This trailer represents media language in several ways. The initial shot is in birds eye view which gives the audience a looking down perspective which adds variety to the camera angles utilized within the trailer. The shot includes an old tape recorder which already emphasizes the pre modern theme of the film, it also adds a portentous tone to the shot. The voice is also of a lower quality in audio sound which also portrays the sound as quite threatening but also quite harrowing however it simultaneously illustrates a sense of nostalgia in diegetic form. In this particular shot , there is also no background sound which also builds up the suspense into a crescendo that reaches its climax later on in the trailer.
Editing within the trailer is also very effective. Throughout the whole trailer, there are constant quick cuts and fades showing segments of the actual film itself. This not only draws attention but it also creates an signification of mystery. This editing technique is important as it doesn't expose too much of the film in a way that would dishearten viewers from going to watch it in theaters.
The mise en scene of the trailer is also specific to the genre. For instance, at minute 1:18 in the trailer , you will see a shot that is composed from different fearful aspects. In the shot there is a girl staring at a wall full of crosses. These props are used to inject a religious aspect onto the trailer, furthermore linking this with spiritual and demonic characteristics. Pockets of darkness also surround the girl, this also enhances the fear factor of the trailer because darkness is one of the main conventions of horror movies, the absence of light also creates the illusion of supernatural presence.
In the trailer, the girl is represented as the subject of weakness due to her consistent fear. Although innocent, she is burdened by evil which also supports the convention of a typical weak victim. Her bright red pyjamas also reinforces that she is still in her infancy which furthermore accentuates that she is unimpeachable. This furthermore attaches an ironic tone to the film. For instance, kids are usually noticed for creating things out of the ordinary through imagination, therefore having a child as a victim asks the question of whether anyone will help her.
The institution that created and distributed the film was Warner Bro, Pictures which is apart of a media conglomerate and acts as a subsidiary. Warner Bros. Pictures produces and distributes a wide-ranging slate of some 18-22 films each year, employing a business paradigm that mitigates risk while maximizing productivity and capital. Warner Bros. Pictures either fully finances or co-finances the films it produces and maintains worldwide distribution rights. It further monetizes its distribution and marketing operations by distributing films that are totally financed and produced by others. The conjuring 2 is a horror film and is also rated as R due to its horror and terror. R rated therefore results in people aged under 17 needing adult supervision. Furthermore, this could imply that the target audience of the film is mainly 17 years of age to the mature adult stage of the life cycle.
To expand further, Todorovs theory can link to this trailer. Tzvetan Todorovs narrative theory suggests that all narrative follow a three part structure where they begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution when the equilibrium is restored. This can be seen within the trailer as the girl gradually becomes haunted by the supernatural presence in the house, the equilibrium was balanced until it was disrupted which is exemplified through the introduction of the evil spirits and characters. Every story must have an end therefore a restoration of the equilibrium is bound to happen and this is usually always foreshadowed within every horror movie.
The narrative of the film itself is also very intriguing. It begins in 1977 where paranormal investigators Ed (Patrick Wilson) and Lorraine Warren come out of a self-imposed sabbatical to travel to En field, a borough in north London. There, they meet Peggy Hodgson, an overwhelmed single mother of four who tells the couple that something evil is in her home. Ed and Lorraine believe her story when the youngest daughter starts to show signs of demonic possession. As the Warrens try to help the besieged girl, they become the next targets of the malicious spirit.
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