Trailer Conventions Analysis

Tropic Thunder
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In the comedy/action film Tropic Thunder there are distinct differences in the way that its comedic nature is displayed. Conventionally it does start with a production company logo and includes institutional information at the end but at the beginning it fools the audience into thinking that it is a hard hitting war film with the slow motion effects and the emotive words written in a serif mature font before the parodic nature of the film is made evident.

                                                   Bizarrely the graphic/violent images are juxtaposed by the seemingly contrapuntal track when compared to other films of the same genre, ‘For What It’s Worth’ by Buffalo Springfield. As the audience the fast edited action images create a proairetic code (Barthez) as the images themselves don’t seem to fit together but they all have the same semiotic connotations of war and the destruction associated with it. The music then stops and fades to black where the audience is almost ‘shocked’ to discover that actually they are actors filming, further enhanced by the motion overlay titles pointing at the cast with the word “actors”. A second change of music then ensues with a bright happy and up tempo beat confirming that the audience’s confusion of whether it is a comedy or not. Again the audience are informed that they are working on a film set by the long establishing shots of what appears to be a film crew.

As the main characters are introduced the voice over man accompanies the titles which have now changed from the serious and mature font from the beginning to bold sans serif with bright colours which doesn’t particularly create a binary opposition as the previous motion overlay titles did. From a flash of white the mise en scene is then altered again with dark chiaroscuro lighting appearing with negative connotations of war. Yet again the music has changed to more heavy rock based music. But as the editing switches from the night time and the day time showing different characters we assume through Claude Levi-Strauss’ theory of binary opposition that the characters in the dark are evil and the characters in the day are the heroes.

                                              For the fourth time in 1 minute we have another music change to the slightly ironic “War, What Is It Good For?” song, regarded as the 'soundtrack' to Vietnam war films such as Apocalyspe Now, which begins with the fire of a gunshot. As to highlight the comedy moments the song pauses to allow the main focus to be on the dialogue of the characters which acts like a narration as well as allowing the audience a flavour of what the comedy in the film is like. There is then an edited swipe and yet again another change in music to more orchestral and dramatic based music to accompany the climatic ending. Perhaps due to the genre of the film, the main stars of the film names appear in the similar font as before. You need to point out the EXPLICIT changes which are used to signify the comedy genre, parody, intertextual references etc

The convention of including the stars name isn't unique to the comedy genre. This adds a certain level of audience appeal, as many people have a favourite actor. This espsecially applies to the comedy genre, as many actors are associated with a particular style e.g. Seth Rogan and 'slacker comedy'.  As the trailer builds to its final conclusion the editing pace increases rapidly and the music itself increases in volume and in drama. The crescendo then concludes with the film’s title logo. As the audience we presume that that would be the end of the trailer but there is an additional scene that has a comedic element to further reinforce the genre of the film. Institutional information is then displayed along with the title logo to reinforce the film's name and identity with the audience.
 

500 Days of Summer

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 Like most trailers it, conventionally, opens with the production logo of Fox Searchlight, using the song, Sweet Disposition by Temper Trap,  as a sound bridge to create an emotional enigma, with its happy yet slightly melancholic tones. The voice over also provides narrative exposition for the story saying that “This is not a love story, this is a story about love” while showing the two main stars in the background who, the audience immediately assume, are the two people in love.

To accompany the song the editing changes on beat with the kick drum of the song, perhaps highlighting the precedent and importance that music has in this film due to its soundtrack, which is often praised by those who have watched it. Rather unconventionally the title appears only 40 seconds into the film trailer with not a motion overlay title but a full screen one that flashes different colours. This could be due to the fact that it’s not a “mainstream” film but it is in fact a more “indie” or “hipster” film, despite its wide release.

The title then appears two more times before the final time which does exactly as the first did with the flashing colours, which is very unconventional of all genres of trailer. The name of the film is also being reinforced by the voice over stating 500 days of summer and continuing to say “of magic, of distance, of tenderness” each accompanied with a clip to display for example the tenderness. This also creates a hermeneutic code as the audience query as to what the magic/distance/tenderness is and how this affects the film. The use of a triadic structure would not only perhaps give the main themes emphasis, but also make it easier for the potential audience to remember. The changing of shot matching the narration is key to the genre of trailers as well as rom/coms, otherwise they would make little sense.

The voice over then as in Tropic Thunder (also a comedy) identifies the main stars and who they play in the film, which suggests that this is a common convention in comedies/rom coms. The genre is then further reinforced by the soft high key low contrast lighting, which is the polar opposie of the chiaroscuro lighting commonly found in other genres, such as horror. As expected the film ends with institutional research but no comedy element as suggested with the typical ending of comedy trailers.

This is rather brief and doesn't compare or contrast the conventions found in any depth




Flakes
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As stated before, actors and actresses can frequently be associated with a certain genre. This can be applied to Zooey Deschanel, who frequently appears in slightly quirky comedies/ romcoms, such as '500 Days of Summer'.

The trailer starts as most do, with the use of production company and subsidiary company logos. However, these are of the lesser know type, most likely due to the low budget of the film. Fox Searchlight aren't very likely going to take on a film with only a limited amount of money at disposal. This lack of money is reflected the fact that it was only shown in one cinema in America.


 Owing to the lack of well-known (at the time of filming) actors, their names do not appear within the trailer. Instead, the only text is that which provides some form of narrative exposition. Combined with narrative from within the film, there is no requirement for a voiceover.

 As is commonly the case with comedies, high key low contrast lighting is used. Despite this, during moments of conflict in the trailer, the lighting used is probably best described as comparatively low key high contrast. However, it wouldn't be fitting to describe it as quite chiaroscuro.

It ends with the typical trailer conventions of a title screen and institutional information, including the main actors and actresses who weren't given credit in the form of convetional motion overlay titles, as well as a website. Another convention it doesn't adhere to is the inclusion of a BBRFC rating. However, due to the limited release, it's unlikely that the trailer had any real presence in cinemas. For this reason, the audience is likely to be one of probably mainly 20-somethings, who actively seek out such 'indie films'. An age rating is therefore unlikely to affect a majority of those who wish to see it.

Pan's Labyrinth

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As expected it begins with the production logos but also with action based shots, for example scenes of explosions (Barthes action code) and dark chiaroscuro lighting immediately signifying to the audience the genre of the film – horror/fantasy. These scenes are tied together with a sound bridge, with a gun being fired, but during which time the sound of an explosion from the next scene is heard A voice over accompanies the non-chronological series of images in order for the audience not to be confused, but what it says creates an enigma itself, particularly when we're told, “the legend that wants her back”. In addition, to add more intrigue into this ‘unknown world’, following fades to black a series of words eventually form the rhetorical question 'What happens when make believe believes it's real?'. For this reason, it's very hard for the audience to distinguish between waht's real and what isn't, creating enigma.

The non-diegetic music used to accompany it is quite conventional with dramatic string quartets etc., to match the mise en scene as well as the genre and as the trailer progresses as does the music’s volume and intensity. As the crescendo of the music approaches the editing matches the images to the music, making it more militaristic and bold and therefore more appealing to the audience as the combination of sound and image together is very effective. In terms of mood and tone, it matches the horror genre of the film. The increased intense fear of the scenes themselves is also displayed through the increased editing pace.

Unlike other trailers Pan’s Labyrinth includes whole screen titles displaying the awards the film has been nominated for and has won. The name Guillermo del Toro may sell the film to its potential audience, but the naming of awards has much wider appeal and is more likely to create interest. In addition to this, comments of praise from critics who write for papers such as New York Newsday have been included. This establishes that the film is not only aimedat the Spanish-speaking population, but also the very large American audience, who typically don't enjoy subtitled films. One of such comments calls it 'a fairy tale for grownups. This, along with the rating it has been given, establish the age of the target audience.

Rather obscurely after the dramatic build up the ending itself is quite melancholic as it slows right down as though it has hit its peak. Just as is the case in Tropic Thunder, where after the film title had been displayed there was an additional comedy moment, in Pan’s Labyrinth there is the repeated clip of what we presume is the ‘Labyrinth’, again leaving an ambiguous end to the trailer and creating an air of mystery. It concludes on institutional information such as the production company, as well as the release date, as expected.

28 Weeks Later

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As a horror film and like most film trailers it open with the production logo, which has had its colours changed to reflect the genre of the film, as well as the main colour scheme of black and red used for promotional posters.  In addition to this, a sound bridge of ambiguous drone styled music, setting quite an eerie atmosphere to begin with. The opening establishing shots are of an empty London adding connotations of eeriness, distance and emptiness to the mise-en-scene. The editing is similar to Pan’s Labyrinth in that the shots fade to black quite quickly in order to add mystery and intrigue to the film.

There is also a time ellipsis edit displayed by the motion overlay title “28 weeks later…” to which the music changes into choir-esque orchestra music to emphasise the seriousness of the situation. There are also sound stings attached to each fade to black as it builds to its crescendo.

Instead of using a voice over like in Pan’s Labyrinth, 28 Week Later uses dialogue from the film to create a narrative which is again enhanced by the full screen motion titles that use single words that relate to the themes of the film such as 'quarantine.'

The fade to black is then interrupted by a high pitched siren foley sound effect alerting the audience’s attention. Accompanied with this is a red tint on the images which semiotically signifies danger and fear. Overlaid this is institutional information in bold white writing which could perhaps display a binary opposition (Claude Levi-Strauss) of heaven versus hell with the white signifying heaven and the red signifying hell. The red images themselves are very threatening and imposing for the audience. This threatening persona is matched by the ‘glitchy’ type editing creating tension for the audience. Most notable this style of editing appears more frequently in thrillers/horrors/sci-fi’s more than any other genres. These non-chronological styled images build and they show a lot of action style clips with create heuristic code enigmas (Barthes) such as whether or not the main characters will survive.

This film is an anomaly as conventionally a trailer ends with institutional research but this film doesn’t; this could be due to the fact that it is independently funded rather than funded by a big production conglomerate. Instead, the title is displayed and is then followed by a series of very past paced edits in which the words 'it's not over' appear one at a time. This is proabably to scare the audience slightly and create enigmas concerning how each scene will be connected in the film.

American Pie Renuion

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Unconventionally, this film doesn’t open with the production company logos. Instead, it opens with a comedic moment and then shows the intuitional information. This could be perhaps due to the fact that the characters in the film are quite rebellious and in that sense they want to convey that to the audience. It could also be due to the fact that the producers wanted to immediately signify the nature of the film. The music begins as expected at the start of the trailer and it is upbeat and happy, a reflection of the genre.

As in Tropic Thunder, to emphasise the genre the music stops for a brief period of time when a comedic moment arises. There is also very fast edits used as to display the happy upbeat genre again. Unlike in Tropic Thunder, American Pie Reunion uses dialogue from the film to give a narrative context, this could also be due to the fact that fans of the prequels to this already know the context behind it and therefore don’t need a voice over to understand that.

Unlike in other film trailers where they show the release date at the end of “coming soon” near the beginning American Pie Reunion show a full screen title with strong bold colours and font perhaps to excite the audience who clearly have anticipation for the next instalment of the franchise.

Again like in Tropic Thunder they display the title and then add a small comedic moment on the end to really emphasise the film's genre and audience appeal. More detailed institutional information due to its release in the 21st century is included, such as a website and Facebook page linked to the film which appeals to a younger audience.

The Thing

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As expected the production company logos appear first in this film. The initial establishing shot reduces any enigmas the audience might have. The music as expected begins at the beginning of the trailer which it's eerie atmosphere immediately introduces the horror/enigma element.

There is no voice over in this film and the narration from the character serves as a voiceover. In addition to sound, whenever there is a fade to black or when a shot changes it is synchronised with a bass heavy sound sting appears to emphasise the danger element to it.

Since this is a remake of an original film some of the shots have been reused/'reimagined' as they call it in Hollywood in the new one to increase the appeal for the viewers who particularly enjoyed the original-they are a priviledged audience, encouraging fan involvement. Later on in the trailer there is a title which enforces the production company, a trait which hasn't appeared in any other trailer so far.

Similarly to 28 Weeks Later, The Thing uses the phrase "from the producers of ..." to add credibility and give more genre appeal in particular because the example they give - "Shaun of The Dead" is an extremely popular and well accredited film.

Unlike in other trailers the music accompanies the final crescendo but actually in the final 'shock' moment there is very little sound use but the fast edited images create it instead.

The Matrix

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 The Matrix is obviously a well known sci-fi action film, the production logos appear as a typical convention at the start of the trailer and the logo itself is modified in colour to relate to the genre of the film. The fast paced shot transitions appear frequently throughout the trailer suggesting that like the above trailers, fast paced editing is key to not only establishing genre but to keeping the audience engaged therefore it is widely used in trailers of various genres through the use of sounds and  style and type of editing effects depending on the genre. Sound stings through transitions are also a key feature in this trailer. The opening sounds and music immediately creates an atmosphere for the audience and in this case they used the sound effect of thunder.

What seems to be an apparent theme in thrillers/action films is that dialogue of the film is used to establish narrative themes but that is also accompanied by titles that use singular words to pick out important aspects of the film as well as adding enigmas for the audience, an example being  The Matrix in this sense is no exception, in fact The Matrix uses a blank black screen with narration overlaid to emphasise the importance of the words further.

There are also typical shots shown to establish the genre of the film i.e. imgaes of guns, explosions etc. But the non-chronological order in which they appear establishes that within itself through Barthes' heruistic code. Conventionally the film ends with the title, a short clip after and then the important institutional information to conclude the trailer.

Pulp Fiction
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Pulp Fiction is an anomaly as it is a very short trailer in which it tries to influence and interact with the audience rather than show multiple clips from the film. Obviously it starts with the production company logo's but then the main character Uma Thurman asks a rhetorical question to the audience engaging their attention and creating intrigue.

Not only that but the voice over, another convention, also the rhetorical question of                    to the audience. WHICH IS? EFFECT? It also features titles showing the Academy Award Nomintations that have received to add more credibility and interest from the audience due to this, just as is the case in Pan's Labyrinth.