Here is an analysis of Rear Window's teaser trailer style

1. Genre Research-
Teaser Trailer Style-
Rear Window (1954)
By Olivia Houlton

2. Rear Window- Teaser’s Style
• Camerawork-
• Angle- When Jeff is talking to his friend about his
concerns a high angle is used, perhaps to indicate towards
his vulnerability in the situation. This is because he can’t
find any evidence to prove to the police Thorwald is guilty
and he is physically incapable as he has broken his leg
• Movement- During the very beginning of the trailer there
are many crab and tilt movements of the camera around
the block of flats. This creates tension in the audience as
they don’t yet know what they are searching for. Also, 1
minute 16 seconds in, the camera zooms on the face of
Lisa, creating a sense of seriousness and echoing the
drama of the plot.
• Shot Type- During the romantic scene between Lisa and
Jeff there are man close-ups on their faces to create a
sense of intimacy and closeness. However, 44 seconds in
there is a long shot of Thorwald walking down a dark
alley. The use of a long shot here creates the impression
of a hidden identity as you can’t see Throwald’s face,
further enhancing the theme of mystery and enigma

3. Rear Window- Teaser’s Style
• Composition- 1 minute in there is use of the
rule of thirds on Lisa’s face further creating a
sense of realism and structure in the shot.
However this rule is broken when Thorwald
looks into Jeff’s binoculars as he is very central
in the shot creating a certain uneasiness. Also,
this makes the audience feel inferior and
threatened by Thorwald’s use of direct address.
• Depth of Field- Although the majority of the
teaser trailer is in deep focus, near the
beginning there is a shot of Jeff looking through
his camera and there is selective focus on Jeff’s
face. This introduces him as a protagonist and
implies his significance in the plot.

4. Rear Window- Teaser’s Style
• Sound
• Diegetic- Dialogue- during the romantic scene
between Jeff and Lisa, she says, “shows over
for tonight”- this creates a calm and relaxed
atmosphere. However, Jeff soon starts to
question Thorwald and explains his concerns
to Lisa foreshadowing the danger they are
about to embark on. At 59 seconds in Jeff says,
“Just how would you start to cut up a human
body?” further implying the themes of hazard
and risk.

5. Rear Window- Teaser’s Style
Non-diegetic Sound-
Voiceover- at 43 seconds in there is a voiceover of Jeff
explaining how he has seen Thorwald take and use
“mysterious trips at night, knives and swords and ropes”.
Whilst he explains this to Lisa footage of Thorwald doing all
these actions are shown. The use of sound bridges here
make the audience believe Jeff and feel suspicious of
Thorwald. Also, there is another voiceover when Thorwald
looks directly into the camera as Lisa says, “What are you
gunna do if one of them catches you?”. This second use of a
soundbridge foreshadows how Thorwald will catch them and
how he is a threat to all his neighbours.
Soundtrack- There is a constant soundtrack throughout the
teaser trailer, the music is very parallel to the images. At the
start when there are images of the blocks of flats there is
very tense, deep music running ay a slow pace. However
during the romance scene the footage is accompanied with
dreamy music mainly of violins. However when Jeff starts to
question Thorwald the tense music starts again but at a
slightly quicker pace. After Thorwald looks directly into the
camera there is a long pause, this further creates tension and
marks the moment when Thorwald realises he is being
watched. The following music is even louder and fast paced,
also it gets higher pitched as it crescendos to the title being
displayed.

6. Rear Window- Teaser’s Style
• Editing
• Order of shots- The beginning of the teaser trailer starts
with images of the blocks of flats. This is effective in
immediately setting the scene for the film. This is
followed by the romantic scene between Jeff and Lisa
which also introduces them as protagonist and
establishes their relationship. The following shots help
build towards the climax and inject tension, also
exposing key plot elements to the audience. 18 seconds
in there is a credit saying “he never should have seen”
followed by a shot of Jeff behind his camera looking
concerned. The order of these shots is significant in
implying to the audience that what he saw was sinister
and unforgettable.
• Continuity- Although during the romantic scene there is
continuity, the majority of the trailer is a montage of
clips to give the audience in insight to the best bits of
the film and encourage them to go watch the whole film
to fill in the gaps

7. Rear Window- Teaser’s
Style
• Transitions- There is a vast range of transitions used in the
trailer. Firstly, there is use of a fade during the establishing
shots of the flats to create a slow pace and eerie feel. Secondly,
there is use of a wipe further into the trailer from a credit to a
shot of Jeff talking to another character about his concerns.
This transition effectively adds further pace and drama to the
trailer creating more excitement and thrill. Also, there is use of
the iris transition during the end of the trailer over the actors
involved, adding more commotion to the climax and
significance to these these final credits.
• Shot duration/pace/rhythm- The pace and rhythm of the
trailer starts off quite slow, however when the romantic scene
is over the shot duration gets shorter as it builds towards the
climax. However after the climax the final shot of the title is
shown for a few seconds, slowing the pace shown and allowing
the title to be more memorable.
• Special Effects- During some of the credits there is a flashing
effect, resembling the idea of camera. This is effective in
emphasising Jeff’s job as a photographer and the whole idea of
him trying to capture evidence on his camera that proves
Thorwald is guilty

8. Rear Window-
Teaser’s Style
Mise-en-scene
• Setting- The setting is mainly established in the
opening when the camera moves around the
block of flats
• Props- The key props are the camera and the
binoculars Jeff uses to spy on Thorwald. These
props clearly show how severe the situation
and imply hoe Jeff’s spying is getting out of
control. The camera also reflects on Jeff’s job as
photographer.
• Costume/hair/make-up- The red lipstick, pearl
jewellery and neat hair and make-up imply Lisa
is the damsel in the plot. Also, it establishes her
as quite a glamorous character. However, the
grey hair, glasses and scruffy suit Thorwald
further represents him as a creepy character.

9. Rear Window-
Teaser’s Style
• Facial Expression/Body Language
• Lighting- Overall the majority of shots within the
trailer are quite dark implying the sinister plot. Also,
there are many contrasts of light and dark spaces
when Jeff is spying on Thorwald at night, perhaps to
focus the image more and resemble a cinema screen
as Jeff is only a spectator in the event. Also, light is
used to create many shadows within in trailer to
further emphasis the theme of mystery and enigma.
Also, 1 minute 8 seconds in when Thorwald realises
Jeff is spying on him, Jeff slides backwards in his
chair and his face is covered in darkness, this could
symbolise the trouble and danger he is getting
himself into.
• Colour- Nearing towards the climax there is use of
an orange effect over the image of Jeff in his
wheelchair. Due to orange having connotations od
prison, it could imply how Jeff feel entrapped in his
wheelchair. Also, the colour has certain connections
with bodily fluids so could foreshadow the violent
scenes within the film