Research: Analysis of Existing Horror Trailers

A trailer can be defined as a short film, which is as long as two minutes long. It consists of many clips that can be found within the full film, although is displayed in a non-linear format. It allows the audience to get a feel of the narrative and the genre, and what to expect of the film. It is seen as an advertising method to encourage an audience. There are traditional codes and conventions that can be seen throughout trailer, however just like codes and conventions of slasher film, some conventions have been challenged, and now recognisable within trailers. Voice overs are conventional, but some trailers do not always follow this convention. Trailers do not only inform the audience what to expect throughout the film, it also allows the audience insight on the production companies involved with the creation of the film, the release date and the age certificate of the film, which is usually shown as what you call an end card. Therefore, before I began constructing my own trailer, I had used the internet to help me grasp an understanding of the up to date trends in slasher trailers. 

Dead man’s shoes analysis

Dead Man's Shoes is a 2004 British slasher film that was written and directed by Shane Meadows. It was released in the United Kingdom on 1 October 2004. The film was shot in three weeks in the summer of 2003. The film included co-stars Paddy Considine, Toby Kebbell, Gary Stretch and Stuart Wolfenden, and was distributed by Optimum Releasing, and had a budget of £723,000, and had produced £101,186 in the box office. The film overall is seen as challenging the codes and conventions of a formulaic slasher film, due to the fact that instead of being against the villain and for a final girl we instead have sympathy for the villain, and are siding with the villain, and are in fact against the group of friends, which can be viewed as an unusual treatment of the semantic code. There is also the fact there is no final girl, and this convention has been challenged and changed into a male, and this shows why this is a usual example of a slasher genre.

As we can see throughout the trailer, it contains many elements of mise en scene, camera, sound and editing. We can also see the fact that it follows many codes and conventions for horror trailer, which shows that this trailer is very formulaic. We are clearly shown the equilibrium at the beginning of the trailer, and shown the relationship between the main characters, which is what Todorov suggested in his narrative theory. We can also hear a lot of tension building music throughout the trailer, which creates excitement for the audience watching. There are also lots of quick shots towards the middle and ending of the trailer, which is conventional for a trailer as this builds up tension, and also leaves the audience wanting to see more, which would eventually lead them to wanting to watch the film itself. There was also a lot of editing throughout the trailer with scenes with matched action, fades, wipes and many cuts, which is all conventional for a trailer, and can be viewed as a typical form of a trailer.

Starting with the beginning of the trailer, we can see that the establishing shot is a rural location, which is set as a wide shot, and this allows the audience to see an insight of what the location looks like for the characters. We then see that there are two people within the next shot, on a lonely isolated road. This may work together to create mise en scene, as the establishing shot shows a wide shot that allowed insight of a rural location, to then be followed by a lonely isolated road which may convey the fact these two people are lost, and need to solve a mystery to return back to the normality of their lives.  We then realise at this point the isolated locations are consistent throughout the trailer, as this is conventional. We also realise at this point, the trailer is now conveying the style of British Social Realism.

We can then see the binary opposites between the two characters, as we have now established that the two characters are in fact brothers. However, they are very different, as one of the brothers is carrying an army kit, which represents that he is ready and prepared for war, and viewed as strong, powerful and brave. Although, his brother isn’t viewed in this way, and he is often seen looking blunt and speechless throughout the trailer, and doesn’t look as if he is prepared to be defeating anyone or protecting himself, and this can be due to the fact he is mentally handicapped. This therefore shows the binary opposites between the two brothers. The two brothers are in fact together, in the same direction, on the same path; however, they aren’t going together. This is due to the fact Richards brother is dead, and Richard is imagining him being there, hence why they are walking together but are in different paths. This is used by mise en scene as we notice from the binary opposites between the two characters. At this point, we are still unaware of the fact this is a horror movie trailer, though the voice over is starting to give the audience a clue, which can be seen as for example the captions have a typography style of ‘fire’ and therefore this could give clues to something perhaps dangerous could happen, which indicates horror. The captions also include quotes such as ‘disturbing and utterly gripping’, which automatically reinforces a scene is going to be disturbing to the audience, reinforcing a horror genre.

We are then introduced to a scene where the two brothers are walking up a hill. Whilst the two are walking, we can see a single tree by itself in the middle at the top of the hill. This reinforces the nature of life, and could also relate to the main character, as he is possibly lonely, such as the tree by itself, and also the fact he is the only one alive, as his brother is actually in fact dead, and Richard is only imagining his appearance.  At this point we still aren’t aware of the fact it is a horror movie due to the sunny day light, and the calm music. During this, the camera shoots from a far distance, so we don’t get to see emotionally what each character is like, and what they are feeling. We are familiarised with a majority of wide shots which exposed the environment the characters are in.

We are then shown a caption, which states ‘vengeance’, which also means revenge, and this can therefore indicate to the audience that this may be a horror genre film, as the characters are going to seek revenge, which could involve things such as murder, which automatically conveys horror. We then can see that within the editing, there are slow cuts and wipes that move us onto the next scene, and include shots such as close ups which gives allows the audience to express what the character is feeling, and allows them to understand the characters emotions in their current situation. In this situation the characters are seen quite happy, as the two brothers are laughing together which has been shot in a two shot, and we are able to understand that due to the trailer being in a non-linear format, this particular scene is the equilibrium, where the characters are unaware of the upcoming events. We are then shown a caption that allows the audience to know the relationship between the two characters, which is shown as a flashback. It shows personal aspects of their lives, at a young age, the two brothers cuddling. This could also provide us as the audience with mise en scene as it could illustrate to us how close the brothers are, and their relationship with each other. It also helps us to empathise, and it is important we care about him as a character considering what Richard is about to do. We are then shown a scene of the two brothers in a location that looks run down, stripped, and old, which creates a psychological landscape as if his home is crumbling around him, and this is to illustrate the fact Anthony, Richards brother is in fact dead, which is reasons as to why the location around Richard is old and crumbling, which clearly shows how much his brother meant to him. We have now been identified with a close-up of the two brothers and we can see within their facial expressions they look confused and lost, and as if they are having a deep conversation.  We are also aware of the fact one of the brothers have learning difficulties, which reinforces the idea of British Social Realism, and this is because British Social Realism deals with some of the difficult issues that people in society face such as learning difficulties, therefore this film is using both horror and British Social Realism.

In the next shot, we are then cut to a caption, that states ‘vengeance’, which also means revenge and this can therefore indicate to the audience that this may be a horror genre film, as the characters are going to seek revenge, which could involve things such as murder, which automatically conveys horror.  The caption has also got typography style that looks like it is on fire, which could hint that the ‘revenge’ is going to be dangerous, and could possibly involve murder or harm, which therefore reinforces the horror genre. This is then followed by a fade away, along with a mixture of calming and thrilling music, which also is giving insight on the genre of the film.

We are then introduced to a line of dialogue, ‘what did you do to him’, followed by the camera moving quickly around him, which illustrates his instability as his brother is not with him. We are then cut to a flashback which has been editing to be black and white of when his brother was being bullied, in which we can then see a meaning between these two shots, which is the fact Richard is shown as weak, as he needs his brother with him in order to have stability, and in this case his brother was not there, reasons as to why he was being picked on and bullied.  He feels lost without his brother by his side, and he is afraid of the cold hearted bullies who haven’t been treating him nicely, which is shown clearly as we see them laughing and having a good time, still aware of how they treated his brother. The sound on top of this is tension building as the sound of the loud ringing is getting louder and louder, as if something is about to happen. This sound can also be seen as both diegetic and subjective sounds, as the sound is now recognised to be in a horror genre and the audience are now aware of the genre, and also subjective sound as this can indicate what his brother is feeling, and hearing.

At this stage, we can also fit in the first few points of Vladmir Propps theory. At the beginning of every narrative, he suggests the fact of the hero leaves home. We can see this by the hero carrying an army bag, which reinforces the idea that he has left home. His second point is the villain injures or harms a member of the heroes’ family, and we can see this through one of the characters being bullied. However, in this trailer the codes and conventions have slightly been challenged, due to the fact we in fact are empathising with the villain, who is in fact Richard. This is achieved by the way the semantic code is applied. Richard also plays the part for a ‘final girl’, which has also been challenged as this role has been taken on by a male. Although, the film still follows the codes and coventions by having a male villain who does not reveal his identity by covering his face with a mysterious mask, which is usually formulaic within a slasher film.  

In the next scene, we are then introduced to the villain and this is his first appearance, who Is standing wearing a gas mask, which then cuts to the colour of the scene to flash red, as red has connotations of blood, death, danger, horror etc. this is also then an example of iconography, as this is a fixed meaning, and could mean nothing else other than a horror movie genre. 

The editing within this scene then begins to build tension, as the sound and the fast paced editing is getting faster and faster, which all reinforce they chaos that is happening. We can then notice the camera becomes handheld, and everything starts to become chaotic. This therefore reinforces the viewpoint of the character, and the feelings of that particular character in their current moment. In this case, we can see the character is in a panicked mode, and they are slightly confused as to what they are doing and where they are going. Next, we are then introduced to the villain by an over the shoulder shot, which could reinforce the power the villain has, and could illustrate that the villain is watching his ‘victims’. This is then followed by a close-up, which allows the audience to view the villain’s emotions, and get a deep understanding of what the villain’s true intentions are, and in this case, it is revenge. This is also when one of the bullies recognises who the villain is, but however is unaware he is in fact the villain. This can similarly be seen in Todorovs theory, in the stage of ‘Recognition’, where one of the main characters a part of the group of friends, recognises the villain, and recognises the disruption that has or is about to be made by the villain.

We then cut to a scene of the two brothers together, where they are seen jumping, which reinforces the idea that they are ready for action. This could also convey a sense of mise en scene, at the fact it’s allowing the audience to know that something is about to happen. We are then faced with the protagonist and the antagonist who have come face to face, and the brother is placed in the middle, in the far distance. This may therefore convey the two characters have conflict because of him, which is why he is placed in the middle of the two, which is an example of mise en scene. The sound behind this is also becoming more and more fearful, leaving the audience in suspense on what is going to happen next.

We then are shown the villain once again, with the flashing red light, which contains connotations of death, danger and blood. This therefore completely reveals the genre of the film. We are then shown the conversation between the protagonist and the antagonists, which is shown as an over the shoulder shot, along with a close up, which creates a meaning to what he is feeling, as we can see a lot of disgust and anger and tension within his facial expression. We are then identified with a line of dialogue ‘’ I suggest you get in that car, because I’m going to hit you all’’, which gives a sense of mise en scene, as its telling us something is going to happen, as if this was a threat. It also gives a clue that he is the villain. The sound here is also quite calming, which leaves the audience suspicious on what is going to happen next.

The sound of the next scene then sound like a knife ripping through material, as if someone is about to be killed. This sound is played behind the scene of the villain holding an axe, ready to kill someone. We can also notice that when the villain is shown, he is introduced to every scene with the red flashing back ground, or in a negative effect. The effects are also quick flashes, followed by echo screams, and a loud bang, which builds tension. We can then see that the screen dissolves to black, with a voice over telling the story of what is going to happen next.

We can then see a conversation between the bullies who say ‘’he aint getting away fella’s’’, and this therefore indicates more violence is about to take place. We are then introduced to a new scene where we can see that the mise en scene did actually happen and more violence is about to take place, when we hear the sound of a gun being prepared to be used, which is also shown in a close up of the bully. We can then see the bravery of the brother, as he stands in front of the gun, to show he is facing his fears, and is ready to fight. This scene then dissolves to a black out, followed by the sound of tension building music.

We can then see the camera that spins around to show each of the bullies. We are then shown a close up of one of the bullies, where we can see he is feeling a bit guilty, as this is followed by a flashback of when they bullied the brother. We then see a big close up of his brother, who also has guilt that he wasn’t there to protect his brother, as shown at the beginning of the trailer, the two brothers have a strong relationship and close bond. We then can see some comments from reviews, which show the audience how thrilling the film is, followed by fearful music. We can then see scenes of violence, shown in a group shot. There is then a flash of writing on the wall, which has been written in blood, which conveys the sense of the genre, that it is defiantly horror. We can then see flashes of different scenes of violence, with the sound of the music getting lower, to which we are then introduced to the name of the film, the director to then be followed by the end card. 

In conclusion we can see that the trailer has clearly created a formulaic trailer by following the shape, pace, editing and captions that would usually be spotted within a trailer. However, in terms of the way the genre has been treated is an unconventional slasher film as we wouldn’t usually see sympathetic scenes for the villain, and hatred towards the group of friends. Although some elements of conventional slasher films have been kept such as a masked male killer which makes the genre recognisable to the audience.

Scream 4 trailer analysis

Scream 4 is a classical American slasher film that was produced by Wes Craven, and was released on April 15^th 2011.  On its week of release the film took $19.3 million in the US which reinforces the slasher films success. The narrative is carried on from its previous films scream 1, 2 and 3, in which the protagonist Sydney Prescott returns to her home town where she was originally first attacked to release a book of her journey. However, the villain scream’s identity has been cloned and scream returns back to his psychopathic nature.

Straight away we know that this is a formulaic trailer as they start off with a certificate confirming the trailer is appropriate for the audiences, which instantly informs the audience that this is a trailer. We are then followed by the production name which also is automatically following a conventional trailer. As soon as the trailer begins, we are instantly introduced to the villain’s voice that makes a phone call to the protagonists; repeating dialogue ‘welcome home’, which itself can reinforce the narrative as it shows that he is still after her. Alongside this scene, there is non- diegetic sound which reinforces the killer’s action as it is the sound of a sharp high toned knife which may represent the villain’s weapon. This non-diegetic sound alongside this scene reinforces the relationship the protagonist and antagonist have had previously.

The sequence is then followed by a flash of each of the group of friends, which is instantly introducing the equilibrium within the film, which is conventional according to Tzvetan Todorov. There is also a voice over from the villain that plays over this sequence, which reinforces that these are the villain’s victims, as there is dialogue that states from the villain ‘you can’t save them, all you can do is watch’, which also represent the villains power, as there is also non-diegetic tension building music playing over. The trailer is also following a traditional convention of being in a non-linear format, so we are therefore introduced to a slower pace scene of the group of friends living their daily lives, unaware of the disruption coming their way. We can then see a disruption presumably performed by the villain of somebody falling from a roof top, which is disrupting the normality of the characters’ lives. This is also seen as part of Todorovs theory as this can be seen in his stage two, the disruption, and this comes after we have seen the equilibrium, which is what we have just seen. However as trailers are viewed in a non-linear format, we are able to see various amounts of Todorovs stages throughout the trailer.

We are then introduced to captions, which is formulaic within a trailer as the audience recognise this as a traditional convention within a trailer. The caption mentions ‘one movie, redefines fear’ which reinforces elements of the narrative such as the power the villain may have over the characters, and the vulnerability of them. It also echoes the aspect of the narrative that runs through all of the Scream themes. The word ‘redefines’ relates to the way in which the films ‘play’ with the conventions of the slasher genre. We are then shown back to a scene of the group of friends in a class room, where one of the group of friends says ‘all virgins can die now’ and this may hint elements of the narrative such as challenging codes and conventions of a possible final girl who is seen as virginal, and this piece of dialogue may suggest that the final girl may not be as innocent as we think, reinforcing challenges within a slasher film.

We are then introduced to further disruption to the normality of the characters’ lives as we see the villain picking off the characters one by one. We can also hear non diegetic music alongside these scenes that build tension to build excitement amongst the audience. This non diegetic music also plays when the villain is about to make an appearance, which puts the audience in a helpless position as the characters on screen are unaware of the villains status. We can then see in the next couple of scenes the group of friends attempting to repair the disruption by attempting to capture the villain on camera, which is also a part of Todorovs narrative theory.  We can see shots from this scene that are shot by hand held cameras, and this is to show a scene from a point of view shot. This is also using Roland Barthes semantic code by putting the audience in the shoes of the character as it allows the audience to feel they are a part of the narrative. This is due to them feeling helpless as they cannot help the characters in the film and know something is going to happen to them, and therefore are fearful for that character. We can see the character looking into the camera which is handheld, however the character is unaware of the villain’s presence in the background, and this would automatically panic the audience as they also would be fearful for the character.

We can then see a sequence of fast pace shots of the character running away from presumably the villain, and this reinforces the power the villain has over the characters. There is also non-diegetic music that is playing alongside these shots that start from a low tone which later increases, and therefore creates tension for the audience. We also see numerous of scenes of the protagonist attempted to be killed, which lets the audience know that she is the final girl due to her power to stay alive. The audience may also be left in suspense of who the final girl is as there appears to be the traditional final girl Sydney, who has been the final girl throughout the films, although there is also the idea of Sydney’s cousin who also has the power to be a final girl, which leaves the audience wondering who is the final girl, and therefore creates a buzz for the audience which would lead them to wanting to watch the film. The trailer is then ended by fast pace shots with tension building music which creates excitement amongst the audience, which is then topped off by the villain running towards the camera, with a non-diegetic sound of a frightening echo scream, which reinforces the horror genre. The fast pace shots throughout the trailer are a part of the montage sequence that we see in all trailers, and therefore is a part of a trailer form, and this is done to build tension amongst the audience and to also fit in as much mise en scene as possible so the audience are able to understand the main points of the narrative which will help draw in the attention to the audience to wanting to watch the film.

Halloween trailer analysis

Halloween is a classic slasher film that was produced by John Carpenter in 1978. It was originally released on October 28^th 1978 in the US. Halloween was a successful, low budget independent film that is still popular even in today’s society. The narrative includes a psychopathic villain Michael Myers who had been institutionalised since a child, after brutally murdering his sister during his childhood. During adulthood, he then escapes, and goes on a quest for his teenage sister Laurie, who he again wants to murder, and kills anyone who gets in his way.

The audience are instantly aware of the films genre due to the sharp tension building non-diegetic sound, which accompanies point of view shot that is shot by a hand held camera, in order to reinforce the point of view. The audience were able to recognise the genre due to the fact they are able to recognise codes and conventions within a slasher film. The establishing shot that was shown is a common convention for slasher films as they reinforce a common suburban house which is usually were the teens are seen isolated. The house represents a quiet suburban town which many people within the audience could relate to as many of them expect to live in one. We are then introduced by the narrator who says ‘Halloween night…’ and this itself allows the audience to understand a sense of the narrative, and understanding why the film name is Halloween, which is essentially shown through dialogue.

We are then shown a scene that is shot from a perspective inside a mask, which is from the killer’s perspective. This then allows the audience to understand they are experience the narrative from the killer’s point of view, which automatically puts them in the monsters position. This can also be related to Roland Barthes semantic code, as he suggests the viewers can view the narrative from different perspectives, .e.g. in this case is the monster. The audience are automatically snapped out of the monsters perspective as the monster mask is pulled off his face where his identity is revealed. The identity of this character shocks the audience as the identity is recognised as a child, which is unusual as the norm for the killer is not usually a child.  Along with this scene, we are able to hear non-diegetic sound that appears to build tension, which gives a sense that nobody is safe in that neighbourhood, and therefore gives us a sense of the narrative, or even represent the monster, which is an example of a musical motif. The title of the film is then shown along with a pumpkin, which is a sign of iconography, as the pumpkin symbolises the idea of the holiday period ‘Halloween’ and this therefore relates to the name of the film. This is played alongside with loud frightening music, which sends a message that this time of the year is cursed. It also helps the film to go viral as the film is to be released around this holiday period, and this makes the film more exciting to watch for the audience.  By revealing the film’s title, this is a usual form and convention for a trailer as it is a caption towards the first half of the trailer, and this is seen as formulaic.

The narrative is further conveyed as the audience are then introduced to the doctor, called Dr Loomis, presumably the killer’s doctor, who notifies the characters the killer’s true intentions, and what he is really like. He reveals the killer’s foreseeable killing nature, which panics the characters within the narrative, and therefore panics the audience, automatically putting the audience in the same position as the teenage friends, which relates to Roland Barthes semantic code. This is formulaic within a trailer as it is vital to include elements of where the audience feel included within the narrative, and want to know more, which leads to them watching the film which is an example of audience positioning.

Throughout the trailer we are able to hear the non- diegetic musical motif which introduces the killer, and we are aware of this as this musical motif plays when the killer is about to appear, which the audience are aware of, but not the characters within the narrative, and this puts the audience in a helpless position. The musical motif plays childlike theme music, mixed with a dull evil tone, which portrays him as a person as it describes his innocence as a child; however his childhood was destroyed by his evil essence, and this therefore reinforces binary opposites which is a theory produced by Claud Levi Strauss, and this theory indicates the idea of the opposing differences between characters. This therefore highlights the idea of Michael Myers the villain having two opposing sides to him such good vs evil, which reinforces this idea of binary opposites. This also juxtaposes the idea of the two opposing sides the villain has, in which both sides to him have different outcomes. We are also shown a scene where the Michael Myers the monster attacks an innocent lady in the car, presumably one of the doctors at the hospital, and this scene is shot in stormy miserable weather, which reinforces a negative atmosphere, and informs the audience of negative activity.

In the next scenes we are introduced to the equilibriums which is a part of Tzvetan Todorov’ theory, which indicates the five different stages you would see within a slasher film. Although, during a trailer, we will not see every phase of the narrative theory, and this is due to some stages such as ‘the disruption’ and ‘the repair’ would be revealing too much of the narrative in a trailer, and this should remain a mystery until the film is watched. The equilibrium  is shown which is the first stage of Todorovs narrative which suggests we see the characters in their natural environment, which we can see  three girls walking down the road, seemed to be living their daily everyday lives, unaware of the normality of their lives is about to be disrupted by the antagonist. This is recognised as a norm within Tzvetan Todorovs theory. The non-diegetic music that is played alongside the disruption of the equilibrium is shown low pitched to begin with, which then builds up to build more tension when the girls being to look around, which alerts us of the danger to come to them. We then are confirmed of the danger the girls were facing as we see the three girls are being picked off one by one, which is formulaic within horror films. One of the girls deaths we see her lying on the bed with a gravestone, alongside a pumpkin, which reinforced the killer and the film. Towards the end of the trailer we are shown a lot of shadow like scenes, which is a convention influenced by film noir which creates a paranoid atmosphere as the audience are unaware who is creating these shadows. We are then clearly aware of the protagonist as she is the last one out of the equilibrium, who is seen running away from the antagonist injured, which automatically reinforces her vulnerability, and the power the monster has, and this builds tension as the audience are left wondering if she will survive. We are then ended with a sequence of past paced montage editing shots which is conventional throughout a trailer, so this builds tension and excitement for the audience, leaving them wanting to know what happens next.  The trailer is viewed in a non-linear format, which is also conventional throughout the trailer.

The typical form to a trailer relates to the shape of a trailer. This shape includes a slow start at the beginning of a trailer, with captions and logos visible throughout the trailer, which we can see is visible throughout this specific example, which is then followed by sections which allow the audience to briefly understand who the characters are and the relationships and aspects of the narrative,  which is also visible within this trailer as it shows the group of girls walking home from school, in which we learn from this they are three best friends. This is then followed by faster paced sequence towards the end, which then finishes on the films end card. There is also a voice over that is present throughout the trailer which can sometimes be challenged by some film trailers. Although through this particular example we can see it has followed the norm of voiceovers which  therefore shows , that Halloween trailer has conformed to a formulaic trailer as it includes the aspects needed for a conventional shape of a trailer.