At A2, I made a trailer for the film Pain Perdu, as part of a promo pack consisting of a trailer, film poster and film magazine cover.
My trailer shows the audience clearly who the protagonist, Molly, is by having her appear privileged in the many shots she is in. Also, my trailer shows what genre the film is by how fast paced the trailer is and the type of music used.
My film genre is a psychological thriller. As such, there are genre codes and conventions that shape the narrative, such as the technical codes of lighting used. We used dim and dark lighting to create suspense and horror. The audience are also able to guess the genre of the film through the setting and character types. The setting is a lonely house in rural France, this shows isolation and mystery. As well as this, the only character the audience mainly see throughout the trailer is the girl, Molly, which shows how alone and remote she is from society.
Narrative (characters and plot) is handled significantly differently in a trailer from the way it is done in a film because trailers have to focus a lot more on the narrative to give the audience an idea of what to expect in the film without giving too much away. This is done by including small sections of the film taken from the start, middle and end. We can see this when we dissect a trailer.
Representation
I will analyse my A2 production in relation to audience. At A2, I made a promo pack of a film trailer, a magazine cover and a film poster to promote Pain Perdu. The genre of my film is a psychological thriller in which a young girl is trapped in a house in a small french village with her mentally deranged aunty.
Miss-en-scene was a key element in the construction of my representation. My trailer was set in rural french village in which she stayed in an old french house with her aunty.
I constructed careful representations of particular characters in my trailer through casting, clothing and dialogue. My central character in my film is a typical teenage girl who goes to stay with a distant relative, whom she has never met before, in France. From the moment she arrives her aunt seems strange, hostile and unpredictable. For Barthes visual codes are signs that have specific meanings. We can see visual codes that suggest danger such as a a hand dragging a knife along a door and bloody sheets. Another visual code is the surveillance camera towards the end of the trailer. We see that cameras have been filming the young girl and benign watched by thousands.
The representation of the untrustworthy aunt is deliberately confined to constrained strains, such as an extreme close up of her mouth which delivers what seems to be a threat couched as an offer of food. the aunt says Du Pain Perdu Molly? which sounds like pleasant french food but the aunts mouth is nearing and the motivated edit takes the audience to a close up of bread and eggs crawling with maggots.
Audiences
At A2 I made a trailer. The audience for my film is people aged from 15- 30, male and female. There are many different ways to profile audiences such as psychographic, GEARS, socio. Stuart Williams of Sony Pictures On the FDA website (www.launchingfilms.com)states that watching a trailer in cinema is the single most successful means of promoting the film. He says this is because the conditions are ideal with a huge screen, Dolby surround sound and the target audience. I imagine my trailer being screened prior to the film Gone Girl.
For Blumler and Katz, audiences use media to gratify needs, such as the need for escapism and entertainment and diversion. My promo pack forms a cohesive whole which offers the pleasures though visual codes on both poster and magazine cover. For example, my poster offers a compelling central image which engages its target audience by… The promise of excitement is further offered through the films tagline ‘A game of lies’. This attracts my target audience because it offers emotive language…
Our audience quickly picks up the genre of the our film through the visual codes of
Our audiences are likely to be active audiences rather than passive auidences who go in with their eyes open ready to enjoy even those aspects of our film which may be sinister, disturbing, violent, unnerving, anxiety enducing or threatening. I take David Buckinghams view that there are , many things wrong with themedia effects model of audience behaviour bc I believe that our audience will enjoy the sense of danger in the knowledge that they are safe.
For stuart hall the meaning of text lies in the audience not in the text itself and audiences may wither accept the preferred reading of the director or negociate ther own reading of the or even reject the meaning of the text oppositioning. In my filmi intend for audiences to understand the representations. I have constructed our protagonists as (vulnerable girl, Angela McRobbie).
Genre
At A2 I made a trailer along with a film poster and magazine cover promoting my film Pan Perdu. My trailer promotes a horror/thriller film set in a rural, secluded french village, portraying the feeling of isolation and mystery that the film has. Audiences familiar with reality TV such as the Big Brother genre and films such as The Truman Show will recognise similar conventions in our trailer: our protagonist doesn't realise that she is being secretly filmed for a TV show. The only character we see in the trailer is the protagonist Molly, a young girls who faces betrayal and torture whilst living alone and remote from society.
The trailer genre uses minimal dialogue One key aspect of our trailer is the different sounds that are used. At first you hear diagetic sound of the protagonist Molly. The voice over is of Molly describing her traumatic experiences she had and how she was effected.
Music is hugely important convention in any film trailer as it provides the audience with a lot of the meaning to the film. Our trailer music uses dramatic orchestral sounds, in particular stringed instruments, which we recorded ourselves. This will make the audience feel uncomfortable and catches their attention, it also signals to our audience that the drama that is going on is reaching a climax.
The inter titles we created for our trailer were 'TWISTED', 'TRAPPED', 'TERRIFIED'. These three words used as our inter titles are concise and full of impact, created though the use of alliteration. another
When we were creating the magazine cover and film poster we came up with the tag line 'A Game of Lies'
The need for escapism and entertainment.
though the way we focus on the protagonist we give the audience visual code which they decode in genre codes so they know what genre the film is, (the facial expressions, what they're wearing etc) for Roland Barthes..
For Barthes films follow either action codes or enigma codes narrative ours is enigma code. Events must be visualised but not entirely transparent as surprise, tension and suspense must be retained through withholding key information. 'Spoilers' would do just that: spoil the surprise.
For martin Sohn-Rethel realism isn't a reflection of the world but rather a construction. Realism is a constructed effect. My task in the trailer was to create a representation that looks and sounds like the real world it claims to show. To make our film look real we sourced a location with a small french looking village in which there were cobbled streets and genuine french markets.
Exploit and manipulate. Intrude.
Media Language
At A2 i made a.........
By media language i understand how my promo pack creates meanings through visual codes like mine-en-scene, audio codes like sound track and dialogue, camera work like movement, shot type and angles, and editing such as inter titles and hard cuts.
Some form of dialogue
Music
Inter titles
Elliptical editing
Intuitional information (title, release date)
Features the protagonist
Tag line
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