The document analyzes the mis-en-scene, cinematography, editing, and sound design of the Star Wars: The Force Awakens trailer. It discusses how specific shots are manipulated to elicit an emotional response from audiences. For example, the masked character's costume is meant to intrigue viewers about their potential misfortune. Cinematography also builds tension, like a low-angle shot that makes the villain seem bigger and more powerful. The editing uses short, snappy shots to tease the film without giving too much away. This, along with the music, helps build anticipation for the recognizable Star Wars elements to come.

1. Mis-En-Scene
In termsof mis-en-scene the firstshot(mediumclose-up) of the trailerhasbeenspecificallymanipulatedtoevoke an
emotional response fromthe audience,inwaysuchasthe use of costume and lighting.
As youcan see inthe image the unknowncharacteriswearingamask consistingof gogglesandragsthat are wound
roundthe face to completelyhide the subject’sidentity.The factthatthe rags are dirtyand seeminglyof asimple
cotton material showshow theyare eithernotmeaningtostandoutor simplycannotaffordanythingmore.The
audience will be intriguedbythe potential misfortune of the characterandwonderwhytheyare hidingthemselves
withthe plainpiecesof cloth.Furthermore the choice of gogglesisreminiscentof the Stormtroopercostumesof the
past whichgivesthe impressionof thembeingstolenorsecond-hand.The audience mayfeel pityorsympathyto
thischaracter as a resultand inturn evenmore intriguedastowhatthischaracter has beenthroughinthe past.
Moreoverthe use of lightingiskeyinthisshotas itfollowsthe theme of the hiddenidentityasthe whole settingis
dark and gloomyotherthanthe torch on the characters goggles.Thissendsthe message thatthisperson,whoever
theymay be,isgoingto bringlightto the darknessof the galaxywhichprovideshope andexcitementwithinthe
audience. Onthe
basisof soundI find
the next10 seconds
or so the most
interestinginterms
of creatingan
emotional response
aurally.Withthe
firstsoundbeinga
singularpianochord
the audience will
feel the tensionand
anticipation
mountingastheywaitto hear that familiarmusic.The chordislightandhopeful andthe image atthe time (Rey)
representsthe newsource of the force thatis beingintroduced,thisideapotentiallybeingpickeduponbythe
speculatingfansandmore mature individuals. ThisisfollowedbyMazKanata voice askingthe question:“Whoare
you?”and this,I believe,setsthe tone forthe entire filmandtrailer.Itfitswiththe hiddenidentitiesof the new
characters,the audience will be wonderingwhoReyisandherpurpose inthe storyline aswell asKyloinhismask
lateron,and withthe title “The Force Awakens”.Whoisthe force?The questionwilldirectlytoucheverymemberof
the audience because of the secrecyandteasingnature of the trailerleavingeachindividual feelingemotionsof
anticipation,confusionandclimacticexcitementatthe ideaof findingoutthisbigplottwistthat the new film will
bringto the series. The structure of the trailerisone that starts slow yetgathersspeedasit progresses,givingaway
more and more witha buildof pace anddrama until the final shotwhere itabruptlyends,leavingthe audience on

2. the edge of theirseats.It subtlybeginswithslow establishingshotsandlimitedsoundtoease the audience backinto
the worldof Star Wars, as well asintroduce Reyandall the genre conventionsthe fansknow andlove.
Thissequence of slow-pacedestablishingshotsiscontinuedasFinnisintroducedforthe firsttime.Hisfigure is
shownstandingbefore the dessertof Jakkuina wide shotandthisimage isreminiscentof one inthe original film of
Mos Eisleywhichwill appeallargelytothe olderfansandshow themstraightaway that thisnew Star Wars
experience will notstrayfarfrom whatthey’re usedto.
Cinematographyhasalsobeenusedtoemotionallyimpactthe audiencewithafresheditingperspectiveaddingto
the pace and dramain specificscenes.
I findthe nextlowangled shotabove particularlyeffective intermsof itscinematographydue tothe emotional
response Ifindmyself experiencingwhenIwatchit.The fact that the camerazoomsin frombehindthe darkfigure
makesitseemlike the camera and the audience have snuckintothisdangerousshipandare keepingoutof sightof

3. the scary character, moreoverthe identityisyetagainkeptsecretcreatingsuspenseandinterestfromthe audience.
On topof thisthe shot istakenfroma lowangle makingthe unknownvillainbiggerthe closeryouget.This
technique will evoke fearandafeelingof vulnerabilityfromthe audience asthisnew formof evil isgivenanimage
of supreme powerandstrength.Thistheme of
vulnerabilityiscarriedintothe nextshot(aclose upof
KyloRen’smask) asthe steadyclosinginof Kylo’sstare
boresintothe audienceseyesasif theyare being
possessedanddestroyedbythe powerof the darkside.
Thisuse of cinematographycreatestensionand
discomfortforthe audience asthe camera slowly
zoomsin.
Soonthe music beginstobuildasthe dark side isrevealedandthe shotsbegintodecrease inlengthandincrease in
speed.Thisbeginstobuildtensionandanticipationforthe recognisable StarWarsmusicand cinematographywhich
comeswhenthe MillenniumFalconappearsandthe plotlinebegins.
In termsof editingthe entire traileriseditedinshort,snappyshotsthatgive awaytinyglimpsesof the filmandkeep
the tensionhigh.Thishasbeendone inorderto create a sense of excitementwithinthe audience andtease them
withoutgivingtoomuchaway.The average shotlengthforthe traileris3 seconds,withmostshotsof Rey andFinn
beinglongerandshotsof KyloRenbeingshorter.Thishelpstointroduce ReyandFinntothe audience andshow
themtogether,asfriendsorspeculatively,
as a couple.Onthe other handKyloRen’s2
secondshotsworkin hisfavourto create
suspense andfeararoundhischaracter,as
the audience won’tknow muchabouthim.
The short snippetsof hisdarkfigure and
sharp cuts of movement(forexample when
he fightsRey) are fast andleave the
audience
shocked
and withquestionsabouthispower.Hisfastpacededitingwill appeal tothe
newer,youngeraudience astheywill be grippedwiththe action-like styleof the
trailerratherthan the olderfanswhowouldappreciate the more classicstyle of
editing.
Howeverthere are alsolongershotsthatare more typical of Star Wars films,forexample whenthe cameratracks
the millennium falcon.
Thisshot showsthe
smoothmovementand
speedof the falconlike
the past instalments
filmeditandthiswill
appeal tothe fanswhoare
hopingforthe classicstyle
of Star Wars to be credited
inThe Force Awakens.
Alongwiththe musicthe
editingof thisshotcreatesa strongsense of nostalgiathatmanywill recognise asthe warm80s style of film.

4. From thenonthe pace is constantlybuildingas
more characters, oldandnew,are shownaswell as
the settingsandgeneral storyline.Simultaneously
the musicand soundeffectsbuildtomatchthe fast
pacedshotsand dramatic contentanda crescendo
buildsuntil the final shotof Kyloflashinghis
lightsaber,the narrative of JedisvsThe DarkSide
clearas a final snapshot.Thiscliff-hangerleaves
the audience insuspense anddesperation,
successfullyconvincingall towantto see the film.