Saturday 31 December 2011
SAW Trailer Analysis
SAW follows many codes and conventions of the horror genre such as setting paradigms, but it is not the typical horror film as its use of props is unique and overall has a different edge. The film is different in its portrayal of horror though it is seen from a sadistic voyeur point of view and places the audience in the voyeur’s seat.
The trailer begins with a shot of a very old TV on a broken chair suggesting that the location is a rundown area. The puppets face on the screen makes him seem isolated but also proposes the questions ‘Who is it?’ and ‘Where is this place?’ as it could be happening anywhere. We, as the audience are put in the point of view shot to make us feel like part of the scene.
There is a lack of tone cards at the beginning and of equilibrium, showing that the disequilibrium begins as soon as the film does but there is no time set evident either, so it could be at any time in any place. Additionally, due to the lack of tone cards, there is no apparent narrative and the trailer gets straight to the point, but the newspaper articles provide narrative in that they portray motive for the occurrences. The non diegetic ‘whoosh’ sound creates an uneasy atmosphere from the beginning and so the audience know this isn’t a typical horror film as it goes straight into the action.
The first tone card ‘It’s his game,’ uses pragmatical meaning to inform us that this film is sinister and malicious, as we know it is a horror film we can understand that the idea of a game has been subverted. It also backs up the notion that this is a different type of horror film. The black background and effect used in the tone card reflects drowning and blurs the text to disorientate the audience. The use of the serious font conveys that it is not a slasher film and provides the villain with a sense of maturity as well as implying the film is meant for mature audiences.
The foggy smoke presents an unclear setting again, raise questions as to where this location is and thus supporting aspects of Barthes’ enigma code. The zoom is from a point of view making it as though the character’s being watched; this contributes to the voyeuristic element that the audience are made to feel.
The camera cuts to a working class man in a dirty bathroom, the sound bridge informs us this is happening simultaneously with the previous scene. A medium shot shows the mise-en-scene of the man’s costume; he is wearing a shirt and smart trousers implying that he is a neat, tidy person. However, he has no shoes on which depicts he is in a victimised and helpless situation, making him vulnerable. This is an uncommon feature of horror films as the victims are often young girls, so in that sense the film does not follow structuralist theory, though the setting conforms to conventions of horror as the bathroom looks old, grimy and abandoned.
The voiceover of the character along with the next image of a silhouette in a foggy, murky surrounding informs us that this is the person they are talking about. The fact that the grim reaper like figure is kept anonymous raises questions and creates an apprehensive atmosphere for the audience. The cages in the industrial looking setting, with the low lighting could reflect imprisonment and suggest that, the villain is also imprisoned here, as well as his victims, in a way. The non diegetic low, rumbling sound could also encourage the idea of it being a rundown, industrial location like machinery noise. We learn more about the villain as the voice over turn from non diegetic sound to diegetic. As the screen fades to black, the audience become confused as we don’t know what’s happening; this is an emotional metaphor for the audience’s blindness and mystification.
As the next tone card appears, reading ‘Your move,’ the audience is drawn in as it identifies the audience with the character and makes us feel as though we are part of what’s happening, almost as if we are being victimised. Louis Althusser’s theory of interpolation refers to this and it is characteristic of most horror films. However, the camera cuts to a point of view shot inside a hospital which rejects the setting paradigm as hospitals have connotations of safety and security. The fact that there are lights on in the hospital, after the fade to darkness could suggest conflict, as Strauss’ theory of binary opposites presents.
The camera cuts to handsaws, which links to the voiceover and builds tension, creating a jumpy, anxious atmosphere and proposing the notion that the killer may be mad. This mental instability is further accentuated by the quick, sharp cuts, which set a narrative.
The ‘Your move’ tone card is repeated, suggesting there may be several victims. This is emphasised as the camera cuts to a man trapped in a maze of razor wire, as if being watched from a CCTV camera; the idea of sadistic voyeurism is presented again here as is the rejection of prop paradigms. The green light is a setting paradigm as it portrays the location to be murky and secluded. The montage editing reveals different character types, which could endorse Propp’s eight character types theory.
A 360 degree shot breaks the 180 degree rule which is extremely voyeuristic as it shows the character from every angle which creates a sick, dizzy feeling to disorientate the audience. It could also represent a clock and the amount of time that character had left to live. This could be emphasised by the non diegetic sound of a ticking clock or heartbeat.
The camera cuts to a low angle shot of a cellar door closing, creating a sense of claustrophobia and entrapment. The light is salvation and is being cut off so we are left in the dark which connotes to danger and fear. The short, accelerated shots are very quick so that as much information as possible is seen in the trailer, but without giving too much away, so the audience can understand what the film is about and what will happen. These ambiguous shots intrigue the audience, as Barthes’ pleasure of texts theory suggests, and makes them want to see the plot play out.
SAW follows the setting and possibly the character paradigms but rejects the prop paradigm completely to show that it is not a slasher film though it has the gore and, it is not a typical horror film though it plays on our fears.
The trailer begins with a shot of a very old TV on a broken chair suggesting that the location is a rundown area. The puppets face on the screen makes him seem isolated but also proposes the questions ‘Who is it?’ and ‘Where is this place?’ as it could be happening anywhere. We, as the audience are put in the point of view shot to make us feel like part of the scene.
There is a lack of tone cards at the beginning and of equilibrium, showing that the disequilibrium begins as soon as the film does but there is no time set evident either, so it could be at any time in any place. Additionally, due to the lack of tone cards, there is no apparent narrative and the trailer gets straight to the point, but the newspaper articles provide narrative in that they portray motive for the occurrences. The non diegetic ‘whoosh’ sound creates an uneasy atmosphere from the beginning and so the audience know this isn’t a typical horror film as it goes straight into the action.
The first tone card ‘It’s his game,’ uses pragmatical meaning to inform us that this film is sinister and malicious, as we know it is a horror film we can understand that the idea of a game has been subverted. It also backs up the notion that this is a different type of horror film. The black background and effect used in the tone card reflects drowning and blurs the text to disorientate the audience. The use of the serious font conveys that it is not a slasher film and provides the villain with a sense of maturity as well as implying the film is meant for mature audiences.
The foggy smoke presents an unclear setting again, raise questions as to where this location is and thus supporting aspects of Barthes’ enigma code. The zoom is from a point of view making it as though the character’s being watched; this contributes to the voyeuristic element that the audience are made to feel.
The camera cuts to a working class man in a dirty bathroom, the sound bridge informs us this is happening simultaneously with the previous scene. A medium shot shows the mise-en-scene of the man’s costume; he is wearing a shirt and smart trousers implying that he is a neat, tidy person. However, he has no shoes on which depicts he is in a victimised and helpless situation, making him vulnerable. This is an uncommon feature of horror films as the victims are often young girls, so in that sense the film does not follow structuralist theory, though the setting conforms to conventions of horror as the bathroom looks old, grimy and abandoned.
The voiceover of the character along with the next image of a silhouette in a foggy, murky surrounding informs us that this is the person they are talking about. The fact that the grim reaper like figure is kept anonymous raises questions and creates an apprehensive atmosphere for the audience. The cages in the industrial looking setting, with the low lighting could reflect imprisonment and suggest that, the villain is also imprisoned here, as well as his victims, in a way. The non diegetic low, rumbling sound could also encourage the idea of it being a rundown, industrial location like machinery noise. We learn more about the villain as the voice over turn from non diegetic sound to diegetic. As the screen fades to black, the audience become confused as we don’t know what’s happening; this is an emotional metaphor for the audience’s blindness and mystification.
As the next tone card appears, reading ‘Your move,’ the audience is drawn in as it identifies the audience with the character and makes us feel as though we are part of what’s happening, almost as if we are being victimised. Louis Althusser’s theory of interpolation refers to this and it is characteristic of most horror films. However, the camera cuts to a point of view shot inside a hospital which rejects the setting paradigm as hospitals have connotations of safety and security. The fact that there are lights on in the hospital, after the fade to darkness could suggest conflict, as Strauss’ theory of binary opposites presents.
The camera cuts to handsaws, which links to the voiceover and builds tension, creating a jumpy, anxious atmosphere and proposing the notion that the killer may be mad. This mental instability is further accentuated by the quick, sharp cuts, which set a narrative.
The ‘Your move’ tone card is repeated, suggesting there may be several victims. This is emphasised as the camera cuts to a man trapped in a maze of razor wire, as if being watched from a CCTV camera; the idea of sadistic voyeurism is presented again here as is the rejection of prop paradigms. The green light is a setting paradigm as it portrays the location to be murky and secluded. The montage editing reveals different character types, which could endorse Propp’s eight character types theory.
A 360 degree shot breaks the 180 degree rule which is extremely voyeuristic as it shows the character from every angle which creates a sick, dizzy feeling to disorientate the audience. It could also represent a clock and the amount of time that character had left to live. This could be emphasised by the non diegetic sound of a ticking clock or heartbeat.
The camera cuts to a low angle shot of a cellar door closing, creating a sense of claustrophobia and entrapment. The light is salvation and is being cut off so we are left in the dark which connotes to danger and fear. The short, accelerated shots are very quick so that as much information as possible is seen in the trailer, but without giving too much away, so the audience can understand what the film is about and what will happen. These ambiguous shots intrigue the audience, as Barthes’ pleasure of texts theory suggests, and makes them want to see the plot play out.
SAW follows the setting and possibly the character paradigms but rejects the prop paradigm completely to show that it is not a slasher film though it has the gore and, it is not a typical horror film though it plays on our fears.
Jeepers Creepers Trailer Analysis
The Jeepers Creepers trailer follows many of the codes and conventions of horror films, such as setting paradigms. It also follows Todorov’s theory of narrative structure and a few other theories.
The trailer begins with a state of equilibrium as an establishing shot shows the countryside and a single car appears on the road informing us this is a calm, peaceful area as well as isolated, as there are no other cars or people to be seen. The setting paradigm is further portrayed when Darry says ‘I haven’t seen a car in 15 miles,’ stating they are alone. The non diegetic sound of the radio creates a sound bridge, linking the next clip of the two protagonists in the car. One of them is a girl (Trish) and the other is a boy (Darry) and both are young, so most of the audience would be able to identify with these characters; this adheres to Louis Althusser’s theory of interpolation. Also, Trish is wearing a red top, rather than the white costume that most female characters in horror films wear, implying that she is not the typical horror film female.
The moment of disequilibrium is when a long point of view shot shows something dumping something down a pipe. This creates suspense and raises questions as to who the someone is, what it is they are dumping and why, enticing the audience to continue watching, which is an aspect of Roland Barthes’ enigma code. The non diegetic sound continues and creates an eerie, suspicious atmosphere.
The camera cuts to a quick tilt and zoom of a crucifix on top of a church, with a crow sitting on it. Death is a common association with crows so the fact that there is one here suggests foreboding and makes the church seem sinister. The non diegetic orchestral music adds to the ominous atmosphere.
The camera cuts to a two shot from behind the protagonists, making the audience feel as though they are in the scene too. A low angle shot from inside the tunnel also makes it seem as though we are in the tunnel, looking up at the opening and therefore reinforcing a sense of fear and vulnerability. Tension is created when Darry is hanging in the tunnel, so when he falls in we get a shock. This is where the disequilibrium begins as everything starts to go wrong and we learn more about the creeper. The juxtaposition of the daylight and the tunnel enforces Levi Strauss’ binary opposites signifying conflict.
The next tone card ‘It’s watching,’ again, raises questions and intrigues the audience as Barthes suggests. An establishing shot of an isolated house in the day is juxtaposed with the close up of boots, in the dark. A sense of mystery is created as we don’t know who these boots belong to.
The voiceover acts as a sound bridge and links the clips again; we are introduced to a new character who seems to be the ‘helper’ from Vladimir Propp’s eight character types. The fact that she is warning our protagonists emphasises the sense of foreboding and disequilibrium. The camera cuts to a close up of the creeper’s arm, making his character ambiguous and inducing the scare factor in the audience, as we are more afraid of what we can’t see. The camera cuts back to a close up of Darry’s face, portraying his worry and fear; this implies he might be the one to die which is uncommon in most horror films because it is often the girl who is the victim as final girl theory states.
The camera cuts to a long shot of the creeper, standing in the road at night so we only see his silhouette. The fact that he is kept anonymous makes the audience more on edge. Also, the creeper is wearing all black symbolising death and linking to the crows.
The quick cuts and zooms that follow create tension and suspense, reflecting the fast paced action. The shot of the gearshift emphasises the characters’ desperation and fear which builds up the audience as well as suspense. The non diegetic sound stops as the ‘helper’ talks again, implying she is important. The camera cuts to Trish alone in the car which creates anticipation in the audience because we know something is going to pop up but we don’t know when or what. The non diegetic sound of heavy metal music reflects the action that takes place and creates suspense. The camera cuts to a low angle shot of the creeper wielding an axe which is a prop paradigm. The low angle suggests he is superior to us and something be feared.
A long shot of an explosion and the creeper being blown back is uncommon in most horror movies as it is an impersonal conflict between the victim and killer. The non diegetic heavy metal music stops, creating tension and raising questions as to whether the creeper is dead so, when he appears in front of the car, the audience feel pleasure in the unexpected happening. This reinforces Barthes’ pleasure of texts theory.
The title tone card is usually at he end of the trailer so the audience feel calmer now, but the camera cuts to a mid shot of the creeper holding Darry, with its wings open; making the audience feel a shock as this is the first time we get to see the creeper properly. This entices the audience to want to watch the film.
Montage editing is used throughout the trailer to reflect periods of equilibrium and disequilibrium; the moments of equilibrium are reflected through smooth fades to black whereas the moments of disequilibrium are presented through the quick sharp cuts. This also allows the trailer to show more of the action in a shorter time so the audience can get enough from it, to want to watch the film.
The trailer begins with a state of equilibrium as an establishing shot shows the countryside and a single car appears on the road informing us this is a calm, peaceful area as well as isolated, as there are no other cars or people to be seen. The setting paradigm is further portrayed when Darry says ‘I haven’t seen a car in 15 miles,’ stating they are alone. The non diegetic sound of the radio creates a sound bridge, linking the next clip of the two protagonists in the car. One of them is a girl (Trish) and the other is a boy (Darry) and both are young, so most of the audience would be able to identify with these characters; this adheres to Louis Althusser’s theory of interpolation. Also, Trish is wearing a red top, rather than the white costume that most female characters in horror films wear, implying that she is not the typical horror film female.
The moment of disequilibrium is when a long point of view shot shows something dumping something down a pipe. This creates suspense and raises questions as to who the someone is, what it is they are dumping and why, enticing the audience to continue watching, which is an aspect of Roland Barthes’ enigma code. The non diegetic sound continues and creates an eerie, suspicious atmosphere.
The camera cuts to a quick tilt and zoom of a crucifix on top of a church, with a crow sitting on it. Death is a common association with crows so the fact that there is one here suggests foreboding and makes the church seem sinister. The non diegetic orchestral music adds to the ominous atmosphere.
The camera cuts to a two shot from behind the protagonists, making the audience feel as though they are in the scene too. A low angle shot from inside the tunnel also makes it seem as though we are in the tunnel, looking up at the opening and therefore reinforcing a sense of fear and vulnerability. Tension is created when Darry is hanging in the tunnel, so when he falls in we get a shock. This is where the disequilibrium begins as everything starts to go wrong and we learn more about the creeper. The juxtaposition of the daylight and the tunnel enforces Levi Strauss’ binary opposites signifying conflict.
The next tone card ‘It’s watching,’ again, raises questions and intrigues the audience as Barthes suggests. An establishing shot of an isolated house in the day is juxtaposed with the close up of boots, in the dark. A sense of mystery is created as we don’t know who these boots belong to.
The voiceover acts as a sound bridge and links the clips again; we are introduced to a new character who seems to be the ‘helper’ from Vladimir Propp’s eight character types. The fact that she is warning our protagonists emphasises the sense of foreboding and disequilibrium. The camera cuts to a close up of the creeper’s arm, making his character ambiguous and inducing the scare factor in the audience, as we are more afraid of what we can’t see. The camera cuts back to a close up of Darry’s face, portraying his worry and fear; this implies he might be the one to die which is uncommon in most horror films because it is often the girl who is the victim as final girl theory states.
The camera cuts to a long shot of the creeper, standing in the road at night so we only see his silhouette. The fact that he is kept anonymous makes the audience more on edge. Also, the creeper is wearing all black symbolising death and linking to the crows.
The quick cuts and zooms that follow create tension and suspense, reflecting the fast paced action. The shot of the gearshift emphasises the characters’ desperation and fear which builds up the audience as well as suspense. The non diegetic sound stops as the ‘helper’ talks again, implying she is important. The camera cuts to Trish alone in the car which creates anticipation in the audience because we know something is going to pop up but we don’t know when or what. The non diegetic sound of heavy metal music reflects the action that takes place and creates suspense. The camera cuts to a low angle shot of the creeper wielding an axe which is a prop paradigm. The low angle suggests he is superior to us and something be feared.
A long shot of an explosion and the creeper being blown back is uncommon in most horror movies as it is an impersonal conflict between the victim and killer. The non diegetic heavy metal music stops, creating tension and raising questions as to whether the creeper is dead so, when he appears in front of the car, the audience feel pleasure in the unexpected happening. This reinforces Barthes’ pleasure of texts theory.
The title tone card is usually at he end of the trailer so the audience feel calmer now, but the camera cuts to a mid shot of the creeper holding Darry, with its wings open; making the audience feel a shock as this is the first time we get to see the creeper properly. This entices the audience to want to watch the film.
Montage editing is used throughout the trailer to reflect periods of equilibrium and disequilibrium; the moments of equilibrium are reflected through smooth fades to black whereas the moments of disequilibrium are presented through the quick sharp cuts. This also allows the trailer to show more of the action in a shorter time so the audience can get enough from it, to want to watch the film.
Friday 30 December 2011
When a Stranger Calls Trailer Review
‘When a Stranger Calls,’ is a thriller and contains lots of suspense. The tension in the trailer informs us what type of horror film it is. The film is about a girl who has to babysit at a house quite far from where she lives. The house is isolated with only the two children and maid in the house with her, no one else is to be seen around. The girl receives several phone calls during her time at the house, one is simply a prank call from one of her friends but, many of the other calls are from an unknown caller. When ‘the stranger calls,’ there’s either no noise or a strange breathing sound at the other end. Scared, the girl calls the police who trace the call back to inside the house.
Horror is achieved from the very beginning of the trailer which shows very sudden and quick flashbacks of close up faces, in black and white, and a silhouette of a man. The screen goes blank and all we can hear is the girl’s voice asking if anyone’s there. This creates horror because we don’t know if anyone is there, what the girl is looking at or what we are going to see next. To our surprise, we see a car driving on a long, quiet road on a nice day and the huge house standing alone, hidden in the trees. This is a convention of horror films, when everything starts off normal and ok but then things begin to go wrong. Horror is also created through the use of text, slow, blank cuts which speed up like a heartbeat, telephone ringing, dialogue and the camera getting closer as the trailer goes on.
The trailer uses typical horror film props, such as sharp objects etc... Other codes and conventions in this trailer are the character; a young girl on her own in an isolated house, who is the victim and a mysterious man who is the villain. The typical setting of the large, isolated house creates horror. The diegetic sound of dialogue on the phone and the breathing of the villain as well as the fast breathing of the victim build tension and create horror. Diegetic sound of screaming also creates horror. The non diegetic sounds of the heart monitor and sinister sounds also create horror; the use of sound like this is conventional of horror films.
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