This is the first initial draft of my trailer. While I have now changed it since then, this shows progression of my final product.
After getting audience feedback, it has become evident that the pacing and narrative of the trailer are too slow and has been too influenced by cause and effect.
This is bad as it feels more like a short film than a film trailer, and I will consider this when editing the next draft which should be up on the blog soon.
‘The Blair Witch Project’ is a 1999 horror mockumentary/Found footage film showing the final hours of ‘missing teenagers’ who went into a forest in search of answers to the legend of the Blair Witch. While there are 2 trailers, due to the viral marketing involved in the release of this film (a website was posted and stated that the events of the film were real to increase popularity,) I will analyse both trailers together, as the first one (the teaser trailer) acts as a prelude of sorts and gives us information on the second one.
Media Representations:
No major representations in 1st trailer, due to the fact that it is a teaser trailer.
However, in the 2nd we are introduced to the 3 main characters, who are student filmmakers and friends.
Initially a group who works together they are positively portrayed, being inquisitive filmmakers. It becomes evident that the female of the group is the main protagonist, as she is given the most screen time and is introduced the most obviously, giving her name.
As they realise they are lost the group’s cohesiveness begins to dissipate and they are shown arguing, and then being scared throughout the night.
Normal, everyday people are showed being interviewed, though they are quite stereotypical, (i.e. teenage female waitress, mother, old woman telling a long story,) this is to add to the everyday feeling of what we presume if the start of the film, making the latter events seem more real, adding to the horror produced.
Media Language and Forms:
Mise-en-scene:
1st trailer: Some sort of official premises, with title slides stating that the three protagonists disappeared, and their equipment has been found.
The equipment is shown as if it was being recorded for archive footage being held by someone wearing latex gloves which adds to the feeling that it was the police/investigators who found it.
At the end we are shown a short clip from the film in a dark forest seen with a night vision camera.
2nd trailer: title slides explain same as first trailer
starts off in protagonists home where she introduces herself
goes to the town near the woods as we are shown average people who are being interviewed.
We are then shown the forest in both night and daytime, in which the characters get lost.
As night time comes, the setting grows eerier, as the darkness makes the branches of the trees and the surroundings look sinister.
Human effigies hanging in the trees add to the idea of witchcraft, and similar to REC a close up of the female lead looking distressed and talking to the camera is shown.
The final shot is of a piece of floor, implying that the camera has been dropped and all of the characters have been attacked by the unseen ‘witch’.
Costume of the characters is typical of people who are going camping for a few days and relevant to their situation (i.e. thick coats, hiking boots, backpacks and woollen hats).
Sound:
Both trailers have non-diegetic soundtrack for building tension, however, it is used a lot more in the 1st trailer than the 2nd.
Voice over is also used in the first trailer: an extract from a news report about the disappearance. This adds realism to the film, and shows a retrospective view of the films events.
Diegetic sounds from the 2nd include ambient sounds of the forest used to create fear of the unknown in the audience.
The dialogue in the 2nd trailer starts off with people being interviewed by Heather (off-screen) then of the people talking to each other in the forest.
Their dialogue becomes increasingly erratic throughout as they grow more and more scared.
Unnatural noises such as screeches are heard in the first trailer. These may not be from the scene shown, but would naturally add to the fright created in audiences.
Editing:
Not much continuity editing used due to the nature of the trailers.
First trailer has slow paced editing until the final few seconds which are intended to frighten the audience after the generally slow build up.
The second one starts off slowly while establishing characters and what they are doing and providing a slight back story of the Blair Witch.
This changed as the fear is built up, and becomes much faster paced, (though there are some long-lasting shots of people running through the woods).
The build up will reflect the film which would naturally start off slowly, introducing characters and the purpose of their documentary, and then picks up pace as they realise they are in danger and not alone in the Burkitsville woods.
Cinematography:
First one has steady camerawork, close ups of objects found in the woods to intrigue the audience, then handheld camera shots at the end when the more frightening shots are shown.
These coupled add realism as the story is set up, then we are shown clips of the previously seen film reels; intriguing audiences, making them want to see the film.
Second trailer is fully handheld camera. (it is the footage from the reels in the first one).
MCU’s and MS’s to start while they are interviewing which are conventional and show how things are running smoothly
As the events take a turn for the worse less conventional angles and shots are used, and the camera grows shakier, to reflect the panic of the characters.
Canted angle also used several times, to show how the filmmakers are scared and not thinking about what they are recording, but just filming as a record of what is happening to them.
Final shot from the film reel is a Dutch angle extreme close up of the ground, implying that the camera-worker has collapsed or been killed by the unseen assailant.
Overall unconventional angles are used to create the horror/uncertain feel.
Narrative:
Shown clearly through both trailers:
A group of students went into the Burkitsville Woods to film a documentary about the legendary ‘Blair Witch’ but disappeared.
After many searches/investigations their camera equipment was found and so was the film reel showing the documentary and footage showing the ordeal suffered by the characters, which doesn’t answer questions of investigators, but creates more.
The second trailer shows more of the documentary style featured in the main film, while the first one is more of a retrospective look intended to create realism.
Genre:
Horror: intention of the text is to scare audiences.
The dark, creepy mise-en-scene coupled with shaky camerawork inspire fear, as do the sounds of the setting and overall idea of the legend of the ‘Blair Witch’,
Found Footage: 1st trailer puts across teh idea of the disappearances, and shows that the film reels have been found.
This footage is then shown more in the 2nd trailer, developing the story of what happened to the filmmakers.
The film is of course the footage in its entirety.
A similar theme in found footage is the audience already knowing what happens (i.e. a disappearance/murder,) and the film showing the build up to the event.
Mockumentary: Interviews shown and Heather is shown as a presenter of sorts. Black and white shots indicate archive footage being used.
Even the first trailer, while not the actual film, involved news reports and realistic-seeming footage of the equipment which was said to have been found in the woods.
Media Institutions:
The film is the main institution being marketed.
Due to the realistic nature of the film, there are no other main institutions (i.e. directors, production companies, stars) named in the trailer, except for Artisan Entertainments named at the start of the first trailer only.
www.blairwitch.com is shown at the end of the teaser trailer (first one) which links to a website with an excerpt of the 2nd trailer, and information about the legend, the filmmakers and what happened, and acted as if the film was real, which continues the marketing ploy (viral marketing) which attracted audiences by acting like the film was real.
Media Values and Ideology:
The main purpose of the text is to frighten audiences.
A female lead is shown, though she is initially confident she later is shown being frightened, running and screaming; a negative female horror stereotype.
the men in the group, though given little screen time are also shown to be quite useless in helping survive in the woods.
The government (specifically the investigative departments) are shown in a negative manner, as they were apparently unable to solve the disappearances, as one of the trailers states the case has been declared as inactive.
Media Audiences:
Mainstream horror audiences – 15-30, male and female.
Though probably given an 18 certificate at the time of release, it will now be more readily available to people of the mainstream age.
Fans of found footage would also be interested, as would people who study film due to the nature of the film (the techniques and idea were quite new to mainstream cinema at the time).
People who had found the website while on the internet would also be possibly interested, which opens the door to a much wider audience.
Word of mouth, due to the interesting nature of the film, would also have made it available to a wide mainstream audience.
‘REC’ is a 2007 found footage / horror film, which starts of as Angela, a Spanish TV presenter, recording footage for her program “While you sleep” which shows the night lives of different public services (in this case, the fire department). Events take a horrific turn as the firemen, Angela, her cameraman Pablo, and residents of an apartment block are locked inside by the government, as they try to escape the infected people who are in a zombie-like frenzy.
Media Representations:
Protagonist Angela – female television reporter. Initially quite conventional as far as female presenters go: attractive, confident and good at her job.
As it becomes apparent that there is a crisis she initially is shown panicking (stereotypical) but then becomes more confident in the situation; for example, ordering her cameraman to continue filming, despite what the government authorities say.
No other major representations, apart from government authorities shown to be negative: oppressive and conspiring; quarantining the building, trying to stop the filming and even lying to the public about the nature of events inside the building.
Media Language and Forms:
Mise-en-scene:
Starts in the fire department building, as the setting of the fictional program.
Major events transpire in the interior of the apartment complex.
Set in an everyday environment, but dark and claustrophobic to add to the horror.
Normal everyday costumes are used for most people, but uniforms to show government workers such as the police men and men in bio-hazard suits.
Attacked/Possessed/Infected people seen are covered in blood and have obviously been attacked by something.
Title slides briefly outline narrative (“They came here to do their job” “Run” “Escape” “Survive!”).
In the final shot, Angela is sobbing, her appearance is bedraggled and messy showing that she is distressed and has suffered an ordeal, the title sequence being straight after this leaves her fate unknown.
Sound:
Non-Diegetic soundtrack is really quiet and only used minimally for building tension.
Most of the sound is diegetic, i.e. dialogue, and the people within the apartment conversing and moving around.
Amplified voices of government officials and helicopters are heard from the outside.
Bangs heard occasionally for casing fright in the audience.
Dialogue becomes increasingly panicked as the trailer goes on implying the horror.
Screeches of the possessed/infected people as they attack are played when they are shown onscreen suddenly to cause a quick shock and fear as they are quite unnatural, horrific sounds.
Editing:
Montage editing – as it is giving an overview of the events and narrative of the film.
Slow initially implying how it is initially an average night.
Once events take a turn for the worse editing becomes more fast paced, often using match-cut on sound, (i.e. there is a sudden bang, then the camera cuts to a handheld shot of one of the infected people running to the camera and screeching).
Some longer shots towards the end allow the audience to process how frightened the people are and instil terror in the audience.
Shorter ones when we see infected people running at the camera to add mystery to who/what the assailants in the film are, which adds to the overall mystery of the film, making audiences want to see the film more.
Cinematography:
Initially, shots which are conventional of reporting used, such as mid shots and medium close ups of Angela reporting to the camera.
As the terror begins and to give the film a genuine feeling, less conventional and seemingly accidental camera angles are used, such as a canted angle when the camera is being hidden, and shots with incorrect and apparently rushed framing, which reflects how the cameraman in unsure and scared in the situation.
Handheld camera is used throughout to give the film a realistic feeling, and to imply the fear felt by the cameraman.
Narrative:
The narrative of the film initially starts as a normal night for Angela, (a reporter) and the firemen she is making a program about, until the apartment building they enter due to an unknown emergency is overrun with people who are possessed due to infection from a disease which sends them into a murderous frenzy.
While trying to get out of the building, the people inside learn that the government have quarantined the building, and are lying on the news, making it obvious that they do not intend to let the people out, for fear of the disease spreading.
This leaves Angela, Pablo, the remaining firemen and any other people locked in the building to survive.
The mockumentary aspect comes from the fact that it was initially a recording for a television show, and the fact that it is ultimately ‘real live’ footage being recorded on the scene to show people what is happening.
Genre:
Horror is derived from the camerawork (i.e. handheld camera) and what actually happens (i.e. the infected people acting like they do).
It is also similar to some zombie horrors in the fact that the disease causes people to go into a killing frenzy, and others can be infected by the disease.
The claustrophobic setting is also a good device to build tension and fear as it causes a feeling of entrapment.
It is also a mockumentary because the footage is portrayed as being real, and it has many aspects such as a presenter (even as the crisis worsens she is shown in the trailer as telling the camera what is going on, and is determined to get it all on tape), and even starts off in the premise of a reality television show.
Also, Manuela Velasco (who portrays Angela,) worked as a TV presenter, which means she knows how best to present television, which means that she can effectively play a presenter, giving her character realism. This is similar to how Ghostwatch (1992) used real television personalities (such s Sarah Greene and Michael Parkinson) which added to the realism and overall horror created.
Media Institutions:
The fact that it is a trailer means that the main institution being advertised is the film itself, shown in the logo at the end ([.REC])
In this trailer, due to wanting to keep authenticity stars are unnamed, though it still is selling the popularity and image of the ‘leading lady’, Manuela Velasco which means that the main institutions would be the film makers, the director (Jaume Balaguero), and the company ‘Filmax’ (named in the trailer).
Media Values and Ideology:
The woman in the lead role shown to be strong in the face of danger, which is conventional in survival/zombie horror (which the film has similarities to).
The film also picks upon the idea of the media lying and only portraying their version of events, and also conspiracies and Governments trying to cover up events even at the risk of innocent people dying, and lying to the public (i.e. the media reports, and telling people in the building that they will be fine).
Media Audiences:
It would be aimed at a mainstream horror audience (15-30, male and female) though initially a Spanish film, so it wouldn’t have reached the full mainstream audience.
Since then, increasing popularity, UK cinematic and DVD release and an American remake mean that it would now be attracting a larger UK audience.
Also, fans of found footage films (such as Cloverfield and The Blair Witch Project) would be attracted, as would fans of Jaume Balaguero and people who are interested in contemporary Spanish cinema.
'Live!' is a 2007 mockumentary / media satire film charting the story of a television executive (played by Eva Mendez) and her struggle to get her idea for a television program broadcast. Her program is controversial reality TV. show in which 6 participants play Russian roulette and the 5 surviving players get $5,000,000 each. The film acts as a satire to the reality TV. audiences watch today and questions how far production companies will go to have to please the ever-changing demands of television audiences. I will analyse this text, and look at different ways my text can be influenced by the use of genre conventions and other features in this one.
Media Representations:
Many different characters shown and represented and many different stereotypes are supported and challenged.
The protagonist, Katy (Eva Mendez) challenged what we would expect of a top television executive, mainly because she is female (though clothing and personality are very conventional). She is initially shown to be innovative, strong, independent and somewhat ruthless but towards the end of the trailer, as it grows more dramatic, there are close up shots of her showing emotions (i.e. crying) which show her more emotional side and imply that she is questioning the ethics of her program.
Contestants of the show are all practically stereotypes and also average everyday people (shown by clothing and the general way they act): Blonde young adult who wants to be an actress, young adult male who dreams of not being a 'wage slave', a middle-aged man who wants the money to help his family keep their home; only one possibly controversial character is a homosexual Mexican man, (the possible controversy is cleverly picked up on and used for the program in the film's narrative).
Male television executives (all suited)- portrayed negatively, only caring about the ratings and not caring about the ethics of the programme (like Katy was initially), one jokes about being 'aroused' when thinking of the ratings caused by someone being broadcast dying on air (very negative portrayal).
Media Language and Forms:
Mise-en-scene:
many different settings and costumes shown
Program set - dark with bright lights, modern, innovative, implying how people within the diegesis feel about the programme (dark, modern, possibly promising)
costume gives insight into personalities i.e. Katy and television executives wearing dark suits (they only care about their greed for money and ratings - stylistically evil). Program contestants initially wearing normal clothes (everyday people) but on the program set they are all dressed formally (this is their chance to make it big, live out their dreams and be some body). This is the Ideology of the American dream which is also signified in the themes of the program (contestants risking everything for their dreams) and even in the colours of the 'Live!' logo: Red, white and blue.
Family homes and workplaces are shown to give audiences a chance to get to know the characters.
Bullet and gun shown on a cushion t imply how significant they are in both the plot of the film and in the fictional program.
One scene showing the contestants on screens in the centre of a large American city implying how big the program gets and how famous they are
Board room meetings showing how the film will give a fictional yet accurate look (within the premise of the film) at the more business-like side of getting a television program on the air.
Newsrooms and shots of Katy at home signify the behind the scenes documentary feel of the film
Contrast between the business and personal sides of the program are shown near the end when there are juxtaposed shots of a control room with workers celebrating, and contestant's families in the audience crying.
Title slides in bright lights like the program logo showing themes in the programme ("Beyond Fame" "Beyond Money" "Beyond Reality" "Beyond Morality").
Sound:
Non-diegetic soundtrack initially really upbeat and modern (with almost techno influences), which implies how within the narrative of the film the program is really modern and becoming really famous and a 'big' thing. The soundtrack changes towards the end of the trailer to more dramatic music as we are shown negative sides of the program, such as the emotions of characters as they come to terms with the fact that on of the players must die and we are shown scenes of people pointing the gun to their heads.
Dialogue is important in letting audiences getting to know characters (i.e. "I've always wanted to be an actress" - young adult girl
"It wasn't the best place to grow up but..." - homosexual Mexican man
"My father worked this land... and I don't want to let my family down" - middle aged family man
"You have to ask yourselves, are you in, or are you out" - Katy
also in showing themes of the programme: e.g. "I will risk it all"; "I'm going to give you the future of prime time" and "What I do is give an audience what they want, but we do it in a way we can somehow justify"
The sounds of a gun being loaded are also heard and amplified for dramatic effect and to show the importance of the gun in the plot
Editing:
Montage editing to portray main themes/characters/narrative of the programme, with small excerpts of continuity editing in film extracts (i.e. shot/reverse shot when people conversing, and abiding to the 30 degree rule in boardroom sequences).
Editing fast paced to compliment the music and general feel of the programme (goes with the tension built in the film as well while contestants are playing the game).
Ends with slow paced shots of contestants pointing the gun at themselves to act as a pivotal moment before the tension should be released, but the tension is not released which keeps the audience wanting to know and see what happens to the contestants, making the film appeal more to them.
Cinematography:
Mid-Shots and Medium Close-Ups used mostly to introduce characters like they would be in the fictional programme.
Extreme close-up of bullet to imply the importance it plays in the plot of the film.
Internal framing on shots of news-coverage of the programme, provided by the television screens – give the film realism to complement the documentary aspects, as they show how the programme is impacting upon the ‘real’ world.
0:30-0:33 – Eva Mendez is internally framed by people to imply the impact she is having upon society with the program idea, and how she (and the program/contestants) are becoming famous in America).
Throughout the trailer, most shots are medium close ups or mid shots of people related to the programme, shown onscreen as if they were in the actual program to add to the documentary feel of the trailer.
The realism also makes the film appear more interesting to audiences.
Narrative:
The trailer portrays the narrative of the film clearly and effectively.
Handheld shots, news-footage and interviews among other techniques show that it is a documentary.
It shows the progress of Katy (a TV executive portrayed by Eva Mendez) as she tries to get her program idea broadcast – Live Russian Roulette with the 5 surviving (out of 6) contestants winning 5 million dollars each.
The film shows her battling with censors to get her show on the air and then picks up on the emotional and ethical sides of such a program, using the program to satire modern reality TV and the lengths producers and companies will go to bring in the ratings, which, in the film, Katy is successful at (“Half of the homes in America are watching your show!”).
Genre:
Drama/Satire film presented in the form of a Documentary.
Satirical of reality TV in the media.
Drama because emotional problems are shown, and the problems of the contestants lives are shown so that audiences can emote with them (i.e. man who could lose his land, people wanting to get out of their normal lives and fulfil their dreams). Emotions are even displayed by Katy towards the end of the trailer when it is made apparent that she feels bad that her program has caused the death of a man.
Media Institutions:
Primary purpose of the trailer is to market and sell the film, so the production companies who helped make the film will be involved, which are identified at the start of the trailer as: Lionsgate, Fortissimo Films, Mosaic Media Group and the director Bill Guttentag.
Also Eva Mendez is recognised in the trailer, and selling her own image as a strong, independent, powerful female.
Trailer would have been played in cinemas, (possibly) and on television, around programs/films aimed at the general target audience of the text.
Media Values and Ideology:
Shows a woman as a powerful, influential figure in a male dominated company.
Issues raised involve the ethics of reality TV, and the emotional effects of such programmes on the families/friends of participants and the producers themselves (though to a higher degree in the film).
The issue of what people would do for life changing money (i.e. risking their life) which is relevant to many contest shows today is also handled.
Media Audiences:
Fans of Eva Mendez and the films of Bill Guttentag.
Fans of reality TV? Due to the fact that it is a large part of the film picked upon in the trailer, and the themes of people lives being shown on the television and playing the game for money would obviously, and ironically, attract audiences.
Not exactly a mainstream audience, due to the mockumentary nature, but Eva Mendez and the increasing popularity of documentary-style films (i.e. Paranormal Activity, Cloverfield, REC,) would help in the marketing, as these sorts of films are growing more popular.
The two options I have chosen to create are:
My work on this project will be presented in the digital form of this blog.
