credits
Slogan - For example ‘Based on Thomas Hardy’s Classic Love Story'
reminds the audiences of the films literary roots attracting and
addressing a wider audience.
Director of the film - 'From the director of the Academy Award
Nominated film The Hunt’ showing the audience previous work and
award nominations he/she may be famous for attracting a broader
audience due to their previous success.
Actors/Actresses involved - For example Carey Mulligan and Michael
Sheen attracting and addressing audiences who may be familiar with
their previous work due to celebrity status; this also helps bring the
film revenue. Action is interspersed with actor or director credits and
slogans on screen.
Name of film – ‘Far From The Madding Crowd’ - This is important as
the main purpose of the trailer is to appeal and attract to potential
audience members.
Release Date – ‘Spring 2015’ - This is important as the main purpose of
the trailer is to attract and address audience to come and view the
film; making them revenue.
Social Media – Social media flatforms such as Twitter, Instagram,
Facebook and the films official website allows potential audience
members follow the construction (and exhibition) stages previous to
the films release creating a buzz. This in turn attracts and addresses a
wider, global audience as millions of people use social media websites
increasing the films audience/viewers as the films
#FarFromTheMaddingCrowd builds awareness of the film.