Narrative enigmas in trailers
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The document discusses the narrative conventions and structure commonly found in tragedy movie trailers. Some key points: - Trailers usually show characters' lives before and after some event in a non-chronological way, using voiceovers and scene cuts to hint at tragedy without revealing specifics. - They aim to get audiences invested in characters and intrigued by narrative enigmas like what exactly happens, who dies, or how it ends, in order to drive interest in the full movie. - By following genre expectations and conventions of tragedy, including ambiguous or sad endings, trailers help audiences connect with the emotional storyline.
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The document provides details about the opening ideas and narrative for a student film project titled "Stripes of Events". It is intended to be a psychological thriller about a female serial killer.
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The trailer begins with friends having fun on holiday but then takes a dark turn when one suggests visiting an abandoned city. Strange things start happening and the friends encounter problems. The trailer uses different shot types, evolving music and changing colors to build tension. It aims to confuse and intrigue viewers about what causes the problems facing the friends. The poster features the abandoned city skyline and a biohazard symbol. It uses an old, broken font for the title and a tagline that questions the safety of an area tourists were told they could visit.
Student example analysis
The document analyzes techniques used in six short films:
1. Behind the Net Curtains uses a red herring, concealing the killer's identity, and close-ups of gruesome details to build mystery.
2. Deadline uses a timer and limited dialogue to create a sense of urgency and confusion. Tracking shots and an unseen killer add to the mystery.
3. The Witness uses a video camera style, shot/reverse shots, low lighting, and costumes to seem dark, isolated, and make the criminals mysterious.
4. Outspoken reverses and uses over the shoulder shots, credits on paper, and indicators of drug use to seem confusing and make characters seem suspicious
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The document outlines a pitch for a psychological thriller film titled "The Escape." It describes the plot, which follows a female character named Laura Moore running away from danger and constantly experiencing flashbacks of being tortured by a man who had captured her. The key locations are the interior of the house where she was held captive and the exterior areas as she runs to the train station. The structure begins with Laura escaping, includes flashbacks of her captivity, and ends with her missing the train as the man is seen watching her from the other side of the platform.
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Thrillers employ certain cinematic conventions to build tension and suspense. They typically use fast cuts and shots, tense music, dramatic camera angles and lighting, and flashbacks. The characters often have sinister sides and hit rock bottom, such as the male underdog protagonist. Femme fatale female characters are also common, depicted as strong and emotionless. Cinematography focuses on close-ups of faces and props for protagonists but quick cuts hide antagonist identities. Sound, both diegetic and non-diegetic, adds to the suspense through the music. Editing uses jump cuts and cross-cutting to maintain an atmosphere of mystery and keep audiences on the edge of their seats.
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The narrative conventions in action movie trailers typically involve:
1) Showing characters living stable lives at first, then introducing a problem or conflict through fast-paced scenes.
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3) Using restricted narratives that don't reveal too much and encourage viewers to watch the full movie. Common enigmas center around who is behind threats or conflicts facing the main characters. Fast pacing, fade outs, and montages are used to create these enigmas and suspense.
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This document discusses various cinematic techniques used in thriller films to create suspense and engage audiences. It covers editing techniques like fast cutting, cross cutting, and flashbacks. It also discusses camera shots and angles such as tracking shots, point of view shots, establishing shots, and close ups. Additionally, it outlines the use of sound, themes, motifs, symbols, ideologies, narratives, character representations, lighting, settings, mood, and tone in thrillers. The goal of these techniques is to keep audiences hooked through the strategic use of suspense-building elements in cinematography, editing, sound, and storytelling conventions.
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The document discusses various film techniques used in a movie scene, including extreme close-ups on a masked character to emphasize disguise, medium shots that show both characters and their surroundings, long shots that show a character's size and impact, and tracking shots that follow a character's movement to keep them in focus. It also mentions the use of zooms, cuts, diegetic sounds like gunshots, non-diegetic music to create suspense, and bird's-eye views to provide context about the setting.
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This document provides definitions for comic book art terms like close-ups, zoom outs, onomatopoeia, and movement lines. It asks questions about applying these terms to analyze an unseen comic such as identifying focal points, noises, who is thinking or talking, and what is moving. The document serves as an educational guide for learning to interpret visual storytelling techniques in comics.
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This document is a script that follows the kidnapping of a 10-year-old girl named April Lovett. It uses a series of news reporter voiceovers to establish that April went missing after not returning home from the park. The script then cuts between shots of April in public before her kidnapping and shots inside the kidnapper's shed, showing him preparing by sharpening knives and setting up surveillance cameras. It builds suspense as the search for April continues with no leads over a period of two weeks.
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This document outlines ideas and techniques for a psychological thriller film plot and production. The plot would involve a teenage girl who loses her best friend to murder and begins attending therapy. Through this, she meets a boy who is actually the killer with an obsession for long hair. Locations around London with Victorian vibes would be used. Costumes would emphasize the main character's distress and the killer would always be in black. Tight shots and muted colors would build suspense. Sound effects like heavy breathing would add to the thriller elements.
Title
Titles are shown at the beginning of trailers and provide information like the movie or production company name. They can also provide context about the storyline. Credits are shown at the end and list important details such as the cast, producers, and social media. Titles are used throughout trailers to inform the audience about quotes, release dates, and reviews. They identify actors, popular production companies, and the distribution company to attract viewers. Titles and credits are formatted differently based on the movie genre to set expectations and fit with the genre's conventions.
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The media product represents two main social groups: the middle class and criminals. The middle class is represented through the main character, a victim of kidnapping, shown through his typical middle class home and neighborhood. Criminals are also represented, though little is shown about them directly. They are depicted as efficient and having done research on their victim, suggesting they are professionals acting on behalf of another party or agenda that is currently unknown to the audience.
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This document discusses conventions of genre and form for horror films and film trailers. It outlines common elements of horror films like blood, weapons, isolated settings, and makeup. It also discusses conventions of trailers like showing the narrative, credits, and being around 2 minutes. Technical elements used in horror are described, like mise-en-scene settings, lighting, props, costumes and camerawork techniques. Sound conventions include non-diegetic music, sound effects and dialogue. Fast-paced editing and cross-cutting are discussed as editing conventions. The target audience is identified as male teenagers and young adults, and ways to appeal to them through including sounds, settings and films they enjoy are outlined.
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The document analyzes techniques used in several student films. It discusses the use of red herrings, concealed images of characters, jump cuts, point of view shots, lighting, sound effects, mysteries around the identity of killers, and other techniques to build suspense, tension, and keep audiences confused about what is happening. Multiple films employ techniques like never revealing the killer's identity, limited dialogue, timers adding a sense of urgency, and flashbacks to enhance the thriller and mysterious elements of the stories.
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The document discusses conventions for a film trailer about a mentally ill man who kidnaps his girlfriend. It proposes using conventions such as:
1) A mentally unstable but seemingly normal main character
2) Scenes that shift between isolated and public locations, day and night lighting, and a slow and fast pace for tension
3) A trailer that introduces characters and locations and hints at the abduction, using two different types of music to represent the timeline
The document then discusses developing and challenging conventions by having the mental illness be genetic, locations that change from urban to isolated, and editing that intersperses scenes before and after the abduction. Inspiration is drawn from the film "Gone" about
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This document provides discussion questions and context about crime drama television shows. It examines how shows like The Sweeney from the 1970s and Luther portray different time periods and societies through their representations of issues like gender, police work, and diversity. Audience theory is also discussed, with examples of how viewers may watch crime dramas for entertainment, social reasons, or to fulfill needs around information, identity, and social integration.
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Film magazines aim to educate readers about the filmmaking process and promote upcoming films. They publish film posters and details to inform readers about movies and release dates. Film magazines are available physically in shops and online in digital formats through apps or PDF downloads. Magazine covers attract wider audiences than films by featuring exclusive behind-the-scenes content and interviews to preview articles. Covers typically use a main image of the featured article's subject against a plain background, with the magazine title in a distinct font, and cover lines summarizing other articles.
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This document contains research completed by Gabriella, Ewelina and Nikol on movie trailers for an assignment. Each section contains tables with movie titles, links to trailers and screenshot research. Gabriella, Ewelina and Nikol researched various action, sci-fi and drama movies from films like Godzilla to The Wolf of Wall Street. The document ends with each person's proposed movie to create a sweded trailer for, including reasons for their choice.
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Similar to Narrative enigmas in trailers
Thriller conventions
Thrillers use conventions like suspenseful music, lighting, and shot types to create tension and uncertainty. There is typically a crime or criminal acts that drive the narrative and keep viewers engaged. Thrillers also have complex narratives with clues, false leads, and mysteries that keep the audience questioning what will happen. The protagonist is usually challenged or disempowered against the antagonist, building towards a climactic confrontation between the two.
Thriller conventions
Thrillers use conventions like suspenseful music, lighting, and shot types to create tension and uncertainty. There is typically a crime or criminal acts that drive the narrative and keep viewers engaged as they try to solve mysteries. Thrillers have complex plots with twists and clues that leave audiences questioning what will happen. The protagonist is usually challenged by an antagonist, leading to climactic confrontations like fights or chases. Mise-en-scene matches the mood and circumstances of scenes through lighting, music, and environments. These conventions distinguish thrillers from other genres.
Thriller genre conventions
This document outlines conventions of the thriller genre across different elements of film including sound, editing, mise-en-scene, cinematography, plot, locations/settings, characters, and narrative. Key conventions discussed are the use of music and sound effects to create tension; shorter cuts and smooth edits to excite audiences; costumes and props that fit characters and advance the plot; shots like close-ups and POVs that bring audiences into the action; action-packed plots with fight scenes; dangerous urban locations; character archetypes like protagonists, antagonists, and damsels in distress; and linear narratives that build tension and provide closure.
Thriller genre conventions
This document outlines conventions of the thriller genre across different elements of film including sound, editing, mise-en-scene, cinematography, plot, locations/settings, characters, and narrative. Key conventions discussed are the use of music and sound effects to create tension; shorter cuts and smooth edits to excite audiences; costumes and props that fit characters and advance the plot; shots like close-ups and POVs that bring audiences into the action; action-packed plots with fight scenes; dangerous urban locations for confrontations; stereotypical characters like protagonists, antagonists, and damsels in distress; and narratives that follow a linear structure with a closed ending to provide closure.
Question 1
The filmmaker describes their film as a drama/war film that emphasizes the drama genre. While it contains elements of war, it focuses more on displaying real characters and stories, character development and journey, and moving the audience emotionally. Unlike typical dramas, it breaks conventions by not having a happy ending, as the film leaves the audience unsure how to feel about the unresolved situation.
Textual Analysis: Genre
Drama films rely on developing realistic characters dealing with emotional themes like addiction, prejudice, or corruption that put them in conflict. Common subgenres include romantic drama, sports films, period pieces, and courtroom/crime dramas. Dramatic openings establish atmosphere through long shots, slow music, and foreshadowing to draw audiences in. They also set the background and hint at outcomes to influence viewers. Character details represent ideas and create dramatic tension as audiences wait to see what will happen. Diverse age groups are included to show support systems and create impact. Settings are usually obvious places tied to the characters or story.
The romance of loneliness
This document analyzes the poster and trailer for the independent film "The Romance Of Loneliness". It summarizes that the poster uses a black and white color scheme with pops of red and orange to hint at more color in the characters' mundane lives. The film title is in an unconventional handwritten font to reflect themes of identity and finding oneself. The trailer cuts between natural light shots in a way that mimics remembering memories, and uses differences in lighting to show changes in time periods or relationships. It aims to portray loneliness and friendship in a cohesive yet fragmented manner.
The romance of loneliness
This document analyzes the poster and trailer for the independent film "The Romance Of Loneliness". It summarizes that the poster uses a black and white color scheme with pops of red and orange to hint at more color in the characters' mundane lives. The film title is in an unconventional handwritten font to reflect themes of identity and finding oneself. The trailer cuts between natural light shots in a way that mimics remembering memories, and uses differences in lighting to show changes in time periods or relationships. It aims to represent loneliness and friendship in a cohesive yet fragmented way.
The romance of loneliness
This document analyzes the poster and trailer for the independent film "The Romance Of Loneliness". It summarizes that the poster uses a black and white color scheme with pops of red and orange to hint at more color in the characters' mundane lives. The trailer cuts between natural light shots in a way that mimics remembering memories, contrasting loneliness with friendship. It features differences in soft/harsh lighting to represent changes in time periods or relationships. Overall, the analysis finds the marketing materials capture themes of identity, nostalgia, and how loneliness and friendship can marginalize relationships differently.
Assignment 8 poster research completed
The document discusses film poster conventions and provides examples from various movie posters. It identifies common elements of posters like the main image focusing on characters, placement of titles/credits, inclusion of taglines, and release dates. The document also discusses where posters are displayed publicly and how their visuals aim to attract wider audiences. Genre conventions and their similarities/differences are outlined as well. Priorities for posters like main actors, film name, images, and dates are identified as most important for audience interest and information needs.
Passionfruit Theatre - Writing Workshop
Passionfruit Theatre Company provides information on how to write a play, including tips on finding inspiration, organization, developing characters, and including elements like conflict. The document emphasizes that creative works draw from both personal experience and imagination to craft meaningful interpretations of reality. It also stresses the importance of elements like narrative, dialogue, character contrasts, and considering the overall production when bringing a written play to the stage.
Film poster research Media studies
Tragedy film posters often show characters in despair or pain with dark colors to signify an unhappy ending. Romance posters usually feature couples in significant places with warm colors. Action posters commonly depict the hero showing off strength and abilities. Comedy posters tend to highlight the main character and friends in funny expressions. Horror posters typically feature scared or injured villains or victims to intrigue audiences. There are teaser, character, and main posters that provide varying levels of information about actors, release dates, directors, and the film's story.
The romance of loneliness
The document provides an analysis of the poster and trailer for the independent film "The Romance Of Loneliness". It summarizes that the poster features the production company names at the top with lesser known actor names below, in an unconventional central placement. The color palette is mostly black and white with pops of red and orange. Fragmented shots in the trailer cut between photos and scenes to tell a story about loneliness and friendship over time in a nostalgic, coming of age tone through natural lighting and color contrasts. The editing mimics remembering memories while allowing the trailer to flow cohesively and establish the independent comedy drama genre from the first shot.
The hitcher analysis
The document provides an analysis of the trailer for the horror film "The Hitcher". It summarizes the key camera shots, editing techniques, aspects of mise-en-scene, sound design, and film theories used in the trailer. These include ominous point-of-view shots of the hitcher approaching the car, tense shot reverse shots between the hitcher and couple, the use of a knife as a prop to signify danger, and an unsettling dialogue exchange between the characters that leaves the audience wanting to see more.
Conventions of opening sequence
This opening sequence introduces the main characters through a long shot that shows them all together. Engaging music plays throughout to keep the audience interested and set an energetic tone. Scenes cut between the characters running, smoking, and playing football, establishing a non-linear narrative that builds intrigue. A voiceover mentions heroin, introducing this as a theme. Minimal dialogue is used to focus the audience on the visuals and subliminal message of the voiceover. This smash mouth, non-linear opening uses music and quick cuts between scenes to immediately draw the viewer in through enigma and energy.
Thriler convention
Thriller films aim to keep audiences guessing through mystery and suspense. They build tension through techniques like ominous music, mysterious sounds and characters, and plot twists. The narrative jumps between normal and mysterious scenes to further confuse viewers about what will happen next and draw them into solving the film's puzzles. Editing in thrillers and their trailers also uses fast pacing and tension-building music or sounds to create intrigue and encourage viewership.
Ms2 redo
This film poster for The Hills Have Eyes features a silhouetted figure holding an axe in a desolate landscape. Few details are visible, creating intrigue about who this person is and what they intend to do. The dull colors and strange smudges in the poster further pique interest in the unknown events of the film's plot while the red-tinged title hints at danger and violence. In just 3 sentences, the poster draws viewers in through ambiguity and subtle suggestions of threat.
Research and planning shutter Island
The trailer for Shutter Island abides by the codes and conventions of the thriller genre. It builds tension and mystery through techniques like quick cuts, low key lighting, ominous music, and ambiguous dialogue. While no antagonist is clearly shown, the protagonist appears vulnerable and confused within the dark and isolated setting of a mysterious asylum. Hints are provided that he may himself be the source of the disruption. The trailer aims to draw in 14-22 year old audiences through its use of suspense, romance, and a seemingly powerless yet relatable main character trapped in a perilous situation.
My evaluation
The document analyzes the thriller opening "Music Box" and how it uses and develops conventions of real thriller media products like the film "Creep". It examines the use of settings, characters, narrative structures, titles, lighting and more to create suspense. It also discusses how conventions are challenged, the target teenage audience, and technologies learned through the process.
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- The document provides information about ratings used by the British Board of Film Classification (BBFC) and Motion Picture Association of America (MPAA).
- It includes descriptions of the BBFC ratings of Universal, PG, 12A and examples of rated trailers for The Hunger Games and ParaNorman.
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Tragedies typically involve a character who is severely ill and near death, with a friend or family member trying to keep them motivated. Such stories commonly use dull colors and natural lighting to set a somber mood, and follow a stereotypical narrative structure involving a romantic element. More recently, tragedies have been based on true stories to generate more audience attention and allow for an emotional connection, such as the movie "Letters to God" which was inspired by a sick child who wrote letters to God.
Trailers and credits
Titles are used at the beginning of movies and trailers to give viewers information about the storyline and grab their attention. Credits shown at the end of trailers introduce the cast and crew and highlight awards or critical praise to persuade viewers that the movie is good. Titles in trailers for dramatic movies often leave viewers with questions about what will happen to characters to generate interest, while credits promote the people involved in the film's production. The style and placement of titles and credits are designed to fit the narrative and tone of the trailer.
Question 2 - Media evaluation
The document discusses the representation of social groups in psychological thrillers. It analyzes the representation of characters in the film "Orphan" and the creators' media product. The media product represents the main character as an adult male who was deprived of a normal childhood due to being raised in an alcoholic family, leaving him psychologically scarred. He takes the identity of a clown from his childhood toy. The character targets happy children, as he was deprived of a happy childhood. Through costume, makeup, facial expressions, and location, the character is represented as emotionally stunted from his traumatic upbringing. The film also represents a young victim character - a happy little girl living a normal childhood, contrasting with the clown's
media
The target audience for the media product is males and females aged 15-25 from working and middle class backgrounds. This age group is less sensitive than younger viewers, but has more free time than older adults. The psychological horror story and opening sequence aim to appeal to a mass audience regardless of sexuality or social class. A BBFC 15 rating was selected due to strong language, violence, and potentially frightening themes that could negatively impact younger viewers.
Presentation 4
The target audience for the media product is males and females aged 15-25 from working and middle class backgrounds. It aims to appeal to niche horror fans as an independent work with a lower budget than blockbuster films. The content includes strong language and violence, so it is targeting an older teen and young adult 15+ audience without younger viewers who may be sensitive to or develop fears from the psychological horror elements.
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Narrative enigmas in trailers
- 1. Nikol Maciejewska NARRATIVE ENIGMAS IN TRAILERS
- 3. - Usually shows real life situations, with realistic characters, settings and stories. - Shows a characters journey and their development. - There is usually conflict - Audiences can relate to the character in some way - Structured to keep the audience interested - A form of realisation at the end WHAT ARE THE NARRATIVE CONVENTIONS? (STORY CONVENTIONS
- 4. - The narrative is not always chronological. - Usually shows main character happy at the beginning (usually successful, popular). - Main character usually look like someone who would never have problems (always happy). - Voice overs are usually used to give brief points as to what happened or comment certain situations they thought nothing of before. - There is a change of pace usually from normal to slow to emphasise the tragedy. - This is done to show the audience what the character is like and how things go for that specific person and others around them. - Usually shows good moments against bad this again is used to allow the audience to relate. - The end of the trailer is usually a tragic moment (where something is about to happen or you only see the characters reaction). -WHAT IS THE NARRATIVE STRUCTURE? (HOW ARE THEY PRESENTING THE STORY TO YOU AND WHY IN THIS ORDER?)
- 5. - They usually introduce you to the characters - Show their lifestyles before and after - They want you to know how a event effected them WHAT UNRESTRICTED NARRATIVE IS THERE? (WHAT DO THEY WANT YOU TO KNOW)
- 6. - They do not want you to know what exactly happened to the character - They do not want to show whether someone actually dies - How the ending may look like - What the most important part is - Do not want to reveal any secrets - They do not what to show some relationships between characters WHAT RESTRICTED NARRATIVE IS THERE? (WHAT DO THEY NOT WANT YOU TO KNOW AND WHY?)
- 7. The enigmas the audience is left with usually at the end of a tragic trailer are: - What happens to the characters? - What role does a certain character represent? - What is the meaning of a specific action in the trailer? - Does anyone die? - Will there be a happy ending? WHAT ARE THE ENIGMAS THE AUDIENCE IS LEFT WITH?
- 8. - They create those enigmas by arranging the shots in a non-chronological order - They also cut the shot before too much is revealed (to make the audience want to find out more) - They may also only show certain character reactions (only anger filled scenes/ sad scenes) HOW DO THEY CREATE THESE ENIGMAS?
- 9. This connects the expectation of the genre as from tragedies we usually expect bad things to happen. By creating these certain enigmas the audience is aware that it will be a sad movie which may end tragically. The audience is then able to connect with the movie more as they are aware pf a basic story line and in a way know what to expect from the movie. HOW DOES THIS CONNECT THE EXPECTATIONS/CONVENTIONS OF GENRE?