‘The Shining’ trailer consists of one long take, low angle shot of the elevator doors which creates a tense ambience and eerie feeling within the viewers who are waiting for something sudden to happen as that is what should be expected in a standard horror movie trailer. The stationary state of the camera also helps to increase tension and trepidation as the minimalistic shot is almost too still. As for narrative this tells us the location of the film is a hotel given the furniture and elevator doors. The red doors provide some suggestion of the horror genre although it is subtle. According to Todorov's classic narrative pattern all films consist of an equilibrium, disruption, recognition, repair and new equilibrium. However, so as not to spoil the ending trailers rarely feature any of the repair or new equilibrium phases. This long take is essentially the equilibrium or the calm before the storm.
The general colour scheme of the lobby is quite dreary and grim. The browns and greys convey to the audience that this is not going to be a happy tale with a perfect ending. Roland Barthes' referential code involves explaining and informing. The mise en scene of the hotel lobby adds depth to the narrative, highlighting important aspects and details. Audiences interpret the referential code via their own knowledge, understanding and experience. The sudden onset of blood rushing through the lobby instantly fills the viewer with a sense of dread as we are given a quick impression that this film will include killing, fright and plenty of violence which is typical of a horror film. So although nothing much is happening in terms of characters or voiceover/dialogue both genre and narrative are being conveyed to some extent as the gushing blood foreshadows the disruption phase of the narrative. Other than this, the somewhat ordinary hotel lobby setting makes the scene much more tangible and chilling as most people have been waiting for a lift at a generic hotel lobby at some point of their lives.
The starting lonely piano notes are eerie yet simple enough not to distract from what the viewer is seeing on screen. The following non-diegetic build-up of music works well with the sight of the blood pouring into the lobby. The musical upsurge shows that there will be a climax within this trailer and the visuals prove it to be the blood covering the camera and tainting everything red making the audience feel that they themselves are now stained red and have been dragged into the horror of it all. The music is formally appropriate as it follows the expected structure of a trailer with the slow build up of pace. Whereas the choice of one long take is not formulaic the pace of the music is consistent with conventional trailer forms and helps the audience to identify this as a trailer.
The title of the film and other details scroll down the screen slowly in credit form in a plain white font building the up anticipation and keeping the focus on what is happening in the background without interrupting the visuals too much. The captions and credits are another formal conventional of trailers and although they are presented in an unusual way they do work to again convey that this is a trailer. They also highlight the selling point of the film i.e. the director and stars who will entice fans of their previous work to come and view 'The Shining'.
Most trailers feature various examples of Roland Barthes' narrative codes. The semantic code of most horror films (particularly Slashers) is depicted from the final girl's point of view. However, this trailer makes it unclear whose viewpoint the events are being perceived from. Instead the trailer is created to make us feel like we are actually there and experiencing this sudden onset of blood in what was an ordinary hotel lobby. Another of Barthes' codes: the symbolic code involves semiotics and the reading of the connotations of signs which transforms them into symbolic representation. The blood represents carnage and death but given the incredibly high volume of blood and the fervour in which it enters the lobby we can intimate that there will not just be some violence within the film but a multitude of sadism and brutality.
‘Prom Night’(2008) is an American Slasher film directed by Nelson McCormick. It is a remake of a 1980’s Canadian Slasher film also called ‘Prom Night’. The film is a typical formulaic example of the average Slasher film in termsof plot, characters and narrative codes.The protagonist Donna Keppel is the object of a perilous obsession in the eyes of her former teacher Richard Fenton who viciously murdered her entire family. The film takes place after this atrocity and is mainly about Donna attending her senior prom and Fenton’s return in which he goes to bloody lengths in his search for our final girl. By closely analysing the mise en scene, editing, sound and camera, I should be able to gather a clear sense of narrative and genre from this film.
The primary shot of the trailer is a green card which contains the rating (PG-13) and details of the various inappropriate materials deemed unsuitable for those under the age of 13.The production and distribution logos then follow immediately after the green card which is a common convention of all trailers. The upbeat music portrays a sense of youth and frivolity which is enhanced by the words ‘Class of 2008’ on a shot of what seems to be a yearbook cover. So far nothing has alluded to the fact that this will be a Slasher film containing violence and murder until we are presented with a card with the words ‘The Preparation’. The words alone are not threatening but the typography and black background indicates that the audience should be in anticipation of some violence and brutality. The wide shot of three girls getting ready at a beauty salon instantly allows us to identify that they are getting ready for prom and this event will be a major factor in the progression of the film. Given that the blonde girl (Donna) has the most screen time-especially in the initial shots, we can easily assume that she is the protagonist and therefore our final girl.The use of the champagne colour in Donna’s dress indicates a sense of luxury and putting her in the position of being the main girl out of her three friends.
The non-diegetic upbeat music at the start of the trailer of a familiar tune revamped and sung by a modern band alludes to the fact that this film (like the song) has been remade into a newer, modern version. The positive non-diegetic song also acts as an indicator to the audience that we are currently watching the equilibrium section of the film in accordance to Todorov’s narrative theory. The words that appear on the screen: 'The Preparation', 'The Anticipation' and 'The Celebration' are all positive words which is why they are almost a paradox to the black background they are presented on and the thin, plain font.
The various close ups and medium shots of the six young characters helps the audience to identify that due to their screen time these are important characters and that they are clearly (due to the name of the film) at prom. The dialogue and cheering combined with the music helps to portray a jovial atmosphere which makes the threat of characteristic Slasher film violence seem very far away. As the music suddenly fades and an adult starts to announce prom king and queen we find ourselves gripped by what is happening when the lights suddenly flash out. The use of some black screens is very effective in the seconds that follow as we are unsure of what is clearly happening adding to the suspense and intrigue of the trailer.
Also the use of a collective gasp from the crowd and hushed sounds with no music creates an even more fearful portrayal as suddenly we feel as if the happy equilibrium is gone and instead (from the black screens) we interpret there will be a lot of confusion and disturbance to the cheerful beginning.
As it seems that the lights come back on at prom, there is a fast paced sequence with quick, urgent editing which is broken up by flashing white screens and various black screens which again reinforces the confusion going on on-screen. The diegetic screaming and scared whispers all add to the horror of the trailer and one boy who we identified as a main character at the start is calling out the name of his girlfriend alluding to the fact she is missing, hurt or dead. The setting of all these shots appears to be one hotel which gives the audience a strong idea of what to expect if they see the full film; an almost maze like plot with people constantly running from the source of all this horror.
The use of a voiceover (from what seems to be a detective) helps to somewhat ease the confusion and we get a brief explanation of what to expect by going to see this film in the cinema. He also refers to the hotel confirming that the majority of this film has one setting. As no trailers are linear we receive all this information further towards the end of the trailer even though most of the details being talked of appear to be way into the past. As well as this some shots like a stretcher with a body bag has a black and white filter on it confirming that these bits are from the past. The use of interweaving dialogue amongst the voice over adds to the fear factor i.e. people calling each other's names etc.
The eerie music comes to an abrupt halt when the protagonist Donna is left alone asking who else is there. There is a moment of silence before a very creepy voice (possibly the killer or villain according to Propp's character types) calls her name and says, 'I missed you'. The juxtaposition of this piece of dialogue with a blank screen keeps the identity of the villain a mystery not permitting the audience to have any other pieces of information about him other than his voice. This is clear use of Roland Barthes' enigma code which drives the narrative forward and explains what will keep the audience watching until the very end, the question: who is the villain? And also in most cases: Will the protagonist and supporting characters survive? This then moves on to more fast paced editing (the montage sequence) and the words 'It's a night to die for' creating tension and excitement in the audience.
There are no one line reviews in this trailer meaning that anyone going to see it will probably be interested just from watching the trailer rather than based on a good review from a magazine etc. that they trust. The white typography of the name of the film and murky purple/black background, not featuring any red which is a common colour in Slasher films. Instead the whole shot alludes to a sense of darkness and mystery drawing the reader further into the plot.
The final 'scare' shot of Donna is very powerful. All the reader can ascertain is that a man is reaching out to grab her and all we can hear is her following scream. This tells us that the film will be filled with terror, violence and screams of horror just like the one resonating with us as the trailer ends.
The British, independent film ‘Dead Man’s Shoes’ is not strictly a Slasher film even though it contains a lot of that genre’s conventions. Instead it is identified as a psychological thriller. The film was released in 2004 and directed by Shane Meadows (who also directed ‘This is England’). Roland Barthes’ semantic code which refers to character and characterisation is disrupted in ‘Dead Man’s Shoes’ making it an unconventional film as we almost feel sympathy for the villain as the majority of the film is based on his viewpoints of events. The main plot follows a soldier coming back from the war to his home where he begins to seek a violent revenge on the men who in the past had viciously bullied his disabled younger brother. I am going to closely examine the mise en scene, editing, camera and sound of this trailer in order to identify how successfully they have conveyed genre and narrative.
A conventional way for most trailers to start is with the logo of their distribution company. ‘Optimum Releasing’ distributed ‘Dead Man’s Shoes’ meaning their logo provides the first shot of the trailer. The story officially begins when we are presented with an establishing shot of a forest. Instantly the audience is aware of where the narrative will mainly be taking place. The next shot takes us to a more pastoral location reminiscent of the countryside. Wide shots like these are often used to show both location and people featured in the shot to provide some detail and context. Richard and his brother are the characters in this vast shot. The green army style bag carried by Richard allows us to assume (but not confirm) that he has some possible relation to the army or to war. His brother Anthony is instead dressed in mainly blue clothes which commonly represents calmness and passivity as opposed to the wild element that Richard’s green connotes. Even though the two are presented to us as binary opposites, the closeness of the paths they are walking along allows us to assume they have an understanding, familial relationship. The rural setting and walking has now intimated to us that the brothers are on a journey (physically, mentally or spiritually).
So far the shots and the calm, gentle non-diegetic music have not made it obvious that there are any Slasher film elements within ‘Dead Man’s Shoes’ or alluded to the fact that this is a thriller film. These opening shots are essentially the equilibrium in terms of Todorov’s classic narrative pattern. The two characters are probably in their everyday environment, going about their normal lives allowing the audience to gain a sense of character and the relationships between them. The positioning of Richard and Anthony in the next shot is quite revealing. By having Richard in front of Anthony it suggests he is protective and almost defensive when it comes to his brother and also that his brother is younger.The use of the environment and nature is key in this shot as the tree is almost an extended metaphor for Richard himself as it is solitary and secludedjust like himself without the companionship of his deceased brother.
The woods (that are a common element and location of Slasher films) are used again in the following shot even though they are being portrayed to us in the same genteel way perceived by the audience earlier. One way narrative is enhanced in most trailers is by the use of a voice over and captions. ‘Dead Man’s Shoes’ uses these to build on structure and sequencing giving the audience a clearer perception of plot.The first caption ‘A Brother’s Love’ confirms that Richard and Anthony are brothers as does the home video of the two as children. This home video is very important in helping the audience to empathise with Richard given the atrocious, violent acts he will commit later. We are then presented with a close up of Richard and then Anthony alluding to their deep, emotional connection.
'This is England' is a famous film known for its elements of British social realism and Shane Meadows has tried to feature topical issues from modern society and current ideologies in order to transpose some of this genres features into 'Dead Man's Shoes'. Such as family relationships (particularly fraternal) and the cruel, unjust treatment of those with disabilities With the next caption there is an abrupt shift in the tone of what we have seen so far, finally bringing in the fundamental elements i.e. eerie non-diegetic sounds associated with a Slasher film. The use of dialogue from our protagonist helps to add a sense of narrative to the shots. The even editing now gives way to a more quick, irregular pace intimating that there will be some disruption and emotional upheaval as the film progresses.
By using a flashback to arrange the story out of sequence we are given a look into past proceedings. However, as all trailers are edited in a non-linear fashion a black and white filter has to be used to make completely clear to the audience what is happening. The audience is instantly apprehensive of the gang men featured in a shot following the flashback and we understand that these are the potential enemies of Richard.
The use of a mask is a classic Slasher film convention used in films like 'Halloween' and 'Scream' as it hides the villain's identity and creates a psychological fear of the unknown and un-encountered. The mask means that Roland Barthes' enigma code has been used to set up a mystery, development and resolution. The enigma propels the narrative forward as it must be solved. The vast majority of film narratives will end with the central enigma being solved. Albeit as much as this applies to the conventional Slasher film it does not apply to 'Dead Man's Shoes' as within the trailer itself the person behind the mask is revealed to be Richard. The use of the colour red at this point signifies violence and peril which we are now at the edge of our seat in expectation of. A montage sequence which includes fast paced editing and shaky camera work is used to build up to the climax and build tension.
It is at this point that we meet one of the gang members. After this close up, there is a shot of Richard with the gang member followed by extreme close ups to increase the intensity of the shots. The mise en scene and positioning of the characters makes it clear that this is a confrontational scene. This is a key example of one of Claude Levi-Strauss' binary opposites i.e. good vs. evil. The use of a red filter on the next shot connotes violence and bloodshed (typical of a Slasher film). The main premise for the film is the question 'What is evil?'. Throughout the whole film we are introduced to characters like Richard and the gang members who blur the dimensions of what a truly evil character is. We find ourselves surprised to sympathise and somewhat justify Richard's transgressions even though his actions taken out of context are undeniably evil.
The use of a montage sequence is something every film trailer does. The editing and music all speed up to create a sense of tension and prepare the viewer for the climax moment. Scenes in this sequence generally consist of violent images enhancing a sense of narrative. Like the binary opposites of good and bad seen earlier there are also those of hero and villain/killer.Propp's character types are almost blurred here as we see a mix of good and bad characteristics in most of Richard's actions allowing the audience to think carefully about the role he plays and its unconventionality. The use of a voiceover gives the audience a sense of motivation for Richard's behaviour not just in the trailer but in throughout the whole film.
A lot of trailers will conventionally feature a short few word review and even sometimes a rating. 'Dead Man's Shoes' has done this and it is very effective in that a fan of the reviewer will take note of the review and make the decision to go and see the film on account of this review. Film festivals can also be used in this way to make the film seem very popular which is a boost many independent films require.
The use of red, white and black in the typography reinforces the Slasher elements of the film. Again there are the typical connotations of violence and bloodshed, black vs. white, good vs. bad. The directors name is used to draw in fans of his previous films (i.e. 'This is England'). The end card is then displayed with all other information and a website to allow synergy and a possible multi-platform approach.
There are many formal aspects of the trailer that are conventional. Trailers are always edited in a non-linear fashion yet still have to portray a sense of narrative and story. Film critic Pam Cooke states that a film is 'a linear narrative of cause and effect within an over-all trajectory of enigma resolution.' This does not apply to trailers as in order to not spoil the film there can be no indication of a sense of repair or resolution. There is also a conventional montage sequence used that involves quick paced editing and jump cuts to that build tension eventually resulting in a climactic scene which in the case of this film is the shot of Richard holding a gun to the head of someone whom we cannot identify lying on the floor. The mystery surrounding this will convince the audience to see the full film. Most Slasher films have a final 'scare scene' to end their trailer but as this is not a horror film (it only has some conventions of a Slasher film) the trailer ends with the film title, director name and end card.
The use of an everyday environment is common within Slasher films. By using British streets and aesthetically average flats we are presented with a plot that could seemingly be taking place right in our neighbourhood. This resonates particularly with the audience adding an extra fear element to the film and giving it a high sense of verisimilitude.
Although the narrative itself is unconventional and different the trailer is commonly structured like other films and is intriguing and enigmatic in its attempts to draw in audiences.
No comments:
Post a Comment