The document analyzes and compares three movie trailers: Case 39 (horror), Final Destination 5 (hybrid horror), and The Dark Knight Rises (action). All three trailers start slowly and build tension through editing and music. However, the horror trailers provide more narrative details while the action trailer focuses on showcasing fights and explosions without revealing the plot. The document also discusses how the trailers employ similar film techniques but differ in their pacing and use of CGI/special effects.
The trailer introduces Heidi, the protagonist, living a normal life that is disrupted when she begins experiencing nightmarish dreams and encounters with three witches - Lacy, Judy, and Sonny - who attempt to sacrifice her. Through fast-paced montage shots and intense music, the trailer shows Heidi being tortured and possessed by the witches. It ends on a cliffhanger without resolving the disruption, implying Heidi's sacrifice and attracting viewers to watch the full film. Mise-en-scene features dark, gothic settings and Heidi's iconic black-and-white striped outfit. Dramatic lighting, religious and satanic imagery, and unsettling sound effects build tension throughout the trailer
The trailer for Reservoir Dogs introduces the characters and heist plot through dialogue and shots of the actors in their signature black and white suits. It establishes that the heist goes wrong by disrupting the group's equilibrium. The editing cuts between scenes and action quickly to imitate the film, while the song "Stuck in the Middle with You" and gunshot sounds set the tone. Camera work like tracking and reaction shots show tension between the characters and foreshadow conflict during their "perfect crime."
The document provides an overview of the crime fiction/action thriller film "Kill Bill" directed by Quentin Tarantino. It summarizes the narrative structure, characters types including the protagonist Beatrix Kiddo and antagonists, and Tarantino's distinctive directorial style with attention to mise-en-scene, camera techniques, editing, sound, and how these elements are used to portray the characters and build tension throughout the film.
A thriller usually presents a series of unfortunate events that lead up to a climax between the protagonist and antagonist. Common elements in thriller trailers include montages of mundane activities set to tension-filled music, the use of dramatic lighting effects like low-key lighting and red lighting during high-tension scenes, and internal character dialogue to convey the plot without fully revealing spoilers. Trailers also employ techniques like synchronous music, dramatic camera angles, transitional effects between shots, and a contrast between initial happy scenes and later scenes of trouble to build suspense and intrigue without giving away the entire story.
A thriller film trailer aims to build suspense through a series of unfortunate events for the protagonist that lead up to a climactic confrontation with the antagonist. To create tension, thriller trailers typically use canted camera angles, quick cuts, ominous music, low key lighting, breathing sounds, black and white shots, and montages of scenes depicting tension and solutions. Common techniques include asynchronous sound, high angle shots, scenes with lights out, colored lighting, dissolves between scenes, and high key or natural lighting in early trailer scenes.
Research task medium reserach media studiesJames Thompson
This document analyzes the editing, mise-en-scene, text, and style of trailers for similar comedy and horror films to help develop pitch ideas for a new film. It examines trailers for "The Nice Guys" as a buddy cop comedy model, scenes from "Mr. Bean" as a slapstick comedy, and "Scary Movie" as a horror parody. For each, it identifies the fast or slow pacing, use of light and dark environments, shot types, and genre-specific elements employed in the trailers and clips.
Postmodern Trailer Analysis 1 Films 1-5CallbackFilms
This document provides an analysis of 5 movie trailers and how they relate to postmodernism. The trailers analyzed are for Jurassic World, The Mortal Instruments: City of Bones, Memento, Run Lola Run, and The Avengers. Each trailer summary highlights the narrative structure, visual and audio elements, and how they incorporate postmodern concepts like hyperreality, simulacrum, surreality, and intertextuality through their portrayal of fictional worlds, characters, and stories.
The trailer introduces Heidi, the protagonist, living a normal life that is disrupted when she begins experiencing nightmarish dreams and encounters with three witches - Lacy, Judy, and Sonny - who attempt to sacrifice her. Through fast-paced montage shots and intense music, the trailer shows Heidi being tortured and possessed by the witches. It ends on a cliffhanger without resolving the disruption, implying Heidi's sacrifice and attracting viewers to watch the full film. Mise-en-scene features dark, gothic settings and Heidi's iconic black-and-white striped outfit. Dramatic lighting, religious and satanic imagery, and unsettling sound effects build tension throughout the trailer
The trailer for Reservoir Dogs introduces the characters and heist plot through dialogue and shots of the actors in their signature black and white suits. It establishes that the heist goes wrong by disrupting the group's equilibrium. The editing cuts between scenes and action quickly to imitate the film, while the song "Stuck in the Middle with You" and gunshot sounds set the tone. Camera work like tracking and reaction shots show tension between the characters and foreshadow conflict during their "perfect crime."
The document provides an overview of the crime fiction/action thriller film "Kill Bill" directed by Quentin Tarantino. It summarizes the narrative structure, characters types including the protagonist Beatrix Kiddo and antagonists, and Tarantino's distinctive directorial style with attention to mise-en-scene, camera techniques, editing, sound, and how these elements are used to portray the characters and build tension throughout the film.
A thriller usually presents a series of unfortunate events that lead up to a climax between the protagonist and antagonist. Common elements in thriller trailers include montages of mundane activities set to tension-filled music, the use of dramatic lighting effects like low-key lighting and red lighting during high-tension scenes, and internal character dialogue to convey the plot without fully revealing spoilers. Trailers also employ techniques like synchronous music, dramatic camera angles, transitional effects between shots, and a contrast between initial happy scenes and later scenes of trouble to build suspense and intrigue without giving away the entire story.
A thriller film trailer aims to build suspense through a series of unfortunate events for the protagonist that lead up to a climactic confrontation with the antagonist. To create tension, thriller trailers typically use canted camera angles, quick cuts, ominous music, low key lighting, breathing sounds, black and white shots, and montages of scenes depicting tension and solutions. Common techniques include asynchronous sound, high angle shots, scenes with lights out, colored lighting, dissolves between scenes, and high key or natural lighting in early trailer scenes.
Research task medium reserach media studiesJames Thompson
This document analyzes the editing, mise-en-scene, text, and style of trailers for similar comedy and horror films to help develop pitch ideas for a new film. It examines trailers for "The Nice Guys" as a buddy cop comedy model, scenes from "Mr. Bean" as a slapstick comedy, and "Scary Movie" as a horror parody. For each, it identifies the fast or slow pacing, use of light and dark environments, shot types, and genre-specific elements employed in the trailers and clips.
Postmodern Trailer Analysis 1 Films 1-5CallbackFilms
This document provides an analysis of 5 movie trailers and how they relate to postmodernism. The trailers analyzed are for Jurassic World, The Mortal Instruments: City of Bones, Memento, Run Lola Run, and The Avengers. Each trailer summary highlights the narrative structure, visual and audio elements, and how they incorporate postmodern concepts like hyperreality, simulacrum, surreality, and intertextuality through their portrayal of fictional worlds, characters, and stories.
The short film Proximity tells the story of a man who must battle for his life as he is hunted by a gang. Four hostages are forced to flee or be killed when their ankle bracelets detonate if two people separate. The protagonist realizes this and carries his unconscious partner to escape. Through tactical camerawork and editing, the film builds tension as the protagonist fights for survival against the ruthless hunters.
The document presents an initial idea for a comedy-horror film trailer. The trailer will follow two dim teenage boys who get lost in the woods at night. They encounter a masked man who begins chasing them. The trailer will use elements of horror, like glimpses of the chase and boys fighting the villain, but will do so in a comedic way. It will end by revealing the identity of the villain. The genre is described as comedy-horror, which combines elements of both genres through tactics like gallows humor and spoofing horror clichés. Films that are being parodied and analyzed for their conventions include typical slasher films like Halloween and Blair Witch Project.
This document outlines the key elements and characteristics of different film genres including action, horror, drama, sci-fi, musical, comedy and adventure films. It lists common tropes found in each genre such as fights and explosions in action films, monsters and death in horror films, emotions and character development in dramas, aliens and futuristic technology in sci-fi films, singing and dancing in musicals, humor and jokes in comedies, and exotic locations and battles in adventure films. Examples of popular movies in each genre are also provided.
Action films are typically set in modern, busy places like cities and feature a succession of intense chase sequences. The hero will face life-threatening dangers and close calls throughout the film in an attempt to reach their goal before the antagonist. Action films aim to ramp up tension to a climactic ending where it is uncertain if the hero will survive. They feature fighting scenes, a young male targeted audience, and well-known stars to draw viewers in.
The document analyzes two non-genre specific film trailers. For the first film, "Don't Breathe," the analysis looks at how the editing varies between slow, tense scenes and fast-paced dramatic scenes, and how the mise-en-scene features common horror elements. Lighting in the trailer gets progressively darker to build tension. The second film analyzed is the documentary "Touching the Void," whose trailer has a first half with voiceovers in a documentary style and a second high-action half to show it blends documentary and adventure genres. Mise-en-scene is very bright to clearly show the Andes setting.
This document discusses conventions in action film openings. It provides examples from The Dark Knight and The Dark Knight Rises. Violence, suspense, and ignoring minor character deaths are described as typical in action openings. Shot reverse shot and revealing the villain early on through impressive camerawork are mentioned as common techniques used to set up the action and conflict.
The document analyzes two non-genre specific ideas from film trailers. For the first idea, it examines the horror film trailer "Don't Breathe" and discusses how the editing varies between slow, tense scenes and fast-paced dramatic scenes. It also notes the mise-en-scene features dark, abandoned environments typical of the horror genre. For the second idea, it analyzes the documentary trailer "Touching the Void" and how the first half uses a conventional documentary style with voiceovers but the second half has a faster pace and feels like an action film trailer to represent the true story elements. Both trailers effectively represent the genres and content of their respective films.
The document discusses the conventions of film trailers. It defines what a trailer is and describes common trailer elements like suggesting the storyline through transitions and voiceovers, including attention-grabbing footage and shots, presenting the title and release date, and using music to set the genre and pace. The document then analyzes how the author's student film trailer follows conventions like having a narrative structure described by Todorov and including character types from Propp's theory. It also adheres to thriller genre conventions with a fast-paced soundtrack, short clips, and focus on tension. The trailer mimics styles from films like Ocean's Thirteen but includes some unconventional animation transitions.
This document provides an analysis of a fight scene from the film The Bourne Identity. It summarizes the scene and analyzes the directing and cinematography techniques used. The scene begins with slow pacing to surprise the audience when an assassin breaks in. Handheld cameras and close-ups are used to portray confusion. The analysis discusses the shots used to show Bourne gaining control of the fight and disarming the assassin. Sound design is also analyzed, with no music at first to feel raw and music building as Bourne takes control, along with diegetic foley effects.
Codes and Conventions of Horror TrailersBogwizMedia
The document discusses common codes and conventions used in horror movie trailers. It outlines conventions in narrative structure, camerawork, mise-en-scene, editing, sound, and character representation. For narrative, horror trailers typically follow a three-act structure and use semiotics to introduce characters and enigma codes. Camerawork employs techniques like handheld shots and high angles. Mise-en-scene features isolated settings and low-key lighting. Editing uses slow pacing initially and quick cuts later. Sound incorporates diegetic effects and non-diegetic music. Characters usually feature helpless female victims and vulnerable youth.
This trailer uses effective cinematography to summarize the plot of a horror film set in ancient Egyptian pyramids. Shots of mummies, the pyramids, and the main characters establish the setting and protagonists. When one character disturbs rocks in a pyramid, a green fog is released, strangling him. The characters explore the dark interior of another pyramid amid growing tension, hinted at by screams and a creature's growl. The trailer builds fear through its imagery, sound design, and allusions to an evil force threatening the characters in the tombs.
This document analyzes conventions and techniques used in the opening titles and scenes of several British gangster films. It discusses the use of shots like point-of-view, pans, zooms, and close-ups to set scenes and introduce characters. Many of the openings establish settings and potential characters mysteriously through low lighting, pacing, and props before revealing details. Non-diegetic music is also used to set tones and moods. The openings analyzed employ techniques like narration, tracking shots, and editing transitions to draw viewers into the slick and mysterious criminal worlds portrayed.
The document provides annotations for four film title sequences analyzing their genre, semiotics, and reflection. It analyzes the X-Men trailer focusing on its use of dramatic scenes, visual effects, and ambiguous blue eye imagery to attract sci-fi audiences. It also analyzes the Romeo + Juliet trailer noting how it uses romantic music and shots of the lovers to attract female audiences and action scenes and weapons to attract male audiences while emphasizing the story is about Romeo and Juliet through frequent shots of them.
The document analyzes two movie trailers - The Revenant (2015) and Mad Max: Fury Road (2015) - to understand their target audiences, themes, and technical elements. The target audience for both films is identified as 16+ due to their violent content and gritty themes of survival and betrayal. Fast-paced editing, tense music, and explosive action sequences are among the key technical codes used. The unconventional settings and contrasts between music and visuals aim to intrigue audiences and set the films apart. The analysis will help the student create their own thriller trailer that incorporates lessons from these professional examples.
The trailer uses editing techniques like quick cuts and multiple camera shots to build tension. It establishes the story of a father's search to rescue his daughter after she is kidnapped in Paris. Throughout, the father threatens the kidnappers on the phone. The dark color palette and shots of fighting present the film as a thriller. The trailer attracts the target audience by showing the well-known actor Liam Neeson in his element of action thrillers.
The document discusses the forms and conventions of three major film genres: horror films, comedy films, and action films. For horror films, it notes that they commonly feature harmful props, dark and abandoned locations, mysterious villains seen briefly in the dark, fast editing that builds tension, eerie music and loud sudden sound effects. For comedy films, it discusses props like alcohol, average locations like cities and schools, "stupid funny" characters, upbeat music, and sound effects for falls/hits. For action films, it mentions weapons, explosions, cities as locations, tough main characters and enemies, average editing pace that speeds up for fights, loud rock music, and impactful gunfire and explosion sound effects.
1) The trailer establishes the setting of a sunny beach where a surfer is seen in the distance. Dark shapes seen in the water foreshadow danger.
2) A shot shows someone gripping a surfboard before quickly cutting to the main character biting an apple, suggesting something may bite her hand in the water.
3) The trailer uses quick cuts between shots accompanied by loud music to build tension as various scenes from the movie are shown out of context, leaving the plot mysterious.
This trailer uses composed music and dialogue to introduce a villain threatening magical creatures. Wide shots establish the setting of old New York and introduce three main characters, one holding a suitcase that is important to the plot. Bird's eye views of a magical government building and two characters looking at a glowing sea creature through ice establish the fantasy elements and winter timeframe. Title cards and logos feature the same font and style to brand the film.
The document summarizes how the opening sequence of a film attracts its target audience through suspenseful music, varied shots that build tension, and familiar action/thriller tropes. It uses three credits with different music - drums create suspense, fast music matches action scenes, and slower music builds tension during an escape. Shots start close, show the hero reloading, and use tracking shots to reveal settings and surprises. Special effects like flashes and blood add realism during a climactic gunshot. Familiar tropes like a tragic backstory, damsel in distress, and violence appeal to the target action/thriller audience.
The trailer uses various film techniques common to the horror genre to build tension and unease. Shots are framed to depict the strong male characters as dominant through low camera angles. The music shifts from upbeat to ominous, mirroring a change in tone. Dialogue uses vague, threatening language. Pacing starts moderate then slows to heighten tension before rapidly cutting shots to induce panic in viewers. Costumes depict the attractive yet vulnerable young victims, while isolated settings like the abandoned garage and cabin in the woods connote no escape. Through these techniques, the trailer establishes typical horror tropes to set expectations and engage the audience.
Evangelos Odysseas Papathanassiou, known professionally as Vangelis, is a Greek composer famous for his film scores. Some of his most notable works include the scores for the films Chariots of Fire, Blade Runner, and 1492: Conquest of Paradise. He won an Academy Award for Best Original Music Score for Chariots of Fire. Vangelis is regarded as one of the greatest composers of electronic music and has had a career spanning over 50 years, composing over 52 albums that blend genres like electronic, progressive, ambient, jazz, pop rock, and orchestral music.
The short film Proximity tells the story of a man who must battle for his life as he is hunted by a gang. Four hostages are forced to flee or be killed when their ankle bracelets detonate if two people separate. The protagonist realizes this and carries his unconscious partner to escape. Through tactical camerawork and editing, the film builds tension as the protagonist fights for survival against the ruthless hunters.
The document presents an initial idea for a comedy-horror film trailer. The trailer will follow two dim teenage boys who get lost in the woods at night. They encounter a masked man who begins chasing them. The trailer will use elements of horror, like glimpses of the chase and boys fighting the villain, but will do so in a comedic way. It will end by revealing the identity of the villain. The genre is described as comedy-horror, which combines elements of both genres through tactics like gallows humor and spoofing horror clichés. Films that are being parodied and analyzed for their conventions include typical slasher films like Halloween and Blair Witch Project.
This document outlines the key elements and characteristics of different film genres including action, horror, drama, sci-fi, musical, comedy and adventure films. It lists common tropes found in each genre such as fights and explosions in action films, monsters and death in horror films, emotions and character development in dramas, aliens and futuristic technology in sci-fi films, singing and dancing in musicals, humor and jokes in comedies, and exotic locations and battles in adventure films. Examples of popular movies in each genre are also provided.
Action films are typically set in modern, busy places like cities and feature a succession of intense chase sequences. The hero will face life-threatening dangers and close calls throughout the film in an attempt to reach their goal before the antagonist. Action films aim to ramp up tension to a climactic ending where it is uncertain if the hero will survive. They feature fighting scenes, a young male targeted audience, and well-known stars to draw viewers in.
The document analyzes two non-genre specific film trailers. For the first film, "Don't Breathe," the analysis looks at how the editing varies between slow, tense scenes and fast-paced dramatic scenes, and how the mise-en-scene features common horror elements. Lighting in the trailer gets progressively darker to build tension. The second film analyzed is the documentary "Touching the Void," whose trailer has a first half with voiceovers in a documentary style and a second high-action half to show it blends documentary and adventure genres. Mise-en-scene is very bright to clearly show the Andes setting.
This document discusses conventions in action film openings. It provides examples from The Dark Knight and The Dark Knight Rises. Violence, suspense, and ignoring minor character deaths are described as typical in action openings. Shot reverse shot and revealing the villain early on through impressive camerawork are mentioned as common techniques used to set up the action and conflict.
The document analyzes two non-genre specific ideas from film trailers. For the first idea, it examines the horror film trailer "Don't Breathe" and discusses how the editing varies between slow, tense scenes and fast-paced dramatic scenes. It also notes the mise-en-scene features dark, abandoned environments typical of the horror genre. For the second idea, it analyzes the documentary trailer "Touching the Void" and how the first half uses a conventional documentary style with voiceovers but the second half has a faster pace and feels like an action film trailer to represent the true story elements. Both trailers effectively represent the genres and content of their respective films.
The document discusses the conventions of film trailers. It defines what a trailer is and describes common trailer elements like suggesting the storyline through transitions and voiceovers, including attention-grabbing footage and shots, presenting the title and release date, and using music to set the genre and pace. The document then analyzes how the author's student film trailer follows conventions like having a narrative structure described by Todorov and including character types from Propp's theory. It also adheres to thriller genre conventions with a fast-paced soundtrack, short clips, and focus on tension. The trailer mimics styles from films like Ocean's Thirteen but includes some unconventional animation transitions.
This document provides an analysis of a fight scene from the film The Bourne Identity. It summarizes the scene and analyzes the directing and cinematography techniques used. The scene begins with slow pacing to surprise the audience when an assassin breaks in. Handheld cameras and close-ups are used to portray confusion. The analysis discusses the shots used to show Bourne gaining control of the fight and disarming the assassin. Sound design is also analyzed, with no music at first to feel raw and music building as Bourne takes control, along with diegetic foley effects.
Codes and Conventions of Horror TrailersBogwizMedia
The document discusses common codes and conventions used in horror movie trailers. It outlines conventions in narrative structure, camerawork, mise-en-scene, editing, sound, and character representation. For narrative, horror trailers typically follow a three-act structure and use semiotics to introduce characters and enigma codes. Camerawork employs techniques like handheld shots and high angles. Mise-en-scene features isolated settings and low-key lighting. Editing uses slow pacing initially and quick cuts later. Sound incorporates diegetic effects and non-diegetic music. Characters usually feature helpless female victims and vulnerable youth.
This trailer uses effective cinematography to summarize the plot of a horror film set in ancient Egyptian pyramids. Shots of mummies, the pyramids, and the main characters establish the setting and protagonists. When one character disturbs rocks in a pyramid, a green fog is released, strangling him. The characters explore the dark interior of another pyramid amid growing tension, hinted at by screams and a creature's growl. The trailer builds fear through its imagery, sound design, and allusions to an evil force threatening the characters in the tombs.
This document analyzes conventions and techniques used in the opening titles and scenes of several British gangster films. It discusses the use of shots like point-of-view, pans, zooms, and close-ups to set scenes and introduce characters. Many of the openings establish settings and potential characters mysteriously through low lighting, pacing, and props before revealing details. Non-diegetic music is also used to set tones and moods. The openings analyzed employ techniques like narration, tracking shots, and editing transitions to draw viewers into the slick and mysterious criminal worlds portrayed.
The document provides annotations for four film title sequences analyzing their genre, semiotics, and reflection. It analyzes the X-Men trailer focusing on its use of dramatic scenes, visual effects, and ambiguous blue eye imagery to attract sci-fi audiences. It also analyzes the Romeo + Juliet trailer noting how it uses romantic music and shots of the lovers to attract female audiences and action scenes and weapons to attract male audiences while emphasizing the story is about Romeo and Juliet through frequent shots of them.
The document analyzes two movie trailers - The Revenant (2015) and Mad Max: Fury Road (2015) - to understand their target audiences, themes, and technical elements. The target audience for both films is identified as 16+ due to their violent content and gritty themes of survival and betrayal. Fast-paced editing, tense music, and explosive action sequences are among the key technical codes used. The unconventional settings and contrasts between music and visuals aim to intrigue audiences and set the films apart. The analysis will help the student create their own thriller trailer that incorporates lessons from these professional examples.
The trailer uses editing techniques like quick cuts and multiple camera shots to build tension. It establishes the story of a father's search to rescue his daughter after she is kidnapped in Paris. Throughout, the father threatens the kidnappers on the phone. The dark color palette and shots of fighting present the film as a thriller. The trailer attracts the target audience by showing the well-known actor Liam Neeson in his element of action thrillers.
The document discusses the forms and conventions of three major film genres: horror films, comedy films, and action films. For horror films, it notes that they commonly feature harmful props, dark and abandoned locations, mysterious villains seen briefly in the dark, fast editing that builds tension, eerie music and loud sudden sound effects. For comedy films, it discusses props like alcohol, average locations like cities and schools, "stupid funny" characters, upbeat music, and sound effects for falls/hits. For action films, it mentions weapons, explosions, cities as locations, tough main characters and enemies, average editing pace that speeds up for fights, loud rock music, and impactful gunfire and explosion sound effects.
1) The trailer establishes the setting of a sunny beach where a surfer is seen in the distance. Dark shapes seen in the water foreshadow danger.
2) A shot shows someone gripping a surfboard before quickly cutting to the main character biting an apple, suggesting something may bite her hand in the water.
3) The trailer uses quick cuts between shots accompanied by loud music to build tension as various scenes from the movie are shown out of context, leaving the plot mysterious.
This trailer uses composed music and dialogue to introduce a villain threatening magical creatures. Wide shots establish the setting of old New York and introduce three main characters, one holding a suitcase that is important to the plot. Bird's eye views of a magical government building and two characters looking at a glowing sea creature through ice establish the fantasy elements and winter timeframe. Title cards and logos feature the same font and style to brand the film.
The document summarizes how the opening sequence of a film attracts its target audience through suspenseful music, varied shots that build tension, and familiar action/thriller tropes. It uses three credits with different music - drums create suspense, fast music matches action scenes, and slower music builds tension during an escape. Shots start close, show the hero reloading, and use tracking shots to reveal settings and surprises. Special effects like flashes and blood add realism during a climactic gunshot. Familiar tropes like a tragic backstory, damsel in distress, and violence appeal to the target action/thriller audience.
The trailer uses various film techniques common to the horror genre to build tension and unease. Shots are framed to depict the strong male characters as dominant through low camera angles. The music shifts from upbeat to ominous, mirroring a change in tone. Dialogue uses vague, threatening language. Pacing starts moderate then slows to heighten tension before rapidly cutting shots to induce panic in viewers. Costumes depict the attractive yet vulnerable young victims, while isolated settings like the abandoned garage and cabin in the woods connote no escape. Through these techniques, the trailer establishes typical horror tropes to set expectations and engage the audience.
Evangelos Odysseas Papathanassiou, known professionally as Vangelis, is a Greek composer famous for his film scores. Some of his most notable works include the scores for the films Chariots of Fire, Blade Runner, and 1492: Conquest of Paradise. He won an Academy Award for Best Original Music Score for Chariots of Fire. Vangelis is regarded as one of the greatest composers of electronic music and has had a career spanning over 50 years, composing over 52 albums that blend genres like electronic, progressive, ambient, jazz, pop rock, and orchestral music.
Cherelle McClaffety is primarily a student who enjoys various music genres like pop, rock and indie. While she doesn't buy music magazines regularly, she frequently attends music concerts and gigs. Her preferred music publications are Kerrang!, NME and Q Magazine.
The document traces the history of horror films from the late 1890s to modern day. It discusses the first horror films created by Georges Melies, the Gothic films of the 1920s-1940s including Frankenstein and Nosferatu, the alien and demon films of the 1950s-1960s influenced by advances in technology, the occult focus of the 1970s-1980s including films like The Nightmare on Elm Street and Jaws, the slasher sequels of the 1990s-2000s, and the current landscape featuring remakes, psychological horror, gore and occult themes across many subgenres.
This document summarizes various filming locations used for a horror trailer project. It describes shots filmed at a college to introduce characters, a field where three characters were filmed walking, and shots inside and outside a house. An alleyway location featured shots of the first glimpse of the killer and characters together. A church location showed the religious aspects of the killer. Finally, a beach location featured an action shot chase scene using the landscape of sand dunes.
This magazine document discusses various entertainment topics in short articles, including 5 affordable going out outfits, a celebrity leaving a television show while pregnant, Christmas fashion and hairstyle ideas, speculation about whether a singer is a new father, and a girl group winning a singing competition show. The magazine also includes pictures related to the articles.
The document analyzes the trailer for the 2003 horror film "28 Days Later" in order to understand conventions of trailers for similar genres. The trailer opens with the Fox Searchlight Pictures logo to establish its credible producer. It uses unsettling sounds like sirens and screams to set an ominous tone. Fast editing with short clips builds tension through quick cuts between shots filmed from different angles and locations. These conventions, like using sound and editing to create an intense atmosphere without revealing too much of the plot, will inform the design of the author's own trailer.
The Kick-Ass trailer establishes the comedy-action genre through its pacing and comedic scenes. It provides narrative details through dialogue to introduce the characters and plot. Social media promotion is included at the end. The poster positions the main character centrally among supporting characters to depict their roles.
The Chronicle trailer uses found footage-style cinematography and builds suspense through slow initial pacing. Little dialogue is used to reveal the plot. Social media promotion is also included at the end. The poster depicts three faint characters in an ominous setting to indicate its thriller genre.
The Texas Chainsaw Massacre trailer builds tension through calm initial music and pacing that shifts when danger is introduced. It reveals characters but not specific plot
This document analyzes the trailer for Teenage Mutant Ninja Turtles. It discusses the editing, framing, music, mise-en-scene, lighting, and movement within the trailer. The editing uses fast pacing and various shot types. The music changes based on the action and scenes. Mise-en-scene establishes the locations of New York City and sewers. Lighting uses low-key lighting in subways and high-key lighting with criminals. Movement includes tracking shots of characters in backgrounds.
The trailer summarizes the key elements of the film Transformers: Dark of the Moon. It begins by establishing the film as part of the Transformers science fiction franchise directed by Michael Bay. Footage of astronauts landing on the moon builds tension, as they discover a giant robot. Shots of the robot's inner workings build more intrigue, culminating in the reveal of the Transformers title. The trailer focuses on teasing the robot elements to generate audience interest in the sci-fi action film.
The trailer summarizes the key elements of the film Transformers: Dark of the Moon. It begins by establishing the film as part of the Transformers science fiction franchise directed by Michael Bay. Footage of astronauts landing on the moon builds tension, as they discover a giant robot. Shots of the robot's inner workings build more intrigue, culminating in the reveal of the Transformers title. The trailer focuses on teasing the robot elements to generate audience interest in the sci-fi action film.
The trailer summarizes the key elements of the film Transformers: Dark of the Moon. It begins by establishing the science fiction genre through footage of astronauts landing on the moon. Tension and suspense are built through dramatic music and sounds as the astronauts discover a giant robot. The trailer focuses on intriguing the audience about the robots rather than explaining the story, leaving viewers wanting to learn more about the robots' role in the film.
The trailer summarizes the key elements of the film Transformers: Dark of the Moon. It begins by establishing the film as part of the Transformers science fiction franchise. Scenes of astronauts landing on the moon build tension, as they discover a giant robot. Intense music and sounds create a feeling of unease and suspense for the audience as more of the robot is revealed. The trailer focuses on the robots as its unique selling point, without revealing much of the story or characters.
Trailer analysis 2 guardians of the galaxy Hossameldin Elrayeshaverstockmedia
The document analyzes elements of the Guardians of the Galaxy Trailer 3 including sound, movement, framing, mise en scene, lighting, and editing. It notes the trailer's use of diegetic and non-diegetic music. It describes the various shots used including jump cuts, crane shots, and angles. It analyzes how editing, music, and silence are used for comedy. It also examines the trailer's setting in space, use of lighting, and character movements to convey personality.
The Quantum of Solace opening scene uses fast-paced editing with frequent jump cuts between close-up shots of cars, guns, and drivers to depict a tense car chase, establishing it as an action film genre. The Love Actually opening scene features soft music and muted ambient sounds as it slowly introduces various stories of romance using basic continuity editing and slow motion shots of emotional airport reunions, characterizing it as a romantic comedy. Analysis of the sound design and editing in each sequence provides insights into how they effectively set the tone for their respective genres.
The Quantum of Solace opening scene uses fast-paced editing with frequent jump cuts between close-up shots of cars, guns, and drivers to depict a tense car chase, establishing it as an action film genre. The Love Actually opening scene features soft music and muted ambient sounds as it slowly introduces various stories of romance using basic continuity editing and slow motion shots of emotional airport reunions, characterizing it as a romantic comedy. Both scenes employ editing techniques and shots that reflect their respective genres.
The document analyzes the trailers for three horror films - The Woman in Black, Paranormal Activity, and Fright Night - across four categories: cinematography, editing, sound, and mise-en-scene. For each trailer and category, the analysis identifies conventions and techniques used that are common in horror genres, such as close-ups, fast editing, ominous music, dark lighting, and isolated settings. The analysis shows how visual and audio elements in the trailers build tension, fear, and a sense of impending danger to effectively promote the films as horror stories.
This document provides analysis and reasons for liking various movie trailers:
- The Eternal Sunshine of the Spotless Mind trailer uses medical imagery and fast cuts to suggest removing memories in an intriguing way.
- The Kick Ass trailer builds tension through narration and high/low angle shots before introducing characters through comic titles.
- Scott Pilgrim vs the World uses split screens, music, and comic-book styling to convey its genre-blending comedy and action elements.
- Sean of the Dead builds tension through its music and public announcement before revealing its zombie comedy premise.
- Requiem for a Dream's confusing and fast cuts between random shots imply its disturbing drug theme without revealing the plot.
The document summarizes four movie trailers:
1) 500 Days of Summer establishes two main characters and shows the passing of days to develop their romantic connection. It subverts romantic comedy tropes while using familiar genre elements.
2) Harry Potter establishes the fantasy and adventure genres through elements like magic wands and broomsticks. It builds mystery and tension through dialogue, music, and fast editing of action clips.
3) Inception uses an unnerving score and mysterious shots to build intrigue around a worried character and distorted realities. It promotes Leonardo DiCaprio's involvement to draw audiences.
4) Paranormal Activity 3 presents itself as found footage to develop a sense of realism. It
The document summarizes a student's media studies production portfolio. It discusses:
- The student worked on a thriller film opening called "Dead Capacity" with two classmates.
- Feedback on YouTube was largely positive, praising the technical aspects and atmosphere.
- As a film opening, the feedback suggests it effectively sets up intrigue, captures attention, and builds suspense to hook the audience, as is appropriate for the thriller genre.
The document analyzes three horror movie trailers across four categories: cinematography, sound, mise-en-scene, and editing. For each trailer, the analysis identifies conventions used in that category to create tension and establish the horror genre. Close-ups, establishing shots, and changes in camera movement are discussed for cinematography. Elements of sound design like non-diegetic music and ambient noise are examined. Settings, costumes, and props are considered for mise-en-scene. Editing techniques like fast pacing and fades are identified. Overall, the document analyzes how these filmmaking elements come together in movie trailers to effectively convey horror and build suspense for the audience.
The trailer for The Dark Knight uses various techniques to convey the genre of action thriller. There is a rivalry between the villain and hero representing the binary opposition of good versus evil. The narrative and main events are shown through snippets in a non-chronological order. There are a total of 48 shots that change in speed to increase tension and mystery. Dialogue, strings and electronic music comprise the soundtrack. Camera techniques like close-ups, zooms and tracking shots are used to focus on the villain and hero's faces and follow the action.
Compare and Contrast Three Trailers From Different Genresjordangriffin1
This document compares and contrasts trailers from three different genres - comedy, drama, and horror - and discusses how each reveals its genre. The 21 Jump Street trailer uses comedic scenes, an unrealistic storyline, silly costumes in serious situations, and funny dialogue to reveal it is a comedy. The Crash trailer has a more realistic plot, emotional music and scenes, and conveys characters' problems through dialogue to reveal it is a drama. The Ring trailer uses a child's eerie voiceover, sinister music that increases tension, mysterious camera shots, and gloomy settings and weather to reveal it is a horror film.
The document provides a detailed analysis of the 2000 film Snatch. It discusses the main characters, including antagonists Brick Top and Cousin Avi and protagonist/helper Mickey. The analysis then covers the film's narrative structure in three acts. It examines the film's use of stereotypes, settings, lighting, editing, titles, and sound design to set an atmosphere of crime and disruption through postmodern techniques. Overall, the document analyzes how the film establishes its crime genre identity through these technical and stylistic elements.
The trailer for Alien: Covenant uses a variety of editing techniques like montage edits, jump cuts, and changes in music to build tension and atmosphere. Shots showcase the characters and setting while also giving some plot details. Dialogue and shots indicate something is wrong on the planet. A crashed spacecraft suggests others have explored before but failed. The trailer uses intertitles, sound design, and a climactic scare to generate excitement around the film.
The document discusses key elements of successful thriller films. It notes that thrillers aim to keep audiences on the "edge of their seats" through suspense and building tension. Early influential thrillers included works by Alfred Hitchcock, known for manipulating audiences' fears. Present thrillers are influenced by Hitchcock but also introduce unexpected twists. Short analyses of specific thriller films highlight how they establish equilibrium before disrupting it through mysterious events or threats to characters.
The magazine cover uses various design elements effectively to attract readers. The masthead is short, bold and contrasts with the background. Buzzwords and the main cover line featuring Sherlock Holmes are also bold to catch the eye. The skyline and main image of Robert Downey Jr. relate to the cover story and use compositional rules. Overall the layout follows conventions but with a polished, professional style and color scheme.
This storyboard is by Jordan Harrison and appears to be about a chase scene. It likely depicts a series of events showing characters chasing or being chased. The storyboard helps visualize the chase sequence and how the action will unfold for whoever is creating a film, animation, or other visual project.
1) The document discusses real media texts and defines them as any media product that can be examined, as all representations of reality are constructs of reality themselves.
2) It analyzes the conventions of horror movie trailers, finding that they generally include a slow build up at the beginning with increasing cuts and intensity, followed by screams and loud noises. They also include title cards and backing music that increases and decreases tension.
3) It links Todorov's theory of equilibrium to horror trailers, noting they often show a protagonist's normal life disrupted by becoming a victim, though trailers do not typically show if equilibrium is restored.
The document analyzes the media language techniques used in horror film trailers and movies, including Saw films. It discusses the use of cinematography including close-ups, establishing shots, panning shots, and handheld camera work. It also covers the use of sound including changes in music to create tension, conventional horror film sound effects, and references to other films. Mise-en-scene elements discussed include normal and isolated settings, masks, and props. Editing techniques like quick cuts, captions, and changes in pace are also analyzed.
Representation refers to how aspects of reality such as people, identities, events, and concepts are constructed in various media. This involves both how identities are portrayed in a text and how they are constructed in the processes of production and reception. Theorists like Richard Dyer, Laura Mulvey, and Stuart Hall have discussed representation and how social positioning affects interpretation. Mulvey's male gaze theory suggests that media often portrays women from a heterosexual male perspective, focusing on how men view women. This male gaze fits reasonably well into the horror genre, where women are often portrayed as weak victims and men as dominant, though some horror texts challenge this trope.
Post-production takes raw footage from filming and turns it into a finished motion picture through editing, adding music and sound effects, and including computer generated imagery and backgrounds. Key post-production stages for creating a horror film include editing scenes together in a program like Premiere Pro to build tension, adding sound effects, and developing an advertising campaign with a trailer to promote the finished film.
An audience is a group of people who experience some form of art or media. There are different theories about how audiences interact with and are influenced by media. The hypodermic syringe model from the 1920s suggests audiences passively accept dominant ideologies from media texts. The two-step flow theory challenges this, proposing information spreads from opinion leaders to their associates. Uses and gratification theory posits media serves functions for individuals like diversion or relationships. When analyzing horror genres, the hypodermic syringe model could link viewing to encouraging violence, though reception theory notes interpretation depends on an individual's demographics and psychographics.
Creativity refers to creating something new that has value, whether that new thing is valuable to an individual creator or to a domain. Creative features used in horror movie trailers can include characters, narrative, setting, sound, costumes, special effects, and editing that are used together to build tension according to trailer conventions. However, original soundtracks, unconventional scripts, and creative special effects can make horror trailers unique and break from predictable conventions.
Digital technology refers to digital software, hardware, and architectures used for learning and teaching both inside and outside of schools. To create a horror film, one needs digital editing programs like Adobe After Effects and Final Cut Pro to edit footage, add special effects, and change moods. Common digital technologies used include cameras, sound capture devices, and editing programs that can insert captions and sounds to create tension.
Narrative Investigation by Jordan Harrison discusses narrative and related theories. It defines narrative as a format that describes a sequence of events, whether fictional or non-fictional. Theories discussed include Vladimir Propp's classification of character roles and functions, Tzvetan Todorov's concept of equilibrium being disrupted by an outside force, and Roland Barthes' five narrative codes. Claude Levi-Strauss examined how stories reflect cultural values through binary oppositions. Theories by Todorov and Levi-Strauss relate to the horror genre through depictions of normal life disrupted by outside forces and unconscious reflections of cultural beliefs.
Genre refers to categories of literature, art, or entertainment based on stylistic criteria, which change over time as new genres emerge or old ones fade away. Works may fit multiple genres by combining conventions.
Theorists view genres as based on common themes, settings, or formal structures. However, few works exemplify all characteristics of their genre. Genres can also be categorized by their aesthetic, ritual, or ideological functions. Additionally, genres are seen as rhetorical devices that give authors and readers freedom of expression.
Theories of genres based on recurring elements and the social construction of genres relate to the horror genre, which often features a villain, victim, and twist, and allows authors and audiences flexibility in interpreting texts
3. Case 39
• Cinematography: Begins with establishing shots of the city, panning horizontally and vertically. This is
followed by an eyeline match introducing the protagonist looking at a case study of the antagonist. High
angle shots are included throughout looking down on protagonist from the point of view of the antagonist.
Many over the shoulder shots are also used to show power and weakness in the characters. Parents of
antagonist shown from behind a chain on the door, which could connote they are trapped. Lots of
panning shots are added to create tension throughout the trailer. As the trailer picks up speed towards
the end, lots of reaction shots and action matches are included. This, added with lots of high angle to
create tension.
• Sound: Begins with non-diegetic sound of a strong beat which quickly turns into eerie music. This is
added with diegetic sound of the main protagonist talking. Whispers are included which makes it scary.
Music picks up pace as parents try to kill antagonist before it stops completely. Equilibrium seems to be
restored and this is enforced by the use of calm non-diegetic music playing in the background. Diegetic
sound of eerie noises such as doors opening begin and the music begins to change. Many sound stings
are then included to add tension. A lot of screams and shouts are included here before the music
reaches its climax and the credits roll, this helps make the audience wonder if equilibrium is restored or
not (cliffhanger).
• Mise-en-scene: Built up city in America, normal clothes are worn to show normal everyday life, making
the film more relatable to the audience. A old looking building which looks haunted is used to show that
not everything is quite right, this is enforced with the locks on the doors seen. A secluded house in the
suburbs is used as the main location to connotes the protagonist is isolated.
• Editing: Fast paced cuts at beginning showing surrounding, followed by lots of shot reverse shot cuts of
characters speaking. When the trailer picks up pace, lots of quick cuts are used, creating flashes
distorting the shots, which builds up the tension. When the equilibrium seems to be restored, cuts are
much longer and more shot reverse shot patterns occur. Action matches are then added and eyeline
matches to add tension added with fast paced edits including reaction shots as the tension begins to
build
5. Final Destination 5
• Cinematography: Begins with reaction shots, eyeline matches and action matches
showing a persons death. An extreme long-shot is the shown of a death scene and a
zoom is used. Reaction shots then occur before an establishing shot of the city occurs. A
series of reaction shots then occur, followed by eyeline matches and panning shots,
which are used to create tension and show deaths. Lots of reaction shots occur again
during the deaths, added with over the shoulder shots. Close-ups are shown throughout,
on both characters faces showing expression and on the objects which are involved in the
deaths, this adds tension as we cannot see what is outside the shot. A long shot of the
bridge collapsing is used to end the trailer.
• Sound: Slow eerie music added with echoing diegetic sound of someone talking over the
credits. The beat of the music then begins to pick up pace and heightening during the
series of deaths. Screams and shouts are heard after each deaths, added with sound
stings and crashing noises such as the bus hitting the water.
• Mise-en-scene: Normal big city, connected by a large bridge, which is shown many times
in the trailer. Collapsed bridges, needles, sharp objects, dead bodies, blood and
destroyed cars are then included as the trailer picks up place. Normal everyday clothes
are worn throughout, i.e jeans, jackets, t-shirts.
• Editing: Starts off slowly with long cuts building up tension before quickly speeding up
with fast edits as a death occurs. Long cuts then follow once again of the city added with
the slow music which could connote the calm before the storm. Then the cuts begin to
pick up pace a gain as the deaths occur and the trailer comes to a climax. Computer
generated imagery of the bridge being destroyed, explosions and fire are also included.
Many eyeline matches and action matches throughout.
7. The Dark Knight Rises
• Cinematography: The trailer begins with a medium close-up of a boy singing, followed by a panning shot
of a crowd. A high angle shot of the Bane (the antagonist) then occurs, which lowers into a lowers into a
low angle shot, this could connote power and dominance. Establishing shot of the city occurs, the many
panning shots and slow zooms follow establishing surroundings, setting the scene and adding tension to
the trailer. The trailer then picks up pace and a series of action matches are used to show disruption. A
low angle shot of an army then occurs, showing power. The camera also zooms out at this point which
could connote the enormity of the situation. Panning shots are then used again to add tension. Dark
lighting is used here so the antagonists face cannot been seen. Before a blackout as a switch has been
set off. An high angle shot of the protagonist followed by a low angle shot of the antagonist the occurs
showing who is in power. Medium close-ups of the characters in a battle then occur before the trailer
comes to a climax.
• Sound: Begins with diegetic sound of a boy singing a crowd cheering. This is followed by diegetic sound
of a conversation. The singing then slowly fades out and a sound sting changes the pace of the trailer.
The boy singing then comes back into the background with yet more sound stings and diegetic sound of
conversations and whispers to add tension.The chants of the crowd comes in which a strong backing
track increasing the pace of the trailer. Diegetic sound of the antagonist the occurs before the
background music reaches a climax and three sharp booming noises occur, at the end of the trailer.
Noise of a storm in background could connote something bad is about to happen.
• Mise-en-scene: Batman costume, Bane mask, Catwoman costume. A big city (Gotham City) with normal
people living everyday life. Policemen and Army. Tanks, Football Stadium. Batmobile. Massive bridge
leading out the city, overlooking the sea.
• Editing: Eyeline matches and lots of action matches involves throughout. Begins slowly, long cuts with
fades inbetween some shots. Progressively picks up pace, until it reaches a blackout for a couple of
seconds. Then the cuts get faster and faster, showing the action scenes of Batman and Bane fighting
until the credit roll. CGI and green screen editing has been used to make explosions and fighting and
chase scenes.
8. Comparison
• After analysis the trailers, Case 39 (Horror), Final Destination 5 (Hybrid Horror) and The Dark Knight Rises (Action) I noticed
there are both similarities and differences amongst all three trailers. I expected there to be many similarities between the hybrid
horror and the horror but I found a few similarities to link them to action films too.
• All 3 trailers started off slowly and picked up pace, with quick fast edits, action matches and close-up reaction shots. All 3
trailers are left on a cliffhanger which engages the audience and makes them want to watch the ending. Also all 3 films have
used lighting effectively, for example, when the antagonist is at its most powerful, the lighting is very dark and eerie. The
cinematography and sound of all 3 trailers is similar with the use of panning shots and close-ups to create tension as you
cannot see what is outside of the shot and also non-diegetic music with sound stings in the background to help the trailer pick
up pace. Also all 3 trailers use part of the narrative in them to help engage the audience. The mise-en-scene of all 3 films is
very similar as they all are placed in big cities, where everyday life takes place, making the films and in turn the trailers
relatable.
• All 3 could link to the hypodermic syringe model, especially Case 39 that does not use any explosions and uses the idea of
possession which could be very real to some viewers.
• Also all 3 trailers abide by Vladimir Propps’ theory, this links in as all 3 trailers have an antagonist (villain) and a protagonist
(hero).
• The reception theory could apply to all 3 trailers also, which states that individuals could interpret texts in different ways due to
demographics and psychographics. (For example, in Case 39, students and young adults in the socio-economic groups D-E,
would tend to enjoy the film more as they find it relatable, especially with the child antagonist and thus would find it scarier than
people in a higher socio-economic group and become more engaged).
• However the trailers differ in a few ways too. In both the horror and hybrid horror, the trailer begins slowly, then picks up pace
until a point where we think equilibrium is restored and then picks up pace again as disequibrium occurs again, however in
‘The Dark Knight Rises’, the trailer does not pick up pace until the very end and we do not see a false equilibrium. We also see
a long blackout in the action trailer to add tension where this is not the case in the 2 horror trailers where tension is create with
quick fast intense cuts, with many close-ups. Also the action film does not give too much of the storyline away and focuses on
showcasing the action scenes whereas the 2 horror films, give a big part of the narrative and the storyline away in the film, in a
bid to engage the audience. Case 39 differs from the hybrid horror and action film as it does not use lots of explosions using
CGI and is the most realistic of the 3 trailers, which is important in a horror to scare the audience. These differences could link
to Daniel Chandlers’ theory that genres tend to be based on the notion that posses particular conventions of content (such as
themes or settings) and/or form (structure and style)
• For example, Case 39 [horror] – the possessed scary girl, Final Destination 5 [hybrid horror] – the many gory deaths and The
Dark Knight Rises [action] explosion & fight/chase scenes.