The trailer provides fragmented glimpses of the film's narrative through various shots focused on the protagonist Teddy. It establishes the setting as a remote isolated mental institution and hints that Teddy's grip on reality is uncertain. Flashbacks contrast Teddy's past as a respected US Marshal with his current vulnerable state in the institution. The trailer aims to unsettle the audience and leave the truth ambiguous, mirroring Teddy's own troubled mental state. It conditions viewers to question what is real, building anticipation for the film's psychological thriller plot twists.

1. Postmodern Trailer
Analysis 6-10
LILY MORL

2. The trailer kicks off with a dissolve from the paramount logo, to a long shot, setting the film, for now in the middle of a remote area at ocean
which is clouded by computer generated imagery fog. The utilisation of fog causes apprehension of the audience as they understand that this fog
is mirroring their blindness, symbolising they are unable to see the future in this thriller especially when this cloud is portraying a threat of danger
in which there is an obstacle preventing them from discovering what this thing is. It is not until the collaboration of the establishing shot of an
isolated island and the non-diegetic voiceover: “give me a briefing about the institution,” pin points this thriller to be centred around a location
of a mental institution. It is because of the low key lighting presenting this shot, that it psychologically causes the audience to instantly dissolve
any sense of reality and submerses them into a jarring wearying state of fear like the protagonist.
Throughout the trailer consecutive scenes are portrayed with the same focal point, Teddy the protagonist, such as the close-up shot at the
beginning (which also serves to establish him as the main character) but other shots that allow is to see his personal perspective like; the motif of
point-of-view shots of the elderly insane lady who whispers “shhhhhh” or the notepad prop scene that has marked the word “run,” tilting
down of camera to reveal needle on a tray, an over-shoulder-shot looking at the lead Dr and a photograph of a women. All of these camera
shots focus on him, film makers strategically use the hermeneutic code deliberately avoiding the truth with these snares of hidden meanings. The
dominant focal point of him reflecting that this narrative is all in his mind.
Instantly the trailer exposes the vulnerability of the protagonist, by the extreme close-up on the handing over of his gun, thus states his lack of
defence and the slow motion of the group shot of enforcement officers distinctly forces the audience to recognise the difference between sanity
and insanity, by imploring how they do not belong on this island. In effect this trailer plays with your mind – creators from the outset are
conditioning our views to arrest the truth which will come at the end with the plot twist in the film and not the trailer.
The point-of-view-shot presents an anti-stereotype of an elderly lady, which typically the elderly are portrayed through mass media as sweet and
offer warmth, whereas this fictional world refutes such a stereotype and subverts this representation by creating this elderly lady who’s red
outline make-up and lack of hair deems her as a horrifically shocking and witch like. This prompts two things; one, removing normality of this
world unsettles audience and therefore causes disorientation but takes away their safe retreat causing them to be anxious. The audience are
enabled to share the emotions of Teddy. Secondly, the diegetic sound “shh” acts as a warning to both Teddy and the viewers recognising there is
a secret causing tension.
The notable transitions that is most defiantly prominently used in this film is the dissolve from the close-up on the red alarm prop connoting to
blood, lust and danger along with the dissolves which convey a flicker suggesting a tear between two things. Shortly after this, an asynchronous
scream conveys an echo like sound implying a memory perhaps – potentially demonstrates the protagonists past is shaped by pain or loss. Yet
screams are also used to build setting such as a mental institute like this.

3. Throughout the trailer low key lighting is used to completely eradicate any sense of verisimilitude to purposefully focus the film as not being real
in terms of the narrative. This is a secondary audience perspective whom have seen the film and will identify this technique’s role to show the
false reality of this hyperreality world Teddy Daniels has made up in his fantasy.
The birds eye view shot is somewhat mocking and uncanny in reality as it looks down on the room in which an escapee prisoner is now free. The
diegetic voiceover “so this prisoner escapes in the last 24 hours” aids to explain the marshal’s purpose for his visitation to the institution initially.
Just before Teddy walks down a corridor, he says “Do you know what fear does to the mind…” As Teddy replies “it corrodes it,” the close-up on
the fallen paper on the floor is a metaphor for this line as the water begins to spread exposing the paper to become tainted and essentially
gradually damaged. There is a running motif of water in this trailer – the corruption of the paper by water foreshadows the drowning of his
children which you discover in the films.
The use of two corridor long shots are similarly framed as they want you to draw parallels so that looking down one corridor is jarring memory of
something that happened previously in real reality. The reality being the one where the more picturesque home corridor serves to acknowledge
something happened there. Once again a fast paced cut between two close-up shots with same frame looking at Teddy with a shallow focus
with him whilst in the institution with halo lighting perceiving him as the ideal good person whereas, the shot with the props of flying paper
falling in slow motion shows a confused self and almost troubled with his expression.
Like other trailers I’ve looked at, there is a montage of many photos, though this one consists of various shots being jump cuts which is
convention of both postmodern but more thriller as the massive jump in this genre of the hand grabbing from with in the cell is to scare viewers
who crave to be shocked and entertained.
A money shot illustrates Teddy caressing a woman presumably his wife, due to the prop of the wedding ring and features visual effects of CGI
creates her body to dissipate into ash like smoke before she burnt up of fire in parts. Obviously this does not happen but we feel sorry for the
protagonist as this shows how he is still clinging to her memory. The purpose of ‘Shutter Island’ is to making the audience identify with the fake
character and as such make us delusional as Teddy himself. This edit though centres the film to show to viewers something is wrong.
During the build-up of the montage the non-diegetic sounds of the drums and cymbals specifically are like the clanging of metal cell – the
repetitive nature is like it is calling for Teddy.
This trailer is a ground breaking look into psychology of this tragic character’s trauma and the nature of reality – it shows us how powerful our
minds are and puts us in perspective of everything because when we fully align ourselves into the point of view of certain belief even we would
prefer the fantasy Teddy made up.
We sometimes fail to see the truth laid out in front of our eyes but also perhaps the film makers prove how people are aware of the truth and yet
choose to ignore it.
Ending with the title in a bold sans serif font with a half metallic colour in edges at bottom portrays this corrosion implying this split persona of
Teddy as good man where he is a respected marshal and the mental person.
https://www.youtube.com/watch?v=5iaYLCiq5RM

4. Does not show either the production or the distribution company at the beginning as seen in other trailers.
The non-diegetic instrumental gong has a resonating tone which simmers out mimicking the sound of a warning sound and alerting the audience to be left in
suspense. Following postmodernism conventions it defies time and has a non-linear narrative from which the audience cannot place as such what point the
particular scene is set in the narrative.
A close-up reveals a shattered side window of a car underwater, after which the zooming out of the camera ends on the deep focus of the main character.
Therefore drawing the attention to the shattered fragile state of the window instead of focusing on Strange to highlight what the broken glass symbolises – that
of the injuries that he will have sustained in this accident. Linking to that of his mentality and physical. While the footage is being shown the ominous non-
diegetic voiceover “Stephen Strange” adds a somewhat eerie mood in this introduction of the protagonist. The transition of fade to black from this shot coveys
the transformation of life from this accident in which it infers there is no going back. The utilisation of low key lighting through these first clips helps to glue
together this as one location; while implementing this as actually a dark moment in Strange’s past – though offers it as the metaphorical death of a past self
which is presented to be restrictive of his true self. These long takes and cuts, further include a long shot depicting his unconscious body, which is lifeless and
unmoving… which essentially the audience cannot see any coming back from such an accident nor becoming a superhero. Yet the ripples in the water somewhat
reference this accident as memories so as well as all these other techniques in terms of narrative this scene can be placed at the beginning.
The Marvel production logo slide separates two scenes and then dissolves into a loose frame that shows Strange walking down the path of steps, connoting that
he is about to embark on this life changing journey. The non-diegetic female voiceover “You’re a man looking at the world through a key hole:” complements
the extreme close-up on the hand serving to signify the main understanding of the trailer – stating how we like him, only see the world through a closed door …
our eyes have not been opened to the true world as such. The film makers explain however that Strange is metaphorically going to walk through the obstacle of
what we have been told as ‘it.’
This postmodern trailer is very fragmented using often two similar shots like the close-up on the faces – to draw parallels between these almost separate world
from those whose eyes have been opened.
We are forced to share in Strange’s disorientation and delirium caused by the crash by the point-of-view shot when he is in the operating theatre with the
overhead chiaroscuro lighting. This technique with the shallow focus of lack of clarity of background which would be symbolic of him “going to the light:” but is
not, for it suggests sort of a rift or anomaly of the opening of not heaven but this mew world he will be exposed to.
After this point in the trailer the music begins to climax with violins increasing in tempo and a unusual percussion instrument ‘ding’ to build this anticipation of
the awakening of this character in the new world which this percussion triangle emulates.
The fragmentation of the parallel shots constantly toy with this idea of past v new through the long shot as Strange is placing his hand on the window,
augmenting his loss of path by not wanting to look out truly through the window implies a lack of opportunities perhaps or a vision for himself.

5. Furthermore, with the mid-shot of Strange holding out his arms upwards with one steady and the other with his arms tremoring. Initially we
unaware of why we are being kept showing these continuous motif simultaneous parallel shots until the voiceover “what if I told you that
reality was one of many” explains the reason- virtual realities.
Suddenly the music cuts when the female voiceover says “Do you want to know what I see in your future” and the response to this is
Strange turning around to face the camera in a close-up – this brief pause is instrumental in a moment of signifying the importance of the
next shot.
The tremendous instantaneous music as the Supreme Sorcerer (female bald headed women) touches Strange which forces to project his
astral body (CGI) in slow motion which is both visually appealing and notably highlights the ground-breaking discovery of what this is basically
illogical and questions science and therefore is magical.
This event releases what seems all the unexplainable postmodern traits which the music successfully glues the batch of the bulk of the scene
whilst in crescendo to comment on the discovering of himself is left him powerful.
Furthermore, the long shot captures the antagonist manipulating reality in this dimension practically of moulding and shaping buildings
interiors to his liking.
The extreme long shot of New York is quite excess and over the top to us where multi-dimensions are mixed together like a cyclical circle
situation. These elements of changing reality like the graphic suggests audibility are all very intertextual of inception in which dreams you can
be the architect to bend shapes that you wouldn’t be able to do in reality..
Film makers use a hand-held camera when Strange falls from the ceiling to the floor to suggest him coming back into the world is unstable
but also reflects a lack of control he has to manipulate dimensions like the Mother Supreme or the antagonist so the audience anticipate his
learning to be able to do this – urging people to see the film to see what he is able to do once he has learnt.
The trailer ends with the title ‘Marvel’s Doctor Strange,’ in a like thin serif like style which is quite simple – completely juxtaposing the rest of
the film.
https://www.youtube.com/watch?v=Lt-U_t2pUHI

6. Firstly, an establishing shot sets the location in a sub-urban town in the past around 1960s due to the props of the old fashioned cars, and police car,
which creates this perfect idyllic American home town.
This set up is completely challenged when the over-the-shoulder-shot allows us to see who the policeman speaks to, (non-diegetic dialogue) “mam it
say’s you were born in 1908, that means your 45 years old.” Adaline is still young twenties looking which means time in the film is subjective. After
introducing the main element of the story the production and distribution logo follow by the dissolve transition.
A non-diegetic piano score is harmonious and causes this light hearted tone, the rembrandt lighting of the protagonist as she turns on the movie reel
(prop) presents her past life perhaps and the present self. The two together remarkably implies the two will collide. The visual effects of the movie reel
along with the voiceover creates a fairy tale like touch to this drama. Due to the diegetic lighting flash sound that brings an abrupt ending to the
narration of the movie reel of a legend like story being told implies a blunt approach foreshadowing something tragic will happen. The zooming out of the
camera on the point of view of the cameraman pictures the sheer amount of loved ones she has – the perfect life.
Continuing this omniscient narrator “On a cold winters night…” builds up for the reveal of the car crash which the scene is compiled together in fast
paced cuts of close-up on mirror looking in at her, the bumper and over-the-shoulder-shot as she loses control of the car which an underwater camera
captures the car meeting impact with the water in slow motion. This editing technique is somewhat ironic as it depicts how Blake as such has slowed –
even stopped time control over her whereas everything else will be running at the normal speed but to her fast.
We understand how Adaline came to stop ageing by the voiceover informing us of how in the car accident “something incredible happened,” that a
computer generated imagery lightning bolt restarted her heart and the visual effects of golden particles is intertextual of princess tales, rehashing it
though to be appropriate for the a “real life” film – so in a way this film follows the typical stereotype of women as role in fairy tale to be almost a victim …
to not age means she is a victim to time still as she has to loss of not growing old with her husband or child.
There is great fragmentation between modern day and the past around when she obviously started to get recognised how she did not age; because of the
low key lighting we can distinguish what is the past but also its serves to show how she has to leave it all behind as the long shot shows her escaping the
car – immune to time means she is always on the run, as explained in the extreme close-up of the multiple fake identification passports. Why? We do not
exactly know and they arrest these answers from the audience. We cannot but feel prompted to be sympathetic too Adaline as whilst being immortal is a
wish or blessing, there are repercussions such as not being able to spend time with her daughter.
The aerial shot that tracks her car as it travels along a bridge emphasises her detachment and distance that she has to keep from basically civilisation.
Near the ending the music climaxes as the diegetic voice of an elderly person says “you look exactly the same” which links back with how her past and
future would collide. The dissolve straight after shows a scene between her and a young man inferring he the reuniting of a lover.
The cross-cutting of a mid-shot of a man and Adaline marks the typical romantic convention of love at first sight. Adding the slides in between confirms
this ‘Time stops… for love,’ indicating that in actual in fact ageing for Adaline was all on purpose so that she could meet her 21st century lover.
The trailer is heavily dominated by close-ups during emotional scenes like between her and her past lover, shows the struggle Adaline has to undergo she
says later can’t stop running; meaning she does not know how.
https://www.youtube.com/watc
h?v=7UzSekc0LoQ

7. An establishing shot introduces the trailer in extreme low key lighting, which automatically conveys an atmosphere that is eerie and
somewhat mimics that the audience are already suspending their disbelief. When the non-diegetic music of the violins increases in tempo
and speed, it is enigmatic commenting on the potentiality of this finding of the prop of this globe which the protagonist ‘Star Lord’ attains.
Such a sense that this commentary of music is the hermeneutic code adding clues and leaving the audience eager to find out what this globe
is or can do.
An over-the-shoulder shot reveals the antagonist with his alien henchmen who are notably are conventionally stereotypical of the sci-fi
genre, along with the diegetic sound of the alien guns reloading.
The music soundtrack cuts as the dialogue of the conversation between the two binary opposites meet and the antagonist asks: “who are
you,” the brief moment of silence although a few seconds causes the audience to be excited and in awe for this new marvel hero to be
sighted. Generally action adventure films and sci-fi superhero films are serious with minor jokes – this movie is ground breaking adding
comical elements with this anti-sterotypical protagonist who does not meet our expectations due to his ‘cocky’ nature evident in the speech
of “legendary outlaw.” The film makers recognise this change in superhero franchise with their production by the music having a crescendo
choral ‘ah’ as the marvel logo appears on screen with the rolling transition.
After the logo, a new location of inside a law enforcement establishment scene is depicted with two men in military like uniform costume
and the identifying of criminals is mirrored of the real world in the similar framing of mid shot positioning ‘Drax’ and the other protagonists
in the centre of the screen; introducing them to the audience in this trailer as being criminals of the law and almost phoney heroes in a
dystopic world. The computer generated imagery of the holographic screen identifies this as set in the time of a futuristic world. The
diegetic voice of one of the officers explains each of the protagonists, one being Gamora whom he says is a “soldier, assassin” continues this
this shock as the audience are going to be associating an assassin as the hero in this fictional world. The whole layout of this film is mocking
and playful especially when the same framing for the shot is used for Rocket who’s head can only be seen and so he’s shortness is
emphasised and mocked by this shot.
There is fragmentation like all postmodern trailers there is a change to a scene of a close-up on Peter (‘aka Star-lord’) hands cuffed
augmenting how these are misfits. Our stereotypes are challenged even in the trailer into what makes a hero – they offer hope as suggesting
any ordinary human being can be a hero.
There is a change when credits ‘This summer’ in yellow font: which is retro style which compliments the music soundtrack played after these
graphics ‘Hooked on a feeling’ era of time, which is used to act as a pivot between slow paced cuts and fast paced cuts that increases the
speed of the trailer adding intensity of action to the trailer.
The sequence changes to the location of a jail which was created via the ambient sound of the buzz of jail door opening and the bar chained
and wired mesh doors authenticates this location. As Peter steps through before the closing automatic door after shouting ‘hey that’s mine,’
representing how he clings to what the Walkman symbolises to him and so drives the audience to acknowledge the thing that make this
unconventional superhero tick metaphorically is the memory behind this. In return of Peter’s defiance, he is met with violence of being
tasered from which the music soundtrack ‘Hooked on a feeling’ singer shouts ‘ahh.’ Which essentially releases an outburst of montage of
various shots which is marked by repetition of drum beats as there are snap shots of action, commencing with a low angle of presumably
Peter speed walking out of prison – such liberation which the drums suggest is the birth of heroes who will save the world.
https://www.youtube.com/watch?v=d96cjJhvlMA

8. Brief glances at action of CGI spaceships ahead in the sky in the high angle with explosions of pyrotechnics of falling space crafts
elevating audiences to the edges of there seats. The shot is compelling along with this visual effect as it reminisces on the falling
motions of that from the sky as from what audience link with heaven.
This trailer disregards dreams of people being able to have transport at their finger tips in the sky and instead makes it reality. In
order for them including such action in their trailer identifies for the audience for the offering of escapism in this world.
The mid-shot of Groot and Rocket on his shoulders with the prop of the guns further implements though the tendency of dark
vigilante hero and violence that comes with it. Altogether the trailer is very contradictory with the comedic side and the anti-
stereotypical heroes.
At the end of the montage, it reverts back to the law enforcement officer who states in the diegetic dialogue ‘they call themselves
the guardians of the galaxy’ which continues the irony of criminals being saviours whilst also highlighting the founding of a group
unintentionally by the end of the film. The two shot however allows us to see the contribution of the secondary character in the
background chirp in with ‘what a bunch of a holes’ which would mimic some of the audiences initial responses and audience
recognise the transformation of how this media has changed their perception to criminals. Also, this taboo language makes the
viewers laugh: further emphasising how this film is definitely going to allow them to escape in a world that will make them laugh and
smile.
Following this dialogue there is a group shot where they are standing together in line with Peter yawning, and the others standing
looking around with Rocket the racoon clearly with a temper with his arms folded highlighting how there is in our eyes the viewers;
no hope of these heroes being saviours.
Ending with the title, ‘Guardians of the Galaxy’ in yellow font and sans serif font with the background of space complements the
whole entity of the films location and the colour connotes to that of the idea of stars and constellations which they call themselves to
be Guardians of.

9. The trailer initiates with an asynchronous high piano note that is repetitively playing and deep drum bass beat whilst footage is
showcased of a long shot of a meadow with a sun rise which starts the trailer with a sense of calm and serenity that sunlight and open
space conveys from the idyllic location. The following brief chronological sequence of hair being cut in slow motion is contradictory of
what would usually be shown in a trailer traditionally and the fact the film makers emphasised it further in the extreme close-up as it
falls to the ground therefore presents it as something significant to the narrative. However, the diegetic dialogue of the conversation
between the two characters, one being the protagonist Beatrice who says: “were you nervous about your test” introduces what is
obviously going to become the disruption of the equilibrium for the main character in this film.
Following this sequence, the location of where the film is set is located by an establishing shot which sets the film in a dystopian
Chicago as you can see overgrown shrubbery surrounding the city skyscrapers and ship wrecks lay not so far from it covered with
greenery too. How the world came to this status is not revealed and automatically leaves the audience questioning. While there is this
confusion of how the world came to this state, the diegetic voice of a character in blue costume states that “the only way our society
will survive is for each of you to claim your rightful place. Today you must take a test.” A high angle reveals an amphitheatre in
the audience so to speak are separated by their solid coloured costume clothing – signifying the importance of the role of costumes in
this film. A non-diegetic drum roll complements the long shot of the slow motion of people walking in a file as they walk to what the
test building up intensity but adding longevity to stress how the test is a pivotal point in the film.
This text contradicts the traditional ‘test’ which we follow today when we see a medical room, with the anti-stereotypical ‘Doctor’ in a
black costume and piercing administers Beatrice a hallucinogenic drug via the liquid substance in the glass prop. The extreme quick
dissolves create these flickers replicating the lack of clarity and the loss of the grasp of what is real perhaps as she goes unconscious and
and faces basically nightmares / fears that tests her. We are enabled to distinguish what is the test by the fade to black transition from
which we are shown a canted angle that looks at the protagonist trapped inside a box that is gradually filling up with water. This type of
shot reflects the disruption of harmony and equilibrium as her mind is unbalanced. It also disorientates the viewers who are watching the
trailer by replicating the effect of hallucinogenics. The film makers strategically draw on details by the close-ups on the water filling up
like dreams do. It’s strongly intertextual of films such as ‘Inception’ that’s focal point is dreams during the unconscious mind. The
diegetic speech of Beatrice as she states “this isn’t real,” is spoken when she is looking at herself in the mirror where she can see her
reflection. The money shot is a compelling device which conveys Beatrice’s ability to have control of her mind when she is in a dream,
thus juxtaposing that of when it again cross cuts to the canted angle again of the outside of the containment as the glass breaks from
her touch of the finger showing her ability to manipulate her own dreams and conquer her fears. But most importantly the canted angles
show the difference between her and us, how the ‘normal’ in this film is the disorientation and naivety of not knowing you are in a dream.
Following the test in the trailer a sequence of a conversation filmed hand-held shows the instability and vulnerability that the protagonist
is in as Tori (the Tester/ Doctor) explains that “the test didn’t work on you” to Beatrice. Tori also adds “they call it divergent,” which is
followed by the asynchronous single deep bass drum beat reverberation: marking the significance of this as the single most important
part of the narrative.

10. The slide of ‘Based on the worldwide bestseller’ text in white bold font acts as a break to distinguish the start of the fast paced cut
montage of shots and brief sequences within that montage.
In this montage there is various shots which has an overlay of a voiceover of Tori who introduces the antagonists as such of the film by
stating that, “they are always watching you” as a group shot is shown on the previous speaker from the amphitheatre, Jeanine, in
which the longevity expressed by the slow motion emphasises the lingering stare of ‘they’ who are always looking at Beatrice. Action is
also inclusive within the montage, like that of the tracking of the camera from a crane shot as she jumps from the building after an
over-the-shoulder shot of someone watching keeping this motif alive of her having to pretend that she is normal. Until this point as
well the coloured costumes we knew distinguished what part of society you were – the faction she chooses we discover is called
‘Dauntless’ as established by the dialogue of the character Four. This dialogue introduces the sidekick almost clearly, and thee viewers
begin to understand that this is the faction which protects because of the pleonastic sound of the reloading of the postmodernist
gun. During this montage the non-diegetic sound of the violins increase in tempo and speed with crescendos of point of impact as
footage shows props of knives hitting near the protagonist to increase tension each time as she comes imminent to death each time
and show how it’s by nick of a second everything could change for her.
Her secret is discovered and the shallow focus of the two shot on the close-up of Four and Beatrice’s face draws all attention when he
tells her ‘I know what you are.’ This attention implies that how we are isolating all our focus because of this technique looking at her it
replicates that of what would happen if ‘they’ in this world would discover. Yet, this unwanted attention reflects her importance to the
narrative. But a turning point comes once he says ‘it’s been a long time since I trusted anyone,’ offers the audience the action that
they seek to be able to escape in, as the fast paced cuts implies as a consequence of this there are repercussions meaning that there is
more than just one Divergent and also infers ‘they’ discovers them two. This is later confirmed with Jeanine stating the world will not be
‘safe till they are removed,’ and the act of defiance in the mid-shot as the protagonist elbows someone are the audience excited and
sees the convention most action adventure postmodern films have there gain of equilibrium via protagonist fighting back.
Whereas films generally just have the dates at the end of the trailer to advertise this particular trailer has the appearance of release date
in cinemas in between footage. This separation from other information however does work to aid to be remembered.
The title appears with a white lighting streak almost that goes through it, replicating and mirroring the previous shot of the CGI of
Beatrice zip wiring from a skyscraper and consequently hones in on this idea of the unstoppable power of the protagonist’s
divergence disrupting society or how she will lead it to actual equilibrium not false like we were made to believe at the start of the
trailer. By having all symbols of the factions behind her links this idea of how she possesses each element of being Candor, Erudite,
Dauntless, Amity and Abnegation.
To reaffirm the date the release date includes details of date and ties in this cross media convergence with Facebook links and twitter to
cater for all range of audiences (plus gain wider publicity for the film).
https://www.youtube.com/watch?v=sutgWjz10sM&t=6s