This document provides instructions for students to analyze a film trailer in depth and present their findings to the class. Students will select a different film to analyze, examining elements like the title, characters, settings, editing, sound, and how the trailer establishes genre and audience. The analysis should apply concepts like Barthes' structuralist codes and reference theories by Propp, Levi-Strauss, Todorov, and Abercrombie. The thorough analysis will be posted online as part of the student's portfolio and help prepare for exam tasks.

1. Trailer Analysis
Your aim is to build on the knowledge you have gained from the Trailer
Conventions tasks to produce an in-depth analysis of a specific film trailer.
You will present this to the class and it will be posted onto your A2 Advanced
Portfolio in Media Blogs.
Individual Close Analysis of a Trailer
You will each pick a different film to analyse thoroughly and you will present your
findings back to the class through a PowerPoint, Prezi or by presenting notes on the
whiteboard. You cannot simply read through an essay and will have to respond to any
relevant questions. We will also need to be able to watch your trailer in class. This
presentation, a link to your trailer and, if necessary, additional written
information WILL be posted on your A2 Blog as evidence of Research so do it
very thoroughly.
This task is about identifying how genre and audience appeal is established
through closely analysing the construction of a trailer in terms of media
conventions, semiotics and relevant structural media theory such as Propp’s
characters, Barthes 5 structuralist codes Claude Levi-Strauss’s binary
oppositions and Todorov’s narrative codes, remembering that trailers have
their own, unique structure and explaining the difference between ‘story’ and
‘narrative’ choices. Refer to these theories in your answers wherever you
think they are relevant but be aware that the codes DO overlap so pick the
theory most relevant to the point you’re analysing. Examine which
conventions are present and how they help establish the film’s genre and
potential audience. Is there evidence of more than one genre – hybrids – or
of different elements present within the trailer?
1. Look at the Film’s title and analyse it for meaning. Where, when and how many
times does it appear, how is it reinforced, what clues do they give you about the film
and what mood is established? Freeze frame the title(s) on the screen and produce a
semiotic analysis of their font, colour, size and appearance within the mise-en-scene.
What semiotic associations do you relate to the title, how is meaning anchored
and are there any references or connections to other films or specific genres? What
other information is given to encourage you to become invested in the film, to delve
further and find out more?
2. What characters are being established and how? Is it being sold through ‘star’
appeal? Are there any Proppian character types strongly associated with this genre
and are they present? Are they represented in conventional terms or do they
challenge or subvert your expectations? Do any of them stand out and create a USP
(unique selling point) to attract the audience?
3. Think about how the use of locations/settings, colours/filters and lighting
establishes genre and anchors your reading of the trailer. How do these choices help
support and establish the film’s narrative themes, what are these themes and is
there any evidence of binary oppositions or of Barthes’ semantic or enigma
codes?

2. 4. Analyse the choice of shots and the use, style and pace of edits. Are there any
choices made within the narrative codes which you strongly associate with:
(a) Trailer conventions (b) This genre of film.
5. Analyse the use of sound within the trailer. You need to look at the use of non-diegetic
and diegetic sound, including the style, tempo and mood of the film’s
soundtrack or theme music. Analyse the use of dialogue and/or voiceover, ambient
sound and sound effects to establish the genre and narrative and introduce characters
and themes. What information is being emphasised here and why; how is a preferred
reading being anchored?
6. Many academics claim that ALL films exist within genre. Nicholas Abercrombie
suggests that 'part of the pleasure is knowing what the genre rules are,
knowing that the programme (film) has to solve problems in the genre
framework, and wondering how it is going to do so.'
Does the trailer give clues as to how it will accomplish this: What ‘story’ is being
established through the narrative codes of the trailer? Does it focus on creating
mystery and raising enigmas (using *Barthes hermeneutic codes)or does it firmly
establish genre conventions through action (Barthes proairetic codes) or through the
connotations of specific signifiers, (Barthes semantic codes) narrative set pieces and
characters?
*Barthes codes are closely linked but the hermeneutic is focused on emphasising
on elements that remain mysterious or unexplained in the text whilst proairetic
codes refer to action or event that indicate something else will happen, which
therefore gets the reader predicting what will occur next. These are very common in
trailers due to their nature and purpose. The semantic codes are the connotations
and these may also be symbolic (i.e. binary oppositions highlighting conflicts or
family life representing safety and security) or play on our cultural knowledge and
expectations (i.e. the detective in our film will be heroic)
7. Who are the audience? Is there any institutional information on this such as a
BBFC rating, favourable critical quotes or even awards? Explain who the key
demographic appears to be, how the trailer appeals to this audience and also whether
they try to widen it.
Steve Neale argues that pleasure is derived from 'repetition and difference'
(Neale 1980: 48); there would be no pleasure without difference. Does the
trailer attempt to differentiate this film from other releases in this genre or does it
highlight its genre appeal to attract their core audience, does it attempt to create a
USP or does it focus on familiarity?
AS WELL AS BEING POSTED ON YOUR BLOG AS RESEARCH EVIDENCE THIS
TASK WILL ALSO BE RELEVANT WHEN DOING YOUR A2 PORTFOLIO
EVALUATION TASKS AND IN PREPARING FOR SECTION A OF YOUR CRITICAL
PERSPECTIVES EXAM SO DO IT VERY THOROUGHLY.