2. My film trailer opens in the conventional way, displaying the green screen
with text informing the audience that the trailer has been approved and is
appropriate to watch. Additionally, I added two of my production
companies at the start of the trailer, another convention of existing film
trailers. The footage itself pens with a close up shot of a hand opening the
gate, the clips themselves have all been edited and given a dark
complexion to portray an uneasy atmosphere and adhere to the forms
and conventions of existing horror film trailers. Moreover, the fact that we
don’t actually know who the character is creates further unease as it
leaves the audience asking questions already, is he a protagonist or an
antagonist? What is he doing there? The anchorage of “UP AT THE
CHURCH” not only gives the trailer context for the audience, it gives the
trailer a religious connotation making the plot more convincing and
realistic.
A point-of-view shot is then used from the viewpoint of the antagonist
who is lurking in a bush nearby, the POV antagonist clips are all given a
black hue effect to reinforce the fact that they are from the antagonist’s
view. This connotes further apprehension as the antagonist’s identity is
also unclear, leaving the audience to ponder over additional questions.
Moreover, the eerie music also contributes to this atmosphere connoting
a sinister mood and getting the audience on the edge of their seats. This
POV shot from the antagonist is sustained throughout the first sequence
of my trailer connoting the impression that no matter where the
protagonist goes the antagonist will always be watching you.
A medium long shot tracks the protagonist before the diegetic sound of a
twig snapping and bushes rustling become audible to him and he turns
and faces the source of the sound. Whilst this is a stereotype within most
horror films, it does create a rise in suspense in my film, The camera then
cuts from the medium shot of the protagonist looking into the collection
of bushes to a POV shot and then back to the medium shot of the
protagonist who then turns and walks away, creating a brief sense of
relaxation in an attempt to catch the audience off guard in the next
sequence for the jump scare, something I learnt from my textual analysis.
3. Continuing on from the shots featured on the previous slide, a POV shot
is used following a two second fade to black transition to create a rise in
tension. Following this transition the camera shot from the antagonist’s
viewpoint swiftly charges towards to protagonists to connote the idea of
him attacking and murdering the protagonists. We hear the diegetic
sound of him screaming and the creature’s roar as the screen again
fades to black.
An extreme long shot is then used, as the protagonist’s location is
discovered on the path way leading up to the church, this shots slowly
zooms in to the dead body and was used to make links to my ancillary
tasks and to reinforce the brand identity of my film by using the church
as a recurring image. A cross cut is then used as an the camera is
positioned over-the-shoulder of another protagonist reading a
newspaper featuring the murder of the previous antagonist. A flashback
is then used as the screen cuts to the previous shots of the murder
taking place, this adds further context to the plot and allows the
audience to gain an understanding into the situation the protagonists
find themselves in.
Additionally, the shots connote verisimilitude and emphasise the normal
setting, thus making the film trailer more believable. The camera then
cuts to a medium close up on another protagonist, who explains the
legend of a supernatural antagonist who haunts the church. An eerie
sound track is audible in the background, to sustain the apprehensive
atmosphere of the trailer. Moreover, the dialogue spoken by the
protagonist is also used as a sound bridge as the next sequence begins,
a close up shot is used on the gate being pushed open to generate
familiarity for an audience and leaves them predicting what will happen
next.
A long shot then shows them walking through the gate and inside the
church and graveyard area, this creates dramatic irony for an audience
as they know more than the characters in the film. Low key lighting is
then used on a low angle medium shot of the three main protagonists
looking out into the church, the darkness around them reinforces the
4. As the group continue the investigate the church and graveyard
areas, a medium shot focuses on one of the protagonists as he hears
diegetic sound of twigs snapping and bushes rustling, similar as to
what the first protagonist heard. Again, this becomes familiar for an
audience, it creates a rise in suspense and also they now associate
that sound with danger. The non-diegetic sound track now becomes
more dark and deep, emphasising that the evil antagonist is getting
closer. A medium shot again captures the protagonists extending
forward to get a glimpse of the sound’s source, this stance is again
similar to the one previously seen.
An over-the-shoulder shot from the protagonist sees him spin around
and display facial expressions that connote fear and worry. A loud
and deep eerie sound effect is then audible to emphasis the rise in
tension. The camera then cuts to an over-the-shoulder shot from the
protagonist as the supernatural being quickly charges forward before
the screen fades to black, this violent act ensures that my trailer
adheres to forms and conventions of existing film trailers. The
camera then focuses on a medium shot of the main protagonist
talking about the creature and the curse that has been inflicted on
them, again this adds context to the plot and allows the production
and characters to engage with the audience as they fully understand
what is going on.
During the montage sequence, an over-the-shoulder shot
demonstrates the protagonist unfolding a threatening note from the
antagonist. Whilst this does border on horror film cliché, I feel that,
for my film, it plugs gaps in the audience’s knowledge and
demonstrates the power of the antagonist. Another over-the-
shoulder shot is then used on another protagonist researching the
antagonist and obtaining an online photograph of him, he then looks
away before the image seemingly comes to life and charges at the
screen, again this sinister act emphasises the power of the antagonist
and generates a rise in tension. Finally, the film’s title is displayed and
appropriate social networking links are displayed.
5. TODOROV
• EQUILIBRIUM: All is well and 16 year old Zachary Copson is visiting his grandfather’s at
the local church.
• DISRUPTION: Whilst at St Andrews Church in Countesthorpe, Zachary hears some
strange noises which alert him to the presence of a supernatural antagonist who swiftly
kills Zachary before he has a chance to escape or run for help.
• RECOGNITION OF DISRUPTION: The trailer cuts to a school environment where, Sam,
Jamie and Brad, friends of Zachary, are reading a newspaper reporting on his death
before another school friend, Tom Stafford, informs them of a legendary antagonist that
supposedly haunts the church where Zachary was murdered.
• ATTEMPT TO REPAIR: The trailer then cross cuts again, back to the church, where the
three main protagonists attempt to investigate the murder and find out if there is any
truth behind the rumours of this supernatural antagonists.
• NEW EQUILIBRIUM: Eventually the trio come face-to-face with the antagonist, who goes
by the name of Solebat (Latin for nightmare.) The creature then inflicts a curse on each
of the trio that will see them have to battle against their worst fears and nightmares. This
new equilibrium will provide the back bone of the film’s plot.
6. PROPP
• HEROES: = The main heroes in this film are Sam, Jamie and Brad, the
plot revolves around them going to investigate the murder of their
murdered friend Zachary Copson. They discover he was murdered by
a supernatural antagonist who curses the trio and forces them to
overcome their deepest fears and most petrifying fears.
• VILLAINS: = Solebat, is the film’s main antagonist and haunts the local
church, cursing people by forcing them to experience their worst
nightmares.
• DISPATCHER: = The film’s dispatcher is Tom Stafford who provides the
protagonists with information about Solebat which is what sets them
off on their investigation.
