The document analyzes a trailer for the film Trainspotting using various film theories. It discusses how the shots introduce protagonists and adhere to stereotypes about class, gender, and drug use. Various techniques like lighting and editing are examined in terms of how they promote violence and leave the audience with unanswered questions to encourage viewing the full film. Reception theory suggests a young British audience could relate to the themes but an older or worldwide audience may be less interested.

1. Trainspotting Trailer
Analysis
BY LAURA MESSIDER

2. The institutional logos let the audience know who made the film, they also hint at
the genre of the film as this institution is a British independent who typically make
low budget social realist with a niche audience. This is due to the fact that they don’t
have the budget to make more popular genre.
This medium shot follows Barthes ‘enigma codes’ theory as the audience does not
know why they are running? Or who they are running from? They have to watch the
film to find out this encourages them to watch the film as they will want to know
why they are running.
This medium shot introduces the audience to the first protagonist this suggests he is
the most important as he is centre frame, introduced first and there is an inter-title
allowing the audience to know his name. His facial expression and make-up (mise-
en-scene) suggest there has been some drug use as he looks unwell and out of it.
The direct mode of address creates a connection between the character and the
audience, before they have even seen the film.

3. This medium-long shot adheres to the ‘male gaze’ theory by Mulvey as the female
subject is wearing a revealing costume which she is seductively taking off. This also
objectifies women as it is negative representing them as sexual objects and adhering
to the stereotype that they are subordinate to men.
This long shot has links to alcoholism as they are walking around a bar. The link to
alcoholism follows conventions of social realist films and alcohol connotes
intoxication, destruction and violence all themes explored in social realist films.
Again the audience is introduced to another protagonist, who is clearly important as
again he is centre frame and the audience are made aware of his name. There is also
a suggestion of drugs here due to his actions/facial expression directly in the camera
and make-up (mise-en-scene). Again the direct mode of address creates a
connection between the character and audience.

4. Again the body language of this character suggests the use of drugs as he acting
strangely, with awkward movements. Also the tone of voice he uses suggests that
maybe the character isn’t thinking clearly. The mise-en-scene setting represents
the lower class as the room looks quite run down and dirty, this follows stereotypes
of the lower class.
The protagonist is this shot is shown as important as he is centre frame like the
previous protagonists in the trailer and the audience is made aware of his name.
This suggests he is an important character within the trailer and film. His strange
facial expression again suggests some form of drug use and the setting of the toilet
reinforces this idea as it follows the association of drug deals being done in private,
dirty places like toilets.
The editing in this shot highlights the idea of violence as it makes it look like the
other protagonists are going to shot this subject. Violence and gun crime is often
explored within social realist films. This shot also adheres to the ‘enigma codes’
theory by Barthes as the audience does not know why they are trying to shot this
male subject? Or what is happening within the narrative at this point? They are
therefore encouraged to watch the film to find out.

5. The low-key lighting adds enigma to this scene as the audience does not know
what is happening to the protagonists. This shot in the night club adheres to the
stereotype of both young people and the lower class as it represents them as
being irresponsible, loud and intoxicated. These representations are negative
representations of young people and the lower class which are conventionally
adhered to in social realist films.
Violence is again promoted in this scene following conventions of social realist
films. It follows stereotypes of the lower class as they are seen as violent and
abusive, this is a negative representations of the lower class. Social realist films
often explore the corruptions and violence within the lower classes.
This scene follows stereotypical gender roles due to the dialogue when asked what
they are talking about the male subjects reply “football” and the female subjects
reply “shopping”. Stereotypical gender roles are often adhered to in social realist
films as they are often issues within society at the time the film is set.
The two female subjects also adhere to the ‘male gaze’ theory by Mulvey as they
are both wearing lots of make-up and costumes to impress the male subjects they
are talking to.

6. The broken window is centre shot showing its importance in the shot. It promotes
crime and vandalism which again are conventions of social realist films and are
stereotypical traits of the lower class. The audience will expect to see some form of
disruption (following Todorov’s narrative theory) due to violence or criminality as
the film is centre around the lower class who stereotypically represented as violent
or criminals.
This wide shot adhere’s Levi Strauss’s ‘binary opposites’ theory as the subject on the
left’s costume is a suit and has a prop of a briefcase suggesting he might be slightly
higher class than the subject on the right. This is because the subject on the right fits
stereotypical representations of the lower class with a casual costume and shopping
bag as well as a cigarette in his mouth.
Use of reviews widens the audience as it gives the film a good representation. Using
big names like ‘Time’ increases this as the audience will see this as a reliable source.
Social realist film often only have a niche audience to the lack of production and
marketing budget as well as lack of popularity worldwide, therefore they need to
use methods like these to increase the audience.

7. The close-up of the protagonist highlights his facial expression which suggests the
trailer has reached a new equilibrium as the protagonist seems happy. This follows
Todorov’s ‘narrative structure’ theory and means the audiences expectations have
been followed. However, it is usual for the trailer to follow the theory as they often
want to leave the audience with a sense of enigma so they are encouraged to watch
the film to find out what happens.
The closing clip shows good anchorage as the inter-title uses the typography and
house-style as the poster. The image also links with the text as they are standing by
a train track, leaving the audience wondering what the film has to do with trains as
this is the first reference to trains. Therefore this shot adheres to Barthes ‘enigma
codes’ theory as the audience is left wanting to find out, but must watch the film to
gain the information. The formation of the protagonists suggest that the character
facing away is either more important than the other or somewhere different again
the audience have to watch the film to find out which it is.
Stuart Hall – Reception Model
• Preferred Reading – A young British audience will relate to the theme’s represented in the film like drug use, alcoholism and
irresponsible lifestyle linking to the idea of personal identity from the ‘Uses and Gratifications’ theory by Blumler and Katz.
• Oppositional Reading – Maybe an older or worldwide audience. The older audience may not approve of the irresponsible
lifestyle represented in the film and a worldwide audience may not understand the reference to the problems within British
society. This is a issues as they are not following the information strand of the ‘Uses and Gratifications’ theory therefore will
not watch the film as they are not gaining the information from it.