Welcome Be Welcome GIF from Welcome GIFs Tallulah Duffy 1823 I worked with Laura Souter 1860 and Fia Brown 1802 Our brief option 2: My ...
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It is important to consider when a film trailer should be shown to the audiences. The aim is to create excitement and a buzz surrounding the... -
For my film, it is essential that I define a target audience. To plan how to reach my specific target audience I need to know who they a...
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EZ GIPHY SOFTWARE I used the EZ Giphy software to create a GIF. GIFS are more interesting to the eye than static images. My GIF adds mov...
All your trailer research is carefully considered and beautifully presented, making it a pleasure to read. Well done.
ReplyDeleteGRAVITY TRAILER You identify precisely and fluently how the audience is engaged through editing techniques which convey the film’s genre and through camerawork which immerses the audience in the action. You write thoughtfully about the function of the sound track in creating drama and tension as well as the dizziness of space travel. You identify the astronaut’s backstory (her daughter makes her focus and fight for her life) as the USP that lifts the plot from space film to drama / thriller.
You carefully analyse the structure of the trailer as it builds tension out of various elements and parts, including sound building to a climax. Your command of medium-specific terminology is accurate and confident, such as when you comment on the function of the motivated edits. Your knowledge of trailer conventions is clear from your analysis of intertitles, such as the reference to Cuaron’s star director power and the two A listers, Clooney and Bullock. Excellent research and analysis.
AMERICAN SNIPER You immediately grasp that this film trailer differs from that for Gravity because of the difference in genre: it is based on a true story therefore the editing and cinematography works to create that quality of realism, and its narrative is not punctuated by inter titles, as you note. You also identify the various ways in which the action/war genre is signalled, noting aspects of mise-en-scene (such as colour, the middle eastern set, the rifle), sound and framing. You write well about how tension is created in the central plot conflict (to take the shot, or not?) and how the introduction of the sniper’s backstory adds layers of depth; your analysis of the vital part played by sound editing is fluent, couched in confident media terminology, showing excellent understanding of a trailer’s principal function. Another excellent piece of research, Tallulah.
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