Analysis of Dark Knight Film Trailer

The title is just The Dark Knight, not Batman: The Dark Knight. The audience know that this is from the Batman franchise due to the logo in the background and the use of Batman in the trailer. The title for the Dark Knight has a blue filter to make it appear colder, more dangerous and more serious. The background is predominantly black which links in to the idea of ‘Batman’- he operates mainly at night, and in this film, his 'dark' personality is portrayed. The letters are bold, sans serif making it more masculine, less formal and modern to appeal to the target audience of young males and other thriller fans. ‘The Dark Knight’ is more morally ambiguous than usual super-heroes. ‘Knight’ and ‘night’ are homonyms which creating a play on words signifying that is he is a vigilante in the night-time; as opposed to Harvey Dent who is the 'White Knight', fighting crime with the law in the daytime. Black on black emphasises the authority which suggests that the film is not purely based on death. The letters are spread out and are in capitals, making it clearer to read and making the name appear more significant. The studio titles are set against a dark shadowy sky scape and the Warner Bros. logo which is normally gold with blue skies and fluffy clouds has been changed to a much darker sombre image which signifies the mood and genre of the film – dark, mysterious and scary.

In terms of non-diegetic music, there are sudden percussive sounds coming in with the clips, adding drama and suspense. The music is mysterious and heroic due to its low pitch, fast tempo and harsh pulses, reflecting the mood of the film. There are silences before the Joker speaks which act as dramatic pauses and make The Joker’s voice seem more dark and sinister. For example, when the Joker says “Good evening ladies and gentlemen” there is a blank screen which creates an ominous effect and unease in the audience as we are unable to see who is speaking. With diegetic sound, the narrators of the trailer are in fact the characters as The Joker begins it by saying “Where do we begin”. He was used as an introduction as it makes the trailer darker in tone and links to Ledger's death as a selling point.

The genre is action, thriller and hero film; the conventions of which are fast paced clips, suspension through exciting music, many explosions and the use of dark colours in the character clothing, set design, and filters used on the footage.

The key audience is mainly male teenagers (15+). This can be gathered from the explosions and the connotations of the colours used. The trailer appeals to their key demographic by using very masculine colours e.g. black, blue. However, thought there are a lot of explosions, there is also character exposition and development of wider themes, such as romance and humour, which appeals to a broader audience. It also appeals to adults for nostalgic purposes as Batman is a well known and an established franchise.

The producers aim to appeal to the widest audience as possible. They do this by trying to get a low film certificate, and using a variety of conventions to attract fans of different genres: such as action or romance aspects. They do this for commercial success, and to secure future funding for possible sequels and therefore, further profit. However, whilst trying to widen their audience, they must still make sure that trailer demonstrates that the film is different from other releases in the genre with a unique selling point.

One unique selling point is that usually although super-hero films include action, they are not as 'dark' or serious as this film. This makes it seem more adult and thriller like; although it still got a 12A rating. The character of Batman is also a unique selling point in this film. He is a well established hero and they make a point of this by including the logo in the flames and the title. Similarly, the Joker is unique to the Batman films. Although the film stereotypically has hero and villain characters, this film makes it unique by making Batman seem morally ambiguous as he is not always just good. This reflects real life and makes it more like a thriller, creating another unique selling point. This will allow the audience to relate to the film.

Another selling point is Heath Ledger's role in the trailer. His part in the film gained huge attention after his sudden death, combined with his posthumous nominations and awards.

Analysis of Candy Film Trailer

The trailer for ‘Candy’ begins with soft non-diegetic music playing along with the production company logo, ‘ThinkFilm’. A low angled medium close-up shot is shown of a man diving into water, which straight away signifies neutrality and tranquility for an audience, suggesting this film is a romantic one. A non-diegetic voice over begins with a deep male voice, most probably the thoughts of the man jumping into the water as a two shot is shown of the man kissing a woman under the water. The soft non-diegetic music starts again with an underwater shot of bubbles rising to the surface, again connoting calmness and neutrality.

Another two shot is shown of the couple swimming underwater, which dissolves into a close-up of a water ripple onscreen. The non-diegetic voice also starts again with, ‘when I first met Candy’ as we see a medium shot of the girl opening a door, suggesting to the audience that the woman is the eponymous hero; Candy. The girl is wearing a colourful summer dress which connotes happiness and sets the scene in terms of what time of year this is. She also has blonde wavy hair which suggests she is a feminine character and a ‘free spirit’ by wearing her hair down as well as such a colourful dress.

A low angle long shot is shown of gold stars falling from the sky, which is shown to be a match-on-action shot as they are shown falling on Candy from a high angled close-up shot. A long shot is then shown of people in formal attire, Candy in the middle holding balloons and smiling, suggesting this is her family and they are celebrating a special occasion. This shot which connotes happiness and excitement is then contrasted by a cut to a two shot of the couple sitting outside in what appears to be an neglected garden with bricks strewn everywhere and overgrown plants, which signifies a certain isolation and strange, obliviousness the couple have toward the world around them, which brings the two closer together, allowing the audience to focus on their relationship.

A medium two shot is then shown of the couple in a car alone; again, showing their isolation from the outside world. This then leads to other two shots of the couple, lying in bed next to one another, kissing, and just looking at one another which makes the audience feel uneasy at this strange, dysfunctional and warped relationship the two have, which is portrayed more as an addiction than love.

A medium shot of a middle-aged woman dressed smartly is shown crying and asking, ‘what happened to my beautiful little girl?’ which suggests she is the mother of Candy and is concerned for her wellbeing and safety. The couple are then individually shown in medium close-ups, crying and looking exhausted and ill. A two shot is then shown of Candy slapping the man across the face which shows the audience that the relationship is becoming dangerous and violent. The exhausted looks on their faces suggest they have been taking drugs and the violence proves this assumption further as the effects are highlighted.

A black screen is shown at the climax of this heated, volume increasing, speed increasing part of the trailer, before the contrasting first clip is shown again, only with Candy underwater, not her lover. More two shots are then shown of the two hugging and kissing, but not in a passionate way as before, more so a desperate and needy way as they are both suffering with drug addictions. The male’s non-diegetic voice over starts again with, ‘I wasn’t trying to wreck Candy’s life’, which suggests to the audience that he was the one to start her using drugs.

A long shot of Candy getting into a parked car on a street at night is shown, suggesting she is prostituting herself, as a close-up is then shown of her lover watching in a car behind. Close-ups of him and Candy are then shown smiling and happy, before a high angled close-up of the man screaming in a shower is shown, connoting fear and pain, usually a convention used in horror films to portray danger. More two shots are shown of the couple; happy, smiling, kissing and cuddling, before the white bold title fades in with a black background, ‘Candy’ followed by, ‘more is never enough’ which is an ambiguous phrase for an audience, as it could be referring to the love between the couple, or the drugs they take.

Analysis of Trainspotting Film Trailer

The trailer for ‘Trainspotting’ begins with a sound effect of a non-diegetic train, as we see black and white production company logos of ‘Lionsgate’ and ‘Miramax’. The sound effect stops and loud, fast paced non diegetic music starts with a medium long shot of a man shown running through an urban street. A non diegetic voice over is then heard with a low pitched Scottish accent, which is calm and descriptive, as opposed to the action onscreen. Also, this is suggested to be the voice or thoughts of the man running as it is played along with him. The man has a shaven head and an earring in which suggest that he is stereotypically a criminal. He is running with a man who looks similar to himself, and is wearing the same type of clothes; jeans, a plain t-shirt and a jacket. The men have worried looks on their faces which to an audience, suggests they are running from something or someone. Two men are shown in the background also running, both wearing smart suits, contrasting with the first two men and separating the four in class; the two men in the foreground being of a lower class that the two in the background.

A jump cut shows the men running again but lower down, focusing on their legs and the fast speed, which is accompanied still by the fast paced music. A panning shot of a low angle is then seen of the man running down some stairs, and by the focus being on him, it is clear to an audience that he is the main character of this film. A diegetic sound of a car screeching to a halt is heard as the man slides across the bonnet in another medium long shot; this adds to the excitement and makes this chase more interesting for an audience.

The man is shown through a medium shot in black and white, stood still and laughing, with a reflection of light on the screen, suggesting that the point of view is from inside the car looking at him, and showing him finding danger comical, this signifies to an audience that this man has mental problems, or has a drug problem, which is the basis of the film, ‘Trainspotting’. A red box with a bold white font reading, ‘Renton’ wipes across the screen before the man, showing this is his name.

The mise-en-scene uses colour again as we see a two shot of the man and a woman, wearing a sparkly dress and a red coat, connoting femininity and passion, as the colour red connotes passion and love. The non diegetic voice over changes to a woman’s voice, in a higher pitch but still in a Scottish accent, which suggests this woman he is with is now speaking. ‘A little bit crazy, a little bit bad’ are words used by the woman to describe the man which makes the audience believe the two are an item and she is referring to him being ‘a little bit bad’ which is obviously a paradox, and is delivered in a sweeter way than just ‘bad’ as she likes him.

The relationship is made clear for the audience between these two characters, as a medium shot is shown of both characters stood before a bed, taking their clothes off, which suggests the two are about to sleep with one another. The bedroom they are in seems more likely to belong to the woman as there are plenty of books, a radio, pink bed sheets and a pink ornament, which are all feminine colours and more likely to belong to a female than this tough-looking man.

The second man shown running with Renton at the beginning is shown trying on large framed glasses with yellow lenses in a public toilet. This shows the audience that this man is also ‘not all there’. The screen changes to black and white and the same red box wipes across the screen, with the name, ‘Spud’ inside it; introducing this character and suggesting that he is another main character.

This man is blatantly intended to add comedy to this film as a long shot of three people in suits suggesting importance and authority are shown asking him a question, to which a medium shot is shown of him staring at a picture behind of a beach, turning to them and saying ‘what?’ with a gormless look on his face. Another man is shown in the toilets in a medium close-up shot, with bright white hair, dark eyebrows, an orange t-shirt and a black blazer, suggesting he is into the fashion of this time and is a confident individual. He sticks his tongue out fully with an angry expression on his face, signifying the ‘rock and roll’ look of this time, and the screen once again changes to black and white and the name ‘Sick Boy’ appears, introducing this man, obviously by nick name which offers an audience a more distanced view of this character.

Sick Boy and Renton are shown in a two shot with a gun and binoculars, mimicking Sean Connery as James Bond as they refer to Miss Money-Penny. A long shot shown a man with jeans, doc marten boots and a dark jacket on his back in a park being attacked by a white bull terrier dog; seen as dangerous animals, alike Bill Sykes’ dog in the musical, ‘Oliver’. A medium long shot is then shown of raised hands surrounded by smoke, which signify people in a night club dancing, this is followed by Renton in a medium shot raising his arm and shouting again, in a cloud of smoke. This shows to an audience the type of lifestyle Renton has, of drugs and nightclubs, the smoke provides a hazy atmosphere and makes it difficult to see what it truly onscreen.

Renton and Spud are shown in a two shot drinking from one milkshake with two straws, adding comedy to this trailer and to the film, persuading people to watch it. The two are wearing suits, which contrast with the casual wear they started with. A close-up of a middle-aged man in a vest, also wearing gold earings and a gold necklace makes a diegetic scream before being introduced as ‘Begbie’. Judging by his attire, he is also portrayed as the stereotypical criminal of this film trailer.

A graphic match is shown of Renton falling to the ground in a field and then onto a wooden floor, which shows to an audience his tendency to be ‘out of it’ and hit his head a lot. The clips quicken in pace and the non diegetic music changes so a fast paced rock song before two shots of Renton kissing the woman he was with previously are shown, and a long shot of the four main characters crossing Abbey Road, in a shot similar to the Beatles Vinyl cover was.

Positive comments of the film wipe across the screen in white font and a red box, in between clips of the four main characters smiling in close-up and medium close-up shots. Renton is shown in a close-up shot under water, shaking his fist and saying ‘come one’, which contradicts the danger of drowning if one was to speak underwater. The trailer ends with the four main characters wearing smart-casual clothes, standing on a platform as a train passes by, with a diegetic sound of a train sounding it’s horn. This leaves the audience on a high and relates back to the title, 'Trainspotting’.