Analysis of postmodern trailers

1. Postmodern Trailer
Analysis 1-5
LILY MORL

2. A crab shot reveals Rey, the main narrator and her perspective in the film. In this shot she opens up something, which disturbs dust: thus
conveys that perhaps Rey is a catalyst in this film. Rey is one to ‘awaken the force’ and, also disturb it; which is further suggested through the
asynchronous high piano note that is quite discordant. The sound helps to portray this sense of a thing which has been asleep for a very long
time, for many, viewers will be an older generation now looking back on their childhood, and therefore very much means taking them back to
their childhood. The trailer very much conforms to Barthes enigma code of hermeneutic code here, hinting she is able to use the ‘force’ by
isolating her character in this one shot and starting with her included in this first shot in the trailer signifies her importance to the narrative. She
is not what the audience however expect, this protagonist is a scavenger, in what looks like costume of rags, but helps to staple the audience to
what the setting that this film is being born into. The location, a ‘Star Destroyer,’ which is in a decaying form and braking away, helps to set up
this Todorov’s theory starting in the disruption of the equilibrium, commencing in a dystopic world. With the utilisation of an establishing
shot, revealing the inside of the ‘destroyer;’ causes the audience to question what she is doing there and what she is looking for in something
that we think is merely debris. This is the first time the audience have been introduced to this character, and with this omniscient non-diegetic
voice asking what we all want to know ‘Who are you?’ provokes a sense of tension and suspension. But, the fact that there is background
lighting shining in through gaps in the destroyer symbolises to the audience, that she is someone who will use the light side of the
metaphysical and ubiquitous power of the ‘the Force’ and to not exploit it.
Reminiscent on previous trilogy establishing shots, there is framing of a wide screen of a two shot of Rey and B-BA looking behind and beyond
them: giving this feel of a great expanse of desert in which the world is opening up to them. Possibilities for Rey, however which is clearly
unbeknown to even her as her non-diegetic voice replies ‘I am no one’ to (‘who are you?’). The simple fact is the implication now that she is
nobody, but will be somebody later on.
The next few shots are indivisible with the separation of dissolves, which creates a fragmented narrative to the trailer, whilst prolonging each
shot to mirror the reflection of feelings of the character in this story as she attempts to piece the past together.
The over-the-shoulder shot of the tent reveals a computer generated imagery of a spaceship just for a few seconds going up into the sky
above, in which the camera tilts up tracking it mirroring what Rey is looking at, presenting how she wishes to escape her life potentially, or even
escape her life.
The ‘Lucas film Ltd,’ text with white outline and somewhat black tint portrays this shift in tone of the trailer, of adopting a certain coldness to
the trailer.
The production company name helps to set up the next scene, of introducing the antagonist organisation where the tracking motion of the
camera behind the ‘First Order’ behind the henchmen, shows an endless amount of a sheer army in these Stormtrooper suits which no single
person has an identity. This captures how there is no empathy amongst these soldiers, that they are merely people with no emotion to follow
the man who pulls the strings as such on the platform, in front of the long cascading red curtains that presents the connotation of red; being
blood, thirst and danger which the secret behind it the curtains will bring. What lays behind leaves the audience questioning what weapon they
possess or what thing?
A close-up shot is very different from the previous and isolates Finn, a Stormtrooper, which previously had been identified as a group breaks
this tradition. The intimacy of this shot reveals Finns shock, and raises much speculation at what this could be. In the voiceover it allows us to
understand more about his background, of how he was ‘raised to be one thing.’

3. The dialogue aids the narrative in how the characters come together in the film essentially. With the CGI spaceship losing control and falling out of
space onto the planet, suggests that he is defecting and escaping the ‘Order.’ He argues that he has nothing to ‘fight for,’ and after discovering that
Finn has landed on the same planet in which Rey is on suggests to us that this is about Finn finding his path/ his purpose in life. Another wide frame
establishing shot is used, on the ‘Death Star,’ the antagonist’s base, which a focus pulls into a CGI created environment aids to suspend the audience
audience disbelief in this post modernism world of space, spaceships and magic. The use of red filter on this shot, and low key lighting backed up by
the accompaniment of non-diegetic strings with the piano now establishes a jarring atmosphere where it represents the antagonist observing a
strip of saturated red lighting, illustrating a reference of almost opening gates of hell of the destruction that they will bring.
Just like the original trilogy which had Darth Vader in, they show someone of similar appearances in the close-up shot of him; with the black mask
costume, iconic muffled diegetic voice which prevails over everything else and explaining the power of the level of his exploitation of the dark side
in his manipulation using the force to us, what seems to be gaining intel by the usage of the point-of-view shot by the fact how his hand is over
someone’s head.
Fast paced cuts changes trailer and quick advancement, rapidly changing the quickness of the trailer, signifying the leakage of the Intel is the turning
turning point of the film which leads to what we see in the cut of the pyrotechnics and CGI obliteration of forestry.
Instantly after this, the Millennium Falcon spaceship which all viewers know of; the non-diegetic Star Wars soundtrack really elevates creating a
sense of celebration, sensational and provocative speaking to the child inside of the adult audience as the camera tracks the ship as it manoeuvres in
a chase scene, highlighting the offering of someone fighting back and it really provokes an element of excitement.
Once again, the voiceover dialogue of ‘there were stories about what happened’ highlighting how people in this fictional world have forgotten
what has happened, and is a gentle reminder to the audience that the rebels did defeat the order but now showing how it did nothing to stop these
events from happening now. It refers to how many people in this world have become disillusioned in terms of living in peace.
For a brief moment there is bit of intertextuality when a spaceship leaps into hyperspace, stealing the same editing effect of ‘Star Trek,’ in order to
reward fans of this other popular culture as these are hidden but those who acknowledge the intricate detail, are given a bit of a laugh and for
engaging this audience they maintain keeping the audience hooked.
A group shot of the knights of first order, reveals Kylo Ren holding a CGI red tri-sabre whilst the non-diegetic drum climax exacerbates the
singularity that he is able to do this and exaggerates how dangerous he is. The audience are guaranteed that the involvement of Ren’s contribution to
the plot will not end well by the pathetic fallacy environment of raining and the low key lighting where editing of the lights flashing in this shot
shows an unwavering force. This technique demonstrates his power and unstoppable nature just like lightning as the effect perceives.
Followed by simultaneous battle scenes of CGI dog fights, and ones on the ground gives an insight of the action scenes which all sci-fi films have to
maintain.

4. The pyrotechnic of the exploding spaceship, arouses excitement for audiences and conforms to the stereotypical sci-fi genre, of having
elements which suspend the disbelief of the audiences.
Instantly after this pyrotechnic there are fast paced cuts which show a jarring contrast of shots, of light and dark, dark showing us scenes
where the storm troopers have caused a lot of destruction giving the audience an insight to what will happen if the ‘light side’ do not win
(pyrotechnic of fire which illuminates the group shot.)
A low angle of Kylo Ren’s character in the dark attire, with his visual effects red light sabre.
Followed by a low angle, deep focus shot of Rey on the ground crying over someone’s body which we cannot identify due to the effect
means there is suspense to whom this body is and highlights the danger that the First Order (the antagonist) poses to the protagonists.
We recognise this film is not going to follow the usual theories and will have a lot of death potentially, perhaps so to consist of the profile
audience of people whom were children when they watched the original ‘Star Wars’ movies, but are now adults which would be why this
next trilogy is darker.
The brief black screen moment accompanied by the dialogue of the non-diegetic voice-over, ‘Just let it in,’ creates this mysterious
atmosphere as we don’t know what that will mean for the character of Rey and develops her character for us of showing her fate or future
being forced upon her.
The last shot shown is the title in its usual iconic yellow outline font against a black screen with stars, which offers the identification that it
all starts in space and adds a magical sort of touch for the audience of which this world is not attainable to us.
https://www.youtube.com/watch?v=sGbxmsDFVnE&t=50s

5. The format of the trailer takes on a long shot of low key lighting which incorporates an extensive amount of jammed cars and
people running the streets in a city. Collaborating the shot is non-diegetic screams imitating this manic and chaotic situation before
us. Not until the camera shot transfers to a an abrupt hand-held camera that films people queuing, do the audience begin to
understand the situation as the motion of the camera reflects the unstable situation but engages the audience into fulfilling a
subjective narrator so that they are forced into sharing the moments of shock like the fictional characters. Without the diegetic
dialogue of “I’m not infected,” would we understand the narrative of why the people are needed to be evacuated. The brevity of
the situation is demonstrated by the pleonastic screams and sirens; so when suddenly, the ambient sounds are hushed and there
is just a non-diegetic voiceover “this wasn’t supposed to happen…” This begins the trailer on this ‘one man show’ as the
protagonist, Robert Neville, states “I am a survivor” foreshadowing this dystopia world about to be revealed. The single
asynchronous beat of drums mimics heart beat that signifies the literal one heart beat to be heard and this count down as we see
what the impact of this so called virus has done. The viewers see continuous use of hand-held camera when the bridge explodes via
pyrotechnics which immerses the audience into this dystopia world and is particularly conventional for the thriller genre to do this to
allow the viewers to feel as if they are seeing it in their own experience – creates verisimilitude.
Set in the post-apocalyptic world five years from the year it was released the duplicate extreme-long shot shows the same bridge
completely broken away, which the transition: dissolve portrays the passing of time. After which the production and distribution logo
are displayed adjacent to each other in a grey metallic colour offering the connotation of boredom, long lasting, depression and
undefined, whilst perceiving the portrayal of something cold conforming to the Barthes hermeneutic code providing us with minor
equivocations such as this; implying that really Neville is not the only survivor or the only thing out there. The interruption of logos
transforms the soundtrack with a playful almost ticking noise of an asynchronous guitar that fluctuates in a continuous cyclical loop
that is almost childlike to disorientate the reader as the trailer demonstrates that daily life of the protagonist; is not the usual typical
day, by which the shallow focus on the bed side shelf highlights this due to the involvement of the gun prop which states his life is
one - centred around violence.
An establishing shot captures a run down and overgrown New York which is flooded in parts conveying an imperfect world – a
postmodern convention where there is a dystopic world.
The slow paced montage of shots with graphics: ‘morning,’ ‘exercise’ ‘eat breakfast’ and ‘recreation’ produces a linear narrative
as the trailer presents what a day alone at New York disposal would be. A life like a check list. A life that is lonely and is just a
method of survival – to have a purpose to live. Adding a humorous scene of the shop where Neville has made a fantasy of prop
manikins contrasts the rest of the tone of the trailer but enables viewers to understand what life is like in future with no one.
Emphasising loneliness of the protagonist by the birds eye view shot which tracks his car through New York that is unmoving of
traffic, people and life – to the audience it’s like an alterility.

6. However, the trailer takes a pivotal transformation as the pleonastic timer (watch) sound and the close-up on Neville with Rembrandt lighting
(half of his side of face is illuminated by golden light) conveys this danger we are about to be shown in this imminent loss of daylight which poses
warmth and positivity. What happens at night? The point of the ‘Night’ graphic on the black screen, that follows the pleonastic sound of metal
as the shutters are brought to a close and an extreme low lit shot of the door demonstrates this unearthly world at night which needs
separation from. This money shot on the door poses to the audience the disruption of the equilibrium will come when this defence barrier is
down – when Neville goes beyond the door at night.
The high angle shot on him and his dog, Abbey, lying in the bath tub shows the vulnerability and how fearful he is with the diegetic sounds of
like hoarse creatures which are simply indescribable. Here, at this point in the trailer it is consistent with the horror for its sub-genre. The non-
diegetic voiceover states “God didn’t do this. We did.”
This follows the postmodern convention of this being an antirational film where science made this virus. This voiceover catalyses fast-paced cuts
through a chase scene which cross cuts from hand-held camera from a key lit face, front on long shot to as if in the protagonists hand while;
asynchronous violins increases in tempo elevating the suspense of audience as they discover who is chasing him in the dark… zombie like
creatures. This motion camera immerses the audience in this world to illicit fear and horror from them as they to are engaged on this chase.
Visual effects of pyrotechnics and a camera whip pan marks this is not a film about domestic problems – the usual centre of focus of films, but
a question of what humanity would do for survival and if it rested on one man’s shoulders.
In a world rampaged by CGI zombie dogs and an army of undead people that the extreme long shot depicts.
The title ‘I am Legend’ is presented in white shade where each line is projected backwards in a slide transition movement. Due to the utilisation of
such a colour and the transition, it symbolises how everything is becoming the past and is dying out… man is becoming legend.
A final low angle shot pictures Neville surrounded by these infected people which urges the audience to discover what happens to him after that,
especially when the extreme-close upshows one infected screeching in his ear.
Like other trailers the release date slide is last with the same font as the title.
https://www.youtube.com/watch?v=dtKMEAXyPkg

7. Following the green preview slide, there is an underwater long shot which captures a high key lighting of natural sun glare through
the ocean water creating this sense of equilibrium, sense of serenity and calmness by forming this idyllic setting that is made to be
something glorious (even holy). The collaboration of close-up shots reveals two of the main characters faces which follow on from each
other creating a sense of continuity by the outstretched hands appearing to show them to take hold of each other’s hands. Due to the use
of dissolves it mirrors the non-diegetic voice-over: dialogue “It’s always the same dream,” portraying this surreal dream like nature,
with the slow paced cuts.
However, straight after the establishing shot of the cave in which the camera zooms into the opening causes a distinct transformation
due to the fast paced cuts, in which a few money shots follow and are very similar to the prior shots at the beginning as the females
white sleeves on her dress are being blown by the wind (the typical ‘lovey dovey’ romance scene). She is shown with the ‘male gaze’ in
which theorists like Berger argue how she is very much complicit with being submissive to the innocent, sweet and only to appear on
screen to appeal to male audiences. Whilst Ewan Mcgregor character is conveyed to be the hero and saviour, by the utilisation of the back
lighting that creates a halo effect contrasting to the weak female role. The simulacrum is exaggerated when the voiceover speaks ‘Going
‘Going to the Island,’ which instantly almost catalyses the disruption of the equilibrium when a hand-held camera is shaken violently and
uncontrollably as an hand grabs for the male protagonist in which he is banished to the ocean. Both the camera motion and the low
angle shot in the water demonstrates the fragility of dreams and how they can be easily broken. Whilst, also conforming to the usual
ideas how dreams can become nightmares as the protagonist’s head is captured by the long shot to be above surface and suddenly not.
The shot is effective as it augments how nightmares are somewhat unattainable – they put you at a distance in terms you have no control
in how to stop the nightmare when you are in the allusion world.
The significance of this post-modern trailer’s simulacrum and surrealism; however, means that we, the audience, are unable to identify
what is real or not.
The nightmare is elevated dramatically with the non-diegetic sound of increased tempo of instrumental strings as a montage of shots
are showed. The dense footage is unfathomable for the viewer to make out all shots, but what we thought was a nightmare is quickly
refuted as multiple extreme close-up shots such as one of the needle foreshadows: that all is not as it seems. The audience begin to
believe that there is some sort of hidden truth due to these equivocations– this constant arrest of the enigma keeps them guessing that
there is some sort of scientific experiment going on here. There is a sense that these shots are actually memories as the close-up shots on
the protagonist and a minor character indicates an intimate relationship in terms of detail which only a memory would have.
The trailer constantly forces the viewers to be an active audience especially when, once again they reject this claim that those shots were
memories as the high angle on the protagonist depicts him awakening. Also, as the soundtrack of music cuts and there is just the
diegetic pants and exhausted breaths of the protagonist it suggests that the world he has awakened to… is the real world. Yet, this
camera shot indicates to the audience that in actual fact they may be somewhat omniscient viewers, knowing things which the characters
may not know. This means that the audience are enthralled to be in power in regards to knowledge as this is not usually the case when it
comes to films.
https://www.youtube.com/watch?v=vrQZS
co77Pg

8. At this point the production logo, distribution logo all appear in a motion: a transitional movement one after each other amongst clouds. Presenting
the logos in the clouds mirrors this running theme of dreams. The logos offer a complete break from the previous footage we see and is exactly the
opportunity which the trailer takes to completely discombobulate and disorientate the audience as it reveals a complete different world in the
establishing shot of a computer generated imagery location of a building of a futuristic world, which is collaborated with the costumes of white
trousers and long sleeve tops. This setting confirms previous suspicions with the scientific experiment because of the white clothing and cleanliness of
the location. The question remains: what is the experiment?
Alongside this new location the audience are enabled to identify with the relatable lottery of the film. The Lottery in this trailer is obviously different and
foreign to the audience, competing with of what the audience know as the truth. The sci-fi elements of the film are identifiable with the CGI and special
effects, with the creation of the screens that are used as TV’s. The low key lighting of these shots convey that characters such as Jordan Two delta are
being kept in the dark metaphorically from a lie which they believe they are ‘residents’ as the voiceover states and not ‘lab rats.’
The slow motion of the arms of the two main characters connotes a severing of connection between them, referring that perhaps that the recognition
of the disequilibrium is about to be discovered.
The change between the form of the trailer in terms of speed is done by a conversation and not a dissolve, as trailers usually would do. The protagonist
exclaims how he feels there “is more than just waiting to go to the Island,” at which point the soundtrack reaches a detrimental outburst which
signifies the importance of this existential crisis/ question.
After this pivotal point in the trailer, there is a non-diegetic sounds of repetitiveness of single beating of drums which builds up tension as it reflects
the awakening of secrets as an aerial shot captures CGI blue pods which look like embryonic artificial fluid that contains human bodies inside
connected up to something. The trailer begins to challenge the audience on competing the truth that humans can only be borne by natural birth (not
outside the human body.)
One thing the trailer provides is that the organisation – the scientists behind this operation are… the antagonists. We can acknowledge this by the
footage of the extreme close-up of a deceased females face and the covering up of it by a sheet shows a lack of empathy of this organisation deeming
them to be heartless, along with the point-of-view-shot of the gun released ropes as it targets the victim of a minor secondary character.
The jump cuts in a hospital scene where the protagonist is running down the corridor in chiaroscuro lighting with him running through suggests to
the audience hope, they are able to find solace knowing that as he is here shown, going to be a wrecking ball battling down the restrictions and barriers
of this organisation of which only violence is associated with it.
Once again, a montage of shots is used to create the action element of the film following the expected conventions of a high speed car chase and
helicopters, adopting a postmodern aspect with the visual effects of a levitating motor bike presents this as not being your usual action-adventure
films as it breaks the laws of gravity (and science).
A hyper reality is expressed in the trailer when a whip pan explores a world of clones shocking the audience with this ground breaking information,
that the protagonist and Jordan are copies of real people.
Series of pyrotechnics of exploding helicopters, over-turning vehicles all demonstrate the action enthralled in the movie all to encourage the audience
to go to watch the movie by giving the thrill of the chase an action packed ending.
The trailer ends on the title: ‘The Island.’ Behind the text is a glowing effect of an island shape completely overwhelming any allowance to see any
detail which is a good complimentary title to compliment the trailer illustrating how dreams are sometimes not the idyllic dream and can be a lie.

9. This trailer begins with informing the audience, who the production and distribution companies were involved in the making of this film:
Legendary Pictures, Warner Bros (centre of screen to draw most attention to show how important the company was) and Syncopy. Each name in
the same silver coloured font, which to us the audience preconcepted idea of how the text is 2D, is in actual fact transformed into 3D by computer
generated imagery. From this point the trailer already begins to challenge the beliefs of audiences of what is real or not, by (using the symbolic
code of) the architectural visual effect model buildings that the letters form; just like how the dreams are created by the ‘architect’ in the film.
The first image revealed is of rolling waves exaggerated through the use of slow motion as the waves crash and cuts to a low level close-up of
Dom Cobb (played by Leonardo Di Capprio) face lying on a beach as he wakes up, at which the point the asynchronous music of violins are
discordant and suggest a dream like state due to the link of vulnerability that the sounds connotes. Though the water marks on the camera
creates a sense of verisimilitude which rejects this idea, but the fade to black indicates a flashback to attempt to educate the audience what has
led to cause Dom to be lying unconscious at the beach. The non-linear narrative instantly builds tension and the distorted storyline
complements the idea of the theme of the film, dreams and how they do not have a specific pin pointed beginning and is unknown to the subject.
With the change of lighting to low-key, adapts the atmosphere to dark and eerie, thus linked with the threat of danger and unknown which the
dark is associated to and is consistent with the ideas of secrets. Secrets that are ‘kept in the dark’ and metaphorically are locked up inside peoples
sub consciousness- which is reflected in the crab shot as Dom opens up what looks like to be a safe or cupboard where these secrets are within
and are about to be revealed. This is displayed by the climax of the music as the extreme-close up shows the hand falling where someone has
loss control as they go into dream state vulnerable to the both internally and externally in terms of subconscious could cause a delirium state that
would lead a person into something fearful or something even calm.
With the diegetic voice of Dom speaking, dominant through the beginning of the trailer, to allow the audience to identify him as the main
character and to learn about the type of work he is in, and that this the final job that will allow him to be free. Another fade to black reveals text
of ‘from Christopher Nolan’ with the directors name expanding in size to highlight all of Nolan’s previous works like ‘the director of Dark
which would therefore appeal to fans of that films series but also Nolan who love his work
Within the fragmented simulacrum world (dream state) all laws of gravity are defied, as shown through the canted angle that depicts a minion
falling as the world shifts to its side where the floor is no longer what grounds the characters anymore. Or that the sky is replaced with a CGI bent
folding buildings that slot into place to create a ceiling, demonstrates because of its surrealism traits: it is a dream.
There is no logical order to the footage in the trailer, it is anachronic and does not follow a linear narrative from what the viewers can make out.
To the viewers it just looks like simultaneous dreams after one another. For example, the dissolve from conversation who is the foreseeable
architect who is offered a job to a train ramming down cars by chance without a track… anything is possible in postmodern films.

10. The fast paced cuts of a multiple long shots creates fragmentation; Dom shooting, car chase and the train shot as previously noted are abrupt
cuts and not dissolves like beforehand, meaning we cannot fathom what is reality in this trailer: such a way this trailer does not make sense. This
This section of the trailer ends with a long shot which cuts to canted angle as a henchmen is pushed down the hall as the world is shifted on its
side as the singular drum beat causes this sudden detrimental tension as this stunt is performed / visual effect.
Throughout this trailer only the non-diegetic voiceovers enable to educate the audience of what is actually going on: ‘We create the dream,’ is
one thing the audience understand. But when Dom says ‘You bring that subject into the dream’ which refers back to the extreme close up of the
hand establishing the purpose of the prop with the linked up tube to it.
A point of view shot of one of the protagonist’s, the girl, looks out through like an old fashioned lift gate which coincides with the whole
running motif in this film that time is subjective. This lift scene is intertextual of films such as; ‘Lion and the Witch and the Wardrobe’ with the
wardrobe entering into Narnia, Nolan has merely rehashed this with a lift entering onto a beach where two children are building sand castles. The
effect of this is allowing escapism.
This film is clearly an art house film as it is experimental and aesthetic looks are more the purpose as it is not for profit but to question, and
explore dreams something which truly can’t be explained. This is evident when the long shot captures visual effects of bodies of the protagonists
in it in the air still or chairs half balanced – it is uncanny to the point of not understanding.
This illusion we see is what Dom calls “Inception,” the planting of a seed in someone’s subconscious; therefore, whilst it follows convention of a
action movie with a heist with the crew etc it is not… for one reason they do not steal but give. The whole entirety of this postmodernism genre
means everything is rehashed and subverted. This is evident in how after the voiceover says, “Dreams feel real while we are in them, it’s not
until we wake up we realise something was actually strange” that we realise Nolan is defying this in his exploration of dreams as the zoom in
of the stair well high angle do we see there is actually no stair well which one of the sidekicks are dangling an antagonist over the edge.
There is an equivocation and snare that perhaps the implication of what Dom explains ‘we realise something was strange’ is the long shot of the
slow motion visual effects of fruit, crates etc which is very intertextual / reminiscent of 1961 film Zebrisci Point by an Italian minimalist,
suggesting this is Ariadne’s subconscious attacking or attempting to wake up as it senses something is wrong.
This trailer provides a slide devoted to ‘Leonardo Dicaprio’ graphic as they know marketing wise his name, and his reputation will bring in the
audience whom would not watch necessary such arthouse films – they understand he will bring a lot of revenue for them.
The soundtrack to the film is Zimmer and the orchestral violins, cello and violas create a complex soundtrack matching the whole trailer and
repetively makes a droning sound of a cello as it reveals something not conventional eliciting excitement from the audience by adding a dynamic
to it.
The title is gradually appearing in between footage, building levels to the point of forming the word ‘Inception’ which is reminiscent on the
content of the film in which dreams are built with multiple levels. In terms of font, it contends with the symbolic code of Barthes referring to gaps
of black inside the lettering perpetuates the unanswered questions of what is real or not.

11. A low angle camera tilted upwards; films the subject, Thor the protagonist, falling whilst trapped in chains as it unravels. At the end length of the chains
the pleonastic sounds of the tension of the chains jolting the protagonist emphasises the fallen God, augmenting how even Gods can be contained by
metal such as any other ordinary person. The contribution of the low key lighting with the background lighting from above highlights the sense of
length of depth in how far fallen this God has gone. Such a sense the audience can infer, how the protagonist is like a fallen angel lost his way.
The abrupt fade to black is brutal and blunt, forming a sort of harshness in tone and mood to the trailer. An aerial shot portrays the protagonist in a
non-traditional form of portraying this God as weak and the idle twisting of the chains adds a somewhat cynical mocking nature of Thor as it stupefies
him. This shot also incorporates revealing the location of this first scene; hell, which is formed by the computer generated imagery of lava and molten
rocks associate with the biblical reference of hell. There is encoding of intricate details of faces in the rocks, which signified syntagym of the damned that
that is associated with hell in Norse mythology. This cultural code provides foreshadowing of the protagonist as Hela is the Goddess of death who reigns
in hell.
Not until the Mid-shot do we pin point however that the character trapped is Thor. His non-diegetic voiceover narrates; speaking to the audience
directly, “I guess you’re wondering how I got here.”
The trailer begins in the disequilibrium, following a non-linear narrative providing equivocations via the tilting of the camera as it snakes up a female
body in a black tight suit showing this ‘male gaze’ influence but is effective as it empowers the antagonist as it reveals the extent of destruction showing
her to have powers beyond comprehension with CGI showing mere particles and pyrotechnics of fire that acts also as backlighting to this antagonist
who at this point we do not know who she is but we can imply how at the centre of the world this antagonist is the heart of destruction. This scene, offers
her breaking free of her world as the fire behind can be a rift in space.
A direct contrast, is made in terms of colours from the previous shot to that of the mid-shot of Thor as he throws his hammer conveying how the
ambient lighting of the protagonist as something pure through presenting him in natural lighting. The distinct contrast to that of the antagonist
exemplifies how she is something foreign and personifies her as death itself.
The extreme close-up (/money shot) captures Thor’s hammer, Mjolnir, being caught by the antagonist. This scene is intertextual of previous Thor films
and rewards loyal audience who will understand the significance of the capturing of his hammer, the audience are baffled and even shocked as no one
can hold Thor’s hammer, only him or those worthy of it and clearly she is not. Furthermore, the dissolve from this shot builds up tension as the viewers
are eager to understand of whom can possess the ability to do this and answers are provided by the minor pan which settles on a mid-shot in which a
shallow focus exemplifies the great significance. This shot also reveals the antagonist, played by Cate Blanchett, who plays Hela whom obliterates the
hammer into pieces creating a massive CGI electric pulse to be released.
Due to the low angle capturing the falling of the handle in slow motion next to already fragmented fallen parts of the hammer it amplifies the
deterioration of this hero as it metaphorically mirrors the losing of what makes him a person: losing of family, power, and strength etc.
This footage transitions to the ‘Marvel Studios’ logo, this is a pastiche when it uses the same glowing effect as Guardians of the Galaxy flying out of the
screen to maximise this suspending off disbelief even here demonstrating this idea of simulacrum and hyperreality, of a world ridden with Norse Gods
competing with the audience on truth of magic and Gods.
https://www.youtube.com/watch?v=JBxQ_XYQJh
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12. This section we truly hear the non-diegetic music of ‘Immigrant’ by Led Zepplin, which is a rock genre music that is perfect for the trailer as it is
centred around Vikings and Gods, evidently in phrases like “hammer of the Gods” and “Vahalla I am coming.” Notably, the mid-shot of great
composition in the shot with chiaroscuro lighting contrasting to that of the sharp black head gear of antler like (costume) forms quite a sinister
representation of Hella.
The diegetic sounds of the monosyllabic dialogue “Asgard is dead,” is blunt and implies a lack of emotion in this character signifiying her to lack
empathy or emotion. Her one goal is to achieve complete eradication of Vahalla. This is amplified in the phrase of the music, “of the land of ice and
snow.” The gradual zooming out of the camera on a square in Vahalla watches as the town is consumed by fire and smoke via pyrotechnics
consequently acts as continuity of action following the dialogue before, demonstrating this is not the typical superhero movie this time as loss is
indefinite. The rapid fall of Thor from the sky is seen through a loose frame which imitates the isolation of the protagonist losing his way and being
diverted to an obstruction of being sent to nowhere to be able to reinstate the equilibrium.
Repetition of another loose frame allows to us to see him being surrounded by junk. From which a montage of footage begins, one being a
point-of-view shot of the protagonist that is at a low angle looking upon an alpha female who is positioned to look around over her shoulder
implying superiority over Thor subverting the typical conventional role women play in film – the damsel in distress and instead challenge these
stereotypes by forcing Thor to become the damsel who has met his ‘better.’
A high angled shot peers above a mythical animal – a Pegasus being ridden by a woman in which it is arguably intertextual of renaissance artwork
especially because of the low key lighting amongst the clouds providing an asethetic appearance which is jaw dropping and leaves viewers in awe
of these visual effects. Tying in with the renaissance, the movement which dominated by somewhat the ‘skies coming down’ – meaning, Gods
descent to Earth in this terms we assume Asgard to eradicate Hela.
The diegetic dialogue ‘A contender,’ informs the audience of Thor becoming a participator in some sort of games.
Interwoven graphics between footage in a fluorescent glow imitate that of like retro console and arcade sort of style and compliments the
the trailer’s direction is going into the pastiche of the games of gladiators with a twist of futuristic elements which is why the font is
accurate with the times too.
A simulacrum of CGI flying spaceship’s consists to that of the typical sci-fi genre and provides of the only genre which reflects a world which
society is different by advancements in science and looks at the consequences of these changes. Its inferred in this trailer scientific advancement has
increased chance of survival.
A money shot incorporating slow motion of Loki (Thor’s brother) flips his knives in the air in his hands whilst in a long shot transferring to a close-
up of Loki’s face arousing excitement via this minor stunt which is beautifully appealing to audience in which this character is presented with such
demeanour of determination.
Changing motion of the camera from a steadi-cam to hand-held as it travels up Thor’s body imitates this unstable and shaken style, which is
symbolic to personify the unstable situation Thor is in the current situation. Coming to rest on a mid-shot, the audience encounter his make-up of
three red claw like gashes suggesting blood and violence; implying an imminent loss at the hands off his opponent in this gladiator match.

13. The collaboration of the asynchronous sound of the cymbol ‘ting’ like as the protagonist brings down his helmet it continues this
motif of game like situation with this
The non-diegetic choral singing of the Immigrant music “Ah Ahh Ahhhh,” increases suspense via creating battle like chants for
the appearance of the opponent, which music is suddenly silenced by the outburst of the diegetic roar of Hulk, which common
knowledge is a protagonist too in the marvel world formed by CGI. Such a CGI character which you would only get in a postmodern
film.
A contradictory tone of humour ends the trailer with the diegetic voice of Thor exclaiming in joy at realising that it is “friend from
work” who is his competitor and this comparison from the seriousness of the rest of the trailer encourages audience to not be
discouraged by all previous pain – essentially, this inclusion of irony in the trailer insights to the viewers that they will be able to
escape in this world knowing there is laughter to be had.
The title continues the same theme of the graphics interwoven in the trailer, creating this arcade like theme due to the colours and
thin outlines which zoom into make the title.
The final side is ‘coming soon,’ all trailers have a release date slide at the end – different films take their own style to present and this
trailer has the same font type as used for title and graphics but maintained to one colour outline.
https://www.youtube.com/watch?v=JBxQ_XYQJh
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