Analysis of postmodern trailers

1. POSTMODERN
TRAILER ANALYSIS
11-15
LILY MORL

2. https://www.youtube.com/watch?v=1Q8fG0TtVAY
This trailer commences with a non-diegetic voiceover of Wonder Woman (also known as Diana) “I used to want to save the world” inferring the narrator as
detaching herself from the world and suggests this protagonist as giving up hope. Applying the hermeneutic code strategically here foreshadows to the
audience that something horrific will happen that will effectively result in her losing her way. The audience while footage shows an establishing shot that in a
tracking motion follows her walking in a present modern world because of the architecture of glassed pyramids etc. The shot transitions by a dissolve which
replicates the reflective and reminiscing nature of the narrator as she looks back on her past with the prop of the sepia photo that signifies her as fighting in
the World War Two. The cross cutting between the close-up on Diana to the photo is the film makers bridging the fact that she looks the same as she did back
in 1940 to now. This where the convention is brought in of post-modernism, the cynicism that competing truth that she should of aged but she does not look
a day older and therefore time is non-linear due to her immortality. The zooming in of the camera transitions the audience into the past along with the
complement of the dissolve which establishes going back in time of Diana in 1940.
The establishing shot indicates that of the film becoming a pastiche, juxtaposing the previous scene as the colour in this cinematographic shot stimulates the
audience to identify with the colour blue offering a trusting and secure environment along with green that emulates a certain harmony, growth and ultimately
balance in this new milieu. While this footage is being shown the non-diegetic music generates an enigmatic tone and calmness. Though this is all refuted at
the asynchronous noise of a drum beat at the impact of the pyrotechnics of the crash of the plane expressing this being a catalyst disrupting the ‘perfect
world’ here.
When we think we have seen everything the tilting of the camera that follows Diana as she dives from the cliff into the ocean, does the thing become
excessive and leave us in awe. The film makers present this with the continue of the music in the same tempo and speed, as a consequence this means the
audience are forced into recognise this as something normal despite this being a false reality made by strategic verisimilitude formed by them. A dissolve
later on reveals an underwater shot which hard chiaroscuro lighting that shines brightly conveying Diana as this Goddess with the powerful chiaroscuro
lighting referring her as something that of heaven and something superior to in power as the fact that we cannot see her face: not being able to see her face
denotes how she is divine and cannot be seen by man. This is very much an anti-stereotypical female in which she is a very dominant alpha female not
degraded by male gaze or seen as a damsel in distress of being weak and submissive. Frequently dissolves are used especially following this shot, it makes it
have longevity which highlights how magnificent she is and is reflective of this lighting motif.
Everything previously created of this serene location is refuted when she states the ‘the closer you get the more you see the darkness within.’ This narration
essentially is very metaphorical without the complement of the footage Diana’s point would not be understood. The emphasis on the disruption of the world
and the people of the world who she swore to protect lie great ‘darkness.’ We come to understand the darkness in man – the emphasis of the hand-held
camera demonstrates this in which it pivots down replicating the landing of the soldier’s feet on dry land. Instantly after this shot the dissolve creates this
bridge of time so from the birds eye view shot on the group shot of the army as it tilts creates a sharp transition to exaggerate the violence of men and the
destruction they bring. This film is an example of a post-modern film that uses the convention of pastiche in which it draws Greek mythology and collides it
with 1940s with supernatural and fantastical elements. The film makers put emphasis of this collision of two different time periods with the slow motion of
the group shot that faces the ‘Amazon’ warriors charging towards the camera. Only is it due to costume can the extreme comparisons be made and is slightly
mocking of the scene as these warriors with the helmets and shields meet what would be the modern aspect in the film of the more advanced / progressed
inferior soldiers with the props of guns.
The inclusive minor chronological sequence that follows the death of one of the warrior women, in which we see the protagonist and the British spy who she
rescued watch this death instigates the problem (disequilibrium) Amazon meet man. But this sequences formed by the dominantly used editing of slow
motion of the CGI stunt performed of the Amazon jumping off the cliff with a rope to release an arrow, whilst the cut to the front view mid shot of the
German soldier firing a bullet that the camera tracks behind in this slow paced shows the shifting of the balance of power that the Amazons once had and
their now exposed vulnerability. A shallow focused shot captures Diana turning her head round to see her fellow be shot who is in the background out of
focus and draws us to the attention of Diana isolating her. This isolation of the character conveys how she is the centre and expresses the importance of her
but reflects her emotions of being overwhelmed by all this death. Afterwards the cut to the low angle shot is abrupt as they are no longer in slow motion
replicates the brutal harsh pivotal point of the absolute clash whereas before the slow motion had instigated the slow gradual collision of the two time
periods. This is therefore a post-modern trait of time is subjective.

3. At the end of this chronological sequence is the Warner Bros logo and the DC logo in a gold / bronze colour replicating that of the material
used to form Greek weaponry and consequently portraying the strength of the female character in this film.
Another mini sequence follows after the logos which involves the interrogation of the rescued British spy. The cross cutting between the
close-up on him and the long shot on the two Amazons including Diana portray how they are inferior to him who is perceived as the anti-
stereotypical male character who is seen weak at the mercy of two women in this film. This would appeal to female audiences as this is a
ground breaking film in which dominantly features a strong female cast which the viewers of this gender would applaud. During this
interrogation he is shown to be a donor character in a sense as he tells Diana of the ‘war to end all wars’ in his diegetic dialogue.
A basic cut adapts the tone of the trailer as fast paced cuts are used to during the montage of various shots while the British soldier, Steve, in
a voiceover informs the audience of the antagonist in the film how they are creating these post-modern “weapons of destruction.” Camera
footage reflects Steve’s claims via the close-up on the cabinet that contains a gas mask prop which CGI shows it being corroded and the glass
smashing by this toxic gas weapon. Inclusive within the montage is action of visual effects of an explosion in the sky, the masked lady with
disfigured face throw a canister all demonstrating the violence of the German powers all visually appealing for the gratification of audiences
who want to escape into a more dynamic world filled with pace and a non-cyclical narrative like our own lives. Colour is further implemented
strategically in this with low key lighting for all shots in places other than the ‘perfect Island’ to connote this idea of death, darkness and a
sense of formality. The editors offer snares to manipulate the audiences to believing the ending of the film will end with the formality of
destruction as they empower the antagonists with this colouring.
The music soundtrack of violins increase in tempo and speed once Diana begins to ‘suit up’ at the acceptance of taking on the challenge to
begin the quest to defeat these villains. This transformation in the tone of the music is enigmatic distinguishing her as a disruption – a storm
which will change this formality which consoles the viewers. The trailer teases the audience with snippets and deliberately adds insights into
the film particularly with the ‘no man’s land’ scene where Diana states ‘it is our sacred duty to protect people… and it is what I am going to
do.’ The influx of the violins in tempo builds up the tension in which they reject their aim previously of normalising her strength and powers.
In this climax of music we identify the distinction between her and us humans as she steps onto ‘no man’s land.’ Once again slow motion is
used to create how anything of bullets are petty – nothing compared to her. Steve replicates the reaction of viewers as he shouts out “Diana”
in his frightened manner. Moreover, countless action clips are included of stunts and her CGI lasso whip of conflict with the Germans. The
music transitions to a drum roll which builds up preparing for the money shot of her holding out her arms in a cross which lightning bolt
shows her deflecting it. The moment of deflection is when the modified ‘Is she with you?’ her theme song which acts as a leit motif signifies
the birth of a superhero.
Lastly, the iconic Wonder Woman logo is shown with in a bronze colour with the film title below. The font has a special effect of a golden glow
perceiving this theme of her as being holy, diving and offers protection.
The penultimate final slide provides details of: date of release, formats it’s being shown at cinema and DC and Warner Bros logo. Whereas,
the very last slide has all social media accounts referring to the synergy and cross media convergence of the film utilising other forums to
advertise and market the film.

4. https://www.youtube.com/watch?v=Su1LOpjvdZ4
Instantly the Warner Bros logo appears with visual effects of lighting in the background complementing to motif of association of pathetic fallacy –
particularly lighting that Voldemort (the antagonist) is associated with. The logo transitions by a gradual zoom in on the logo to a fade to black
which the first shot is an establishing shot of the Ministry of Magic which faithful audience of the franchise can identify immediately as the wizard
parliamentary base. From this first shot, it abruptly cuts to a mid-shot, behind a secondary character in the trailer, the prime minister, the pleonastic
sound of the flash photography and the snaps of chiascuro lighting with the main lighting being low key depicts how the franchise has taken a
very dark and violent atmospheric transformation. The voiceover of the prime minister’s dialogue “these are dark times” confirms this.
The trailer is anachronic in structure and consequently is fragmented to follow conventions of postmodernism; for example, the multiple shots of a
long shot on a landscape over a lake, then a tomb and the ambient sound of the lightning bolt and thunder in this perceives the awakening of
something, disruption because of the pathetic fallacy connotes power – though the audience do not know what the antagonist wants with the tomb
of Dumbledore’s character. The shots here at this time in the trailer are fast paced cuts, one is a close-up of the antagonist who the audience are
able to identify as the antagonist with the signifiers of the long ragged cape black costume and make-up/prosthetics of his white complexion and
disfigured nose as he leans over the corpse of Dumbledore’s character.
The non-diegetic sound of echoed whispered dialogue: “Harry, tell me where he is,” informs us that Voldemort is hunting Harry. The location of
Harry is given by the extreme low angled long shot in a desert landscape of rocks with his figure in the distance highlighting his isolation from
the world and friends. Although, the close-ups of the famous three main characters Hermione, Harry and Ron explains it will still follow the narrative
of the three, showing that there will still be this familiarity whilst this finale film of the franchise takes a darker twist through the low key lighting
inferring the ending will not come with the typical ‘happily ever after,’ but loss. The editor enforced this through the slow motion of Dumbledore
falling from the tower in ‘Half Blood Prince,’ emphasising the death of one of the protagonists friend already and potentially suggest the same fate
for him.
After this slow motion shot the transition of the fade to black is completely juxtaposed by the montage of snippets of action like a point of view
shot as a CGI snake attacks someone, a tattooed arm, a high angle looking down on a special effects glowing sword which forcing the audience
into the world before them adding thriller conventions of which finishes with the low angled close-up on Harry’s face implying this montage was all
in his head. The silence of the non-diegetic music collaborates this idea as it conveys he has regained stability essentially of his mind. Throughout
the series of films mental health of Harry is somewhat partially an element involved and they isolate / focus on this with the pleonastic sound of him
catching his breath after his flash of memories in his mind.

5. A dissolve and an establishing shot changes the location of the trailer to a dark isolated building in a low key lit shot drawing in the reference of dark,
formality and death to signify this house. A crane shot does a dolly like camera motion achieving the sense of the point of view of a death eater
transportation motion which all are familiar with and instigates the audience to be submersed into the point of view of a death eater – a fanatic. As a
consequence of this motion it disorientates the reader giving them the tendencies and behaviour as someone erratic like a Death eater who is uncontrollable.
Such disorientation aids the film makers to open their eyes essentially to bridge the gap between bad vs good. Bridging this gap of good vs bad is a key element
of Harry Potter as his link to Voldemort which is the main focal point in the series. Therefore these techniques are implementations of minor clues that this link
between Harry and Voldemort will play a key element in the finale and other things of who is really good or who is bad.
By using the footage of the extreme high angled long shot in the Ministry depicting crowd of people running accompanying the non-diegetic voiceover of
Professor Snape “We have infiltrated the Ministry” informs the situation the setting of the world which literally escalation of War is coming and shows the
havoc, plus crisis that this fictional world is in.
The Deathly Hallows trailer hones further on the thriller elements using a steadi-cam that moves backwards as the computer generated imagery snake,
Nagini, does a snaking motion that’s eyes stares into the camera with the pleonastic sound of ‘sss’ is tormenting and unsettles the audience. Eventually the
snake opens it jaws reflecting that of consuming the camera but in actual fact causes tension as the viewers feel like they are being attacked. Once again the
trailer exhibits a more decentred self because of the abrupt cut to a long shot in London due to the prop of the red London bus which is about to hit the three
main protagonists. There is implantation of strategic colour of the red dress costume that Hermione wears as well as positioning her at the centre to connote
this idea of blood, lust and danger which is at the centre of this film foreshadowing further this idea of pain and loss.
At the start of an another montage the wide shot reveals CGI clones of Harry refuting the idea of being controlled by an ideology that there is solely one
person on with specific DNA, yet the pertinence of the six Harry Potters as a result from Polly juice potion make you see through a lens of postmodernism of
magic. Postmodernism here is distrustful of this idea of one person – clones cannot exist but they do in this. This is continued with the long shot revealing
people flying around on broomsticks, whilst it sticks to the stereotypes of traditional witches we are elevated with suspense and in sheer awe of such chance
and breaks the fourth wall of only means of flying is by plan
A more fast paced montage follows after the eye line match shot of Hermione as we see the light energy ball source with the diegetic whispers of “they are
coming” acting as a warning and a pivotal point that kick starts the core montage of the trailer. Inclusive within the montage is CGI of people flying on
broomsticks in the sky and a chase scene following the convention of the action adventure element of the film with the influence of fantastical magic of
wands causing explosions via visual effects all in the hand-held camera motion so that it collaborates the theme of authority positions / government are falling
and the basis of magic people world has become unstable and volatile. A high angle shot also captures the magical beast called a Thestral which demonstrates
the difference in reality to this fictional world which allows the audience to escape in: to divulge in a world that mirrors our own but chase scenes that the
transport is a reptile horse. Our deceptions of scrawny things are challenge such as the house elf, Dobby, whose reveal in the trailer in the mid shot enlightens
those faithful to the series who will be pleased to see he is in it. Especially since we see him click his fingers to see sparks appear adding a comical sort of
laughter to the trailer.
In between snap shots there are slides that say; ‘this fall’ ‘only one,’ ‘can live.’ With each of these breaks causes a build-up of tension whilst simultaneously
explaining the narrative that between the arcing narrative of Voldemort and Harry, that this will end with only one of them ending up surviving. Which we do
not know and leaves the trailer on the cliff hanger. The choral voices along with the strings show the detrimental power and connote the violence matching
the snap shot such as the extreme long shot of ambient lighting with the visual effect of the death eaters black smoke: strategically contrast the white sky to
display the harshness and corrosion of the darkness imposing on the lives of the protagonists in this is much greater than before. That their lives are at stake.
Finishing with Voldemort’s voiceover as we see a high angled shot looking down on Harry lying on the ground shows how Harry is weak and vulnerable
consequently has succumbed to the power as we understand by this non-diegetic sound how this antagonist is simply omnipotent. We are forced to believe
that the one to live is Voldemort though we know post-modernism is something not to trust.
With the utmost final shot being Voldemort firing a shot of electricity from his wand arcs back to the beginning theme from the tombstone. From this
electricity shot it highlights how it has gone back to the beginning as the visual effects display the shock bolts up the P on the title ‘Harry Potter’ drawing in
how it is all going back to the beginning of him and Harry when he attempted the Avada Kedavra on the protagonist as a boy. This links to some extent how
there is no linear narrative in this film which contends to post-modern conventions.

6. https://www.youtube.com/watch?v=5PSNL1qE6VY
Avatar is an example of an independent ‘big budget Hollywood’ blockbuster that post-modern elements features more human than human
where a crippled marine dons “new flesh” and regains his humanity among an indigenous alien population he was sent to eradicate as shown in
the trailer.
The trailer starts with the company production and distribution logo “20th Century Fox” and “Light storm.” After this the footage is instigated
with an extreme close-up on the eyes of Jake Scully which dissolves forcing it to be enigmatic. From the outset the editors employ this
mysterious theme. So when this dissolves into a mid-shot that focuses on positioning the hands that come down to the wheel of a wheel chair
they directly and forthright hone in on disability of the protagonist. There is an over lay of a non-diegetic voiceover which introduces the
narrative of a “new world” and footage reveal computer generated imagery of two worlds… two planets. They direct the audience to share in
what they picture as a glorious revelation – a discovery so great by the non-diegetic choral ‘ahhs’ and violins that have by this point climaxed. A
drone motion camera delves into a forest clouded by GCI fog presenting this location of the “new world” as uncivilised. This shot particularly
juxtaposes the long shots that are associated and centres the life of Jake Sully in his human format surrounded by war machinery. In these shots
we can see the great contrast of artificial intelligence and robotics that we see seek to replace humanity as they show the disrupton of what is
the real humane world… the new world.
A considerable notation is the distinct difference of music between the beginning of the trailer and now as the commander says “you are now
on Pandora” stating the location and is pastiche of Greek mythology of the first mortal woman who possessed the abilities of seduction,
cunningness and speech of lies which amplifies this with displaying all its riches that has lured White American civilisation because of its “grey
rock that sells for 20 million a kilo” as stated in the diegetic dialogue of the man. There is a key point made in the voiceover that “all I ever
wanted was to have a single thing worth fighting for.” This is so that the intent of the film writers can challenge audience perspective and
relations of the protagonists of so called Americans being typically the righteous protagonists and the ‘aliens’ instead become the protagonists
whereas the Americans are the antagonists. This is an example of a Post-modern convention where in texts they challenge audience perceptions
as they unearth truths mirroring often reality in some way with the intent to make people aware. Such awareness in this film is for them trying to
make viewers recognise the similarities of this shifting of relocation of the ‘Na’vi’ diplomatically as they claim in this text like the Native American
resettlement of the great plains like that of when the whites forcing Native Americans into reservations from the late 1800s to 1900s to merely
attain the riches portraying them as greedy. Using the non-diegetic soundtrack of the similar tribal elements of choral and drums connects the
culture of the tribal Na’vi and nature, utilising phenomenal landscape extreme long shots that shows a vast world where rocks/ mini islands are
levitating in the sky to show the beauty. Due to this shot the helicopter – technology of human population are foreseen as week and
insubordinate to implore the superiority in this world as out of our imagination to highlight the need for preservation. The contrasting shots of
the low key lighting shots of the American army to the ones of the world with the Na’vi pictures the Americans as the invaders. This is enforced
in the over the shoulder shot of one of the Na’vi’s with the gigantic machine knocking down the forest (the habitat of the tribe).

7. After the release date slide (‘On the 8th December’) informing us when the movie is to be released in cinema the music
takes an abrupt change with violins and footage consists of purely the side of the Americans and their operation. The
non-diegetic voiceover of Sully once again educates the audience in the narrative of how science has genetically crafted
Avatars which allows him a marine to have his conscience in one of the bodies of the Na’vi. They draw back on the first
shot of the extreme close-up on his eyes to when he is in the CGI body of the Avatar, the ‘blue creatures,’ drawing
parallel of how they are not so different to us but also the awakening of something. The editors deliberately hone in on
these hints to this being a catalyst – disruption of the equilibrium, where there is a marine in an Avatar body, especially
when we see the commander orders him to ‘gain their trust’ in the dialogue. After this it takes the opportunity to display
the core montage.
Inclusive within the montage we see more of the world of Pandora, through the visual effects of high angled shots of the
forest to show how him as an Avatar is inferior to Pandora with its dense and vast nature that can be malicious yet
amazing as we see CGI creatures that can fly and the Na’vi can control them. In the extreme high angle that looks down
on the main two protagonists, Sully and Neytiri, is to promote the film to show its visual appealing in terms of action and
to highlight the defiance and conversion of values of the marine through the dialogue of “I need your help” that is
marked by the music taking on repetitive cymbals and drums counting down as the battle between Na’vi and man take
place. The final collision of the two different entities join in these long shots of the ikran the flying colourful creatures
meet machinery. With pyrotechnics and action it engages the audience to wanting to watch the film.
Understanding that this film comes from the makers of ‘Alien,’ ‘Titanic,’ and ‘True lies’ they can acknowledge this will be a
good film from knowing of their previous works which are renoun famous and accomplished – therefore they are
guaranteed to see something worthwhile therefore boosting revenue for the film.
The title is very reminiscent of that font which is associated with tribal like African writing and is very consistent with the
theme of this film. Due to the title being white coloured it connotes this innocence and purity, linking to Pandora being
something natural and therefore expresses the Americans as corrupting this innocence.
There is certainty in that the intent of this film is for to bring the audience awareness by forming a connection to bridge
their understanding with the other side and to notice how sometimes we can be the invaders like the case of the Native
Americans resettlement.

8. The trailer immediately starts with CCTV footage editing technique where the flicker and the jolts of the footage that displays an interview room within a
prison cell portrays the idea of loss of connection – even a defect potentially in the occurrence of an event. Instantly into this film we see this competing of
claims of science in the global village where there is one set timeline and not what could be multiple alternate dimensions or timelines and therefore
nothing is true anymore. Dialogue is heard of “you think you know what is coming, you have no clue” is mocking of the whole idea of déjà vu suggesting
a certain cynicism of a great threat in this despite what we can infer from this narrative so far is that the protagonist will be aware of déjà vu and
understand the course of events some should take place in but this character here argues the protagonist will not even know even still. After this scene,
with the appearance of the company logos the tail end of the dialogue becomes non-diegetic, echoing and repetitiveness contributes to reflecting the
irresistible sensation of a duplication of memory that is sometimes felt. Furthermore the company logos involved in making the film are shown and there
appearance is rewound complementing the motif of this text where everything goes back to the beginning.
In this text narrative everything that makes up this trailer is non-linear as enforced in the repeat of the company logos being displayed for a second time
after an establishing shot of a ferry boat which arcing motion isolates this location as an important staple in the narrative – the whole narrative arcs
around this one event (the editors highlight this by their editing). Even after the company logos we see again this same shot on the ferryboat as
foreshadowed by the layout, however this time it ends with explosive pyrotechnics of the ferry boat blowing up. Meanwhile, whilst this footage is playing
the voiceover of ‘It’s a phenomenon known as Déjà vu,” narration informs the audience of what this whole idea of the film is called. The birds eye view
shot similar to that of an aerial shot of reconnaissance suggests that there is an inclination with a humane involvement in this Déjà vu but with only
inferences this causes excitement for the audience.
There is fast paced cuts from this point with various shots on the protagonist in a close-up on the ferry boat by long shots that all transition to the next
shot by fast dissolves conveying this idea of how these moments are like memories that are intangible – just out of reach. This is very much an example of
a dystopic world and it is impossible to identify what is the correct timeline. The jolting of the camera shots by jump cutting particular a long shot that
positions an army officer at the right of the screen further implores that in various timeline however there are slight differences. Because of an extreme
close-up on a women that shows another layered image which re aligns links to this idea of an original version being copied.
Déjà vu today is merely known as a trickery of the mind, in which our mind believes we are experiencing an apparent repetition: when in actual fact it is
false recognition where the current experience of something is mistaken for a copy of an original that never existed. In simple terms it is illusory. The
editors for the trailer hone in on this idea in the trailer with the arc motion of the camera once again on the stationary protagonist presents this
psychologically play and tormenting of his own mind on this nagging feeling of Déjà vu and that it is not really multiple timelines.
At the near end of the trailer we are given some truths and some answers to that there is an operation which the character states has “unique time
constraints.” Though this is an uncomplete answer the audience understand that now this is not someone who is having a psychological break. A side kick
character explains within this operation they are enable to “look four days back in the past” which is breaking the laws of time. We can see now that
there is somewhat an influence 9/11 Attack playing a key point in which there is this need to off wish to be able to go back in time and change such an
event like that. Often post-modernism texts are born out of a need to be able to escape in a reality where they can play God as such manipulating entities
such as space and time to their crafting as such.
In visual effects we see golden traces of imagery which is ground breaking as not only can they see in the past but they are able to make hologram which
is basically mocking of what we know as real and challenges the audience truths. This film is antirational showing that science got us to the point where we
could “fold space back on itself,” and explains it as a tool as a means to an end to stop terrorist events though the trailer does not comment on what the
consequences are. The cliff hanger means the audience want to understand what can happen if such a machine exists and so will go to watch it.
https://www.youtube.com/watch?v=oz1hv1u0DXc