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.