Trailer Analysis 2
- Natasha
Dead Silence Official Trailer #1 - (2007) HD
Shots, Camera Angles, Camera Movement and Composition
The trailer for 'Dead Silence' uses many techniques regarding camera angles and movement, in addition to the type of shot used and their composition in order to create an effective horror movie trailer, portraying a theme of beware and imminent danger throughout the trailer.
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The trailer relies heavily on compositional aspects in order to establish the main character, or, the protagonist of the story. For example, the protagonist is often featured in the foreground, with central framing and with the camera focused on him using a shallow depth of field. This majorly outlines the presentation of the importance of the character, and without delving into the editing techniques of the trailer, this camerawork is complimented by the amount of screen-time and the length of the shots in which this character is presented. Examples of the main character's defining camerawork are shown.
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Framing is also utilised in order to highlight key aspects of the trailer, not especially significant the the characters included. For example, at 0:46 and 0:57 the character, despite not being entirely significant to the synopsis which the trailer is based off of, is disguising an important aspect of the storyline, making what he is saying extremely significant. Due to this, the camera composition creates a prominence to his character, with his centre framing, situation in the foreground of the shot, the shallow depth of field putting all focus entirely on him and the eye-line level of the camera angle, implying that he is not a vulnerable and therefore possibly weak character. This all highlights the character's significance, however due to is apparent insignificant roll it can be assumed that his speech is the important message rather than his persona.
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The trailer mainly consisted of eye-line level framing, however, in moments of suspense it often used extremely high angled shots (or birds eye view shots), with the camera positioned directly above the characters in order to effectively portray a theme of vulnerability and fearfulness within the shot. Examples of this are shown.
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In opposition, the use of low angled shots are shown at 0:12, with the threatening nature of the feature being shown (the absence of music from the stereo) being clearly displayed. This example is shown.
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In addition, the trailer utilises variations of closeups in order to present clear emotion, which because of the genre highly focuses on fear and worry as presented in 0:27 with closeup conveying extreme confusion and worry, this is shown again at 0:52, 1:10, 1:50, 1:51, 1:54 and 2:03. These examples are shown.
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The use of closeups is also used in order to convey horrific and terrifying aspects of the trailer in more depth, such as aspects of the scenery and closeups of the dolls used as props in the trailer, this is shown at 1:06, 1:11, 1:16, 1:18, 1:22, 1:27, 1:30, 1:41, 1:47, 1:50, 1:53, 1:55, 1:57 and 2:04. In addition, the use of extreme closeups presents a somewhat eery theme, with the genre of horror influencing this and giving the trailer a more sinister undertone, this can be found at 0:50, 1:00 and 1:27. These examples are shown.
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A portion of the trailer was filmed on a handheld camera, with the idea of imperfection and movement implying the unpolished, imperfect atmosphere which the setting of the trailer has. In addition, when referencing spirits and vengeful entities in the trailer the use of handheld camera may imply the perspective of the ghost observing the characters. Examples of the hand held camera usage are shown at 0:16, 0:18, 0:23 and 0:25. These examples are shown.
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In addition, the use of zoom is used to add suspense and tension, especially when making the transition from a medium closeup to a closeup. It presents an oncoming feeling of dread and fear and clearly conveys the emotions of the characters in a short space of time. This is shown at 0:07, 0:11, 0:22, 1:29, 1:30, 1:43, 1:44, 1:59. These examples are shown.
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There is a focus pull at 0:13, this is used in order to follow the subject of the shot, due to the focus initially being situated on the reflection with a shallow depth of field. However it may also imply a draw of focus from the subject, with her mindless dancing being transferred to concentration and slight worry. This replication of the character's altering mood immerses the audience into the trailer and allowing them to feel the same as the characters shown. The example is shown.
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The trailer utilises point of view shots, transferring the viewer's vision into the eyes of the subject, allowing them to sense the same unsettling and unnerving atmosphere as the character in the trailer. This immerses the audiences and creates an eery atmosphere, helping to portray the genre of the trailer as it is a disturbed and unsettling image. Examples of these suspenseful shots are seen at 0:18, 0:23, 1:10 and 1:11.
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Establishing long shots are used to convey the various different locations in the trailer, with the images varying and the tones of each environment differing drastically, from a homely environment to a graveyard. Therefore, the establishing shots are not only relied on, but are also very useful in the prevention of confusion throughout the trailer, with each different location being clearly portrayed and defined before the actions being taken place in this environment is displayed. This is seen at 0:47, 0:49, 0:51, 1:01, 1:14, 1:35 and 2:02. These examples are shown.
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A list of the different techniques used in regard to shots, shot composition, camera angles and camera movement are shown.
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Dead Silence - Editing
In this film trailer, editing is used as the narrative, meaning that it is fundamental in presenting the plot of the trailer, in addition to presenting a theme or atmosphere in the trailer, which is tailored specifically to the horror genre.
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The trailer utilises pace heavily in its editing, with a total of 176 transitions being used in a trailer which is 2 minute and 13 seconds long, averaging at around 1.5 cut per second. This fast pace contributes to the build up of tension, causing the audience to become nervous and anxious at what is going to happen next. They are waiting to be surprised or scared by what the next quick-cut shot will be. Examples of extremely fast paced editing can be found from 0:37-0:39, 0:50-0:54, 1:38-2:00 (as well as throughout the whole trailer the fast pace is noticeable), where up to four cuts can be found to be made within one second and some images appear so quickly that they are difficult to see, if not using a pause feature as well as not being registered as a moving image due to their brevity. These examples are shown.
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The trailer uses mainly cuts in its editing, however the utilisation of fades are also included in the editing. This is to present a smoother and calmer environment amongst the fast pace editing, in addition to showing that time has passed. Cross fades are heavily used, in addition to multiple fades to black and then immediate cut to the next image. This could also imply that a period of time has passed, but also may support the trailer's relation to darkness. The cross fades are used between flashbacks and current events, this can be seen at 1:01-1:05 and at 0:42. In addition, relation to a flashback is also shown through the fade to white at 0:43. The examples are shown.
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The trailer often inverses the colour of the images which are shown on screen, this is usually done in extremely fast pace editing sequences. This provides a flash of light on the screen when the image is set in a dark environment, in addition to creating a confusing image which the viewer may find difficult to interpret. This is done with the intent to shock the viewer, building suspense and conveying the confusion and panic which the characters were experiencing. In addition to inverting the colour, a green filter can be shown to have been applied to the image, further presenting a unsettling atmosphere in addition to the out of the ordinary in order to make the viewer uncomfortable, while also presenting a science-like atmosphere which supports the supernatural events with reason, creating a more daunting context to the trailer. These effects can be found at 0:32 and 1:50. The examples are shown.
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The titles are presented on a black background, with the text either fading in from the black. The fade provides a ghostly effect, relating the the events in the trailer in addition to its genre. The light green, glowing text creates an eery effect, with the ghostly image created being representative of horror. Visual effects and animation are also used in the trailer when introducing the name of the movie and other information about it such as its release date. It is important to recognise that the visual effects and animations used here present the genre of the trailer effectively, with the fading and glowing of the text from promoting tension in their eery style. The examples are shown.
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A list of the transitions and visual effects used are shown:
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0:01 - ‘The following preview has been approved for all audiences. The film advertised has been rated RESTRICTED’
0:03 - ‘Universal’ logo
0:05 - ‘Twisted Pictures’ logo
0:06 - Fade from black
0:09 - Cut
0:11 - Cut
0:12 - Cut
0:13 - Cut
0:16 - Cut
0:18 - Cut
0:21 - Cut
0:22 - Cut
0:25 - Cut
0:27 - Cut
0:28 - Cut
0:29 - Cut to black
0:31 - Cut
0:32 - Cut
0:32 - Cut to black
0:32 - Cut
0:32 - Cut to black
0:32 - Cut
0:32 - Cut, invert colour
0:32 - Cut
0:32 - Cut, invert colour
0:32 - Cut to black
0:35 - Titles, ‘From the writer and director of Saw’
0:37 - Cut
0:38 - Cut
0:39 - Cut
0:39 - Cut
0:39 - Cut to black
0:39 - Cut
0:39 - Cut to black
0:39 - Cut
0:41 - Cross fade
0:42 - Cut
0:43 - Fade to white
0:43 - Fade
0:44 - Cut
0:44 - Cross fade/Cross dissolve
0:45 - Cut
0:45 - Cut
0:45 - Cut to black
0:46 - Titles, ‘Comes a new experience’
0:48 - Fade
0:49 - Cut
0:49 - Cross fade/Cross dissolve
0:50 - Cut
0:50 - Cut
0:50 - Cut
0:51 - Cut
0:51 - Cut
0:51 - Cut
0:52 - Cut
0:52 - Cut
0:53 - Cut
0:54 - Cut
0:54 - Cut to black
0:54 - Titles, ‘On the razor’s edge of fear’
0:57 - Fade
0:58 - Cut
0:59 - Cut
1:00 - Cut
1:00 - Cut
1:00 - Cut to black
1:01 - Cut
1:02 - Cross fade/Cross dissolve
1:03 - Cross fade/Cross dissolve
1:05 - Cut
1:05 - Cut
1:05 - Cut
1:05 - Cut to black
1:06 - Fade
1:08 - Cross fade/Cross dissolve
1:09 - Cut
1:11 - Cut
1:11 - Cut
1:11 - Cut
1:11 - Cut
1:11 - Cut to black
1:13 - Titles, ‘This March’
1:14 - Fade
1:15 - Cut
1:16 - Fade
1:16 - Cut
1:16 - Cut to black
1:16 - Cut
1:16 - Cut to black
1:16 - Cut
1:16 - Cut
1:16 - Cut
1:18 - Cut
1:19 - Cut to black
1:19 - Titles, ‘They will come to life’
1:21 - Fade
1:21 - Cut
1:22 - Cut
1:22 - Cut to black
1:22 - Cut
1:22 - Cut
1:24 - Cut to black
1:24 - Titles, ‘With a vengeance’
1:25 - Fade
1:26 - Cut
1:27 - Cut
1:29 - Cut
1:29 - Cut
1:30 - Cut
1:30 - Fade to black
1:32 - Fade
1:33 - Fade to black
1:33 - Fade
1:35 - Fade to black
1:35 - Fade
1:38 - Cut
1:38 - Cut
1:39 - Cut
1:41 - Cut
1:42 - Cut
1:43 - Cut
1:43 - Cut
1:44 - Cut
1:44 - Cut
1:45 - Cut
1:45 - Cut
1:45 - Cut
1:46 - Cut
1:46 - Cut
1:47 - Cut
1:47 - Cut, face stretching
1:48 - Cut
1:48 - Cut
1:49 - Cut
1:50 - Cut, inverted colour
1:50 - Cut
1:51 - Cut
1:51 - Cut
1:51 - Cut
1:52 - Cut
1:52 - Cut
1:53 - Cut
1:53 - Cut
1:54 - Cut
1:54 - Cut
1:55 - Cut
1:55 - Cut
1:56 - Cut
1:56 - Cut
1:56 - Cut
1:56 - Cut
1:56 - Cut
1:57 - Cut
1:57 - Cut
1:57 - Cut
1:58 - Cut
1:58 - Cut
1:58 - Cut
1:58 - Cut
1:59 - Cut
1:59 - Cut
1:59 - Cut
2:00 - Cut
2:00 - Cut
2:00 - Cut to black
2:01 - Fade
2:03 - Cut
2:04 - Cut
2:04 - Cut
2:05 - Cut
2:05 - Cut to black
2:05 - Titles, ‘Dead Silence’
2:08 - Cut
2:08 - Cut to black
2:08 - Titles, ‘This March’
2:12 - Fade to black
0:00 - Age rating info
0:03 - Studios logo
0:05 - Pictures logo
0:07 - Zoom
0:08 - Over the shoulder shot, shallow depth of field
0:11 - Zoom
0:12 - High angle, pan
0:13 - Focus pull
0:16 - Handheld
0:18 - Point of view shot, handheld
0:21 - Character is not central
0:23 - Handheld point of view shot
0:25 - Eyeline match
0:27 - Closeup
0:28 - Closeup
0:31 - Closeup
0:32 - Closeup
0:32 - Closeup
0:33 - Closeup, zoom
0:35 - Titles
0:38 - Closeup
0:38 - Closeup
0:38 - Closeup
0:39 - Closeup
0:39 - Zoom
0:41 - Closeup
0:43 - Mid closeup
0:44 - Shallow depth of field
0:45 - Closeup
0:45 - Central framing
0:46 - Titles
0:47 - Establishing shot
0:48 - Central framing
0:49 - Establishing shot
0:50 - Closeup
0:50 - Eye-line match
0:50 - Extreme closeup
0:51 - Sped up pan, insert shot, flashback
0:52 - Closeup
0:53 - Central framing, closeup
0:54 - Insert shot, closeup
0:55 - Titles
0:57 - Closeup
0:58 - Medium long shot
0:59 - Closeup, centre frame
1:00 - Extreme closeup
1:00 - Closeup, centre frame
1:01 - Establishing shot
1:02 - Shallow focus
1:03 - Long, establishing shot
1:05 - Point of view shot
1:06 - Point of view shot, closeup
1:06 - Extreme closeup
1:06 - Mid shot, shallow depth of field
1:08 - Not centre framed, prop is centre framed , zoom
1:09 - Deph of field, closeup
1:10 - Point of view
1:11 - Point of view
1:12 - Titles
1:14 - Establishing long shot
1:16 - Extreme closeup
1:16 - Closeup
1:17 - Pan
1:18 - Closeup, shallow depth of field
1:19 - Titles
1:21 - Two shot, over the shoulder, shallow depth of field, centre framing
1:22 - Tilt to closeup
1:22 - Closeup
1:22 - Zoom, medium long shot
1:22 - Insert shot, zoom out
1:24 - Titles
1:26 - Centre framed, medium long shot
1:26 - Closeup, centre framed
1:27 - Extreme closeup
1:29 - Zoom, closeup
1:29 - Insert shot
1:29 - Zoom, closeup
1:30 - Zoom
1:33 - Birds eye, high angle
1:35 - Establishing shot, pan
1:38 - Closeup
1:38 - Closeup, handheld camera
1:40 - Closeup, high angle
1:41 - Closeup, central framing
1:42 - Two shot, centre framed, foreground
1:43 - Zoom
1:43 - Two shot
1:44 - Zoom, closeup
1:44 - not centre framed
1:45 - Closeup
1:45 - Closeup
1:45 - Shallow depth of field
1:46 - Tracking shot
1:46 - Closeup
1:46 - Shallow depth of field, closeup
1:47 - Closeup​
1:48 - Insert shot​
1:49 - Medium shot​
1:50 - Closeup
1:50 - Insert shot, medium closeup
1:51 - Low angle
1:51 - Over the shoulder shot
1:51 - Closeup
1:52 - Mid shot, centre framed
1:52 - Not centre framed
1:53 - Over the shoulder shot, action match
1:53 - Closeup
1:53 - Long shot
1:54 - Closeup
1:54 - Closeup
1:55 - Medium closeup, centre frame
1:56 - Action match
1:56 - Insert shot
1:56 - Insert shot
1:56 - Low angle
1:58 - Medium shot
1:58 - Medium shot
1:58 - Insert shot
1:58 - Insert shot, turning
1:58 - Medium shot
1:59 - Closeup
1:59 - Medium shot
1:59 - Zoom
2:00 - Long shot
2:02 - Establishing long shot
2:02 - Closeup
2:03 - Closeup
2:04 - Closeup
2:04 - Over the shoulder shot, shallow depth of field
2:06 - Titles
2:09 - Medium shot
2:10 - Titles
Mise en Scene
The mise en scene in this trailer directly communicates the film's tone, the main characters and their environment, using features such as lighting, setting, location, character and costume in order to do this. The creative portrayal of the world in which the movie is set contributes to the life-like effect of the trailer.
The lighting in this trailer portrays a very cool toned image, with the artificial lighting which is used being white and not yellow toned light, and the natural lighting creating the white light which cools the colours in the environment. The lighting presents a mostly blue toned image, presenting the glum and bleak atmosphere of the trailer. Throughout flashbacks, however, the lighting tends to have a green hue, possibly presenting the corruption which has occurred in the past and the contamination which has compromised the antagonist’s personality and inspires threatening behaviour.
The appropriate light exposure was used in order to make most aspects of the scenes clearly visible, however due to the lack of bright lighting the whole trailer appears to be relatively dim, with the darker tone relating to the horror genre and creating a more dismal appearance. An example of the use of dim lighting in this trailer is shown through 1:34 to 1:50.
A list of all the different locations which appear in the the trailer are shown below:
The characters in the trailer and their actors are shown below in addition to the characters' costumes, a key contributor to the realism of the trailer. It conveys the characters in a way to portray their vulnerability or personality:
The protagonist played by Ryan Kwanten.
Detective played by Donnie Wahlberg
Antagonist played by Judith Roberts
The protagonist played by Ryan Kwanten.
Jamie Ashen is typically dressed in casual attire. Jeans, a casual shirt and a jacket portray the stereotypical image of the 'every man', while also conveying an air of masculinity.
Detective Lipton is dressed in a shirt, tie, suit and a beige raincoat. The beige coat clearly portrays his affiliation with law enforcement, while suit conveys his formality.
Mary Shaw, the antagonist, is shown to be wearing a long victorian style black dress. Her hair is tied up in an up-do appearing as though she is dressed to perform relating to the character's background. The actor is wearing a large amount of face makeup, with the special effects portraying her skin to be rotting, her eyes black and dark smudges to cover her face.
Jamie Ashen is typically dressed in casual attire. Jeans, a casual shirt and a jacket portray the stereotypical image of the 'every man', while also conveying an air of masculinity.
Sound
The rhythmic sound of the creaking rocking chair may have connotations with the daunting nature of the horror genre. Due to the repetitive sound, it creates suspense as if leading up to something, in addition to the breaking of the repetition being more likely to aid towards a jump scare or just a intense, highly suspenseful atmosphere. The sound, due to the chair not being present at first and then being shown, moves from non-diegetic to diegetic sound.
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In much of the most fast paced sections of this trailer, sounds with high pitches and high frequencies are used in order to create an image of speed and frantic behaviour, in addition to these sounds being rather unpleasant, which may show the discomfort of the situation which they are in. This is shown at 0:31. The extremity of this sound shows a clear sense of danger, helping to present the trailer's genre but also aiding the narrative in that the composure of the music is disappearing and becoming wild, alike the plot shown in the trailer.
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The lack of music or any sound can convey an uneasy atmosphere, the use of this technique at 0:14 shows severity upon the following actions, with lack of music allowing composure and mental preparation to be evident, this could relate to the following trailer being related to horror and intended to scare the viewer, therefore mimicking their possible actions as the beginning of their viewing. The second time this is used is at 1:33 to reflect the out of place nature of the rocking sound which was present before and presenting an eerie environment. It also presents an idea of fear and composure, as if the character is attempting to listen for any noises but also attempting to calm her.
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Sound effects are also used in this trailer in order to convey the narrative of actions in a more obvious way, such as the subtle sound of water at 0:48-0:50, portraying a stronger sense of place. The sound of glass smashing at 1:53 implies the negative effects as the breaking sound makes the destruction appear more harmful than it may have been with a small noise, this is also applicable to the sound of the door bursting open at 0:58. The sound of fire blazing at 1:56 aids in the iconography of the trailer’s genre, exaggerating the idea of fire being threatening and potentially damaging alike the protagonist in the trailer. A similar idea is presented through the slicing sounds at 0:33 and 1:00, in addition to the reloading and firing of a gun at 1:52. The exaggeration of the breathing at 0:18-0:26 create suspense, with the idea of heavy breathing indicating panic and transferring this feeling of anticipation onto the audience. The creaking of the dummies’ heads moving gives the props a sense of life, making the inanimate objects animate. The clicking at 0:51 imply the sense of technology, making it seem more aged possibly reflecting the torches being used. The creaking of the rocking chair at 1:32, 1:35 and 1:37 is also exaggerated as previously mentioned.
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Water Glass Door Fire Slicing Loading Gun Breathing
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Clicking Creaking
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A transcript of the dialogue is shown here:
Jamie? Jamie?
There’s an old ghost story around here about a woman named Mary Shaw.
She’s a ventriloquist who lost her voice.
Back when I was a boy a little boy went missing.
There was only ever one suspect, Mary Shaw.
She was murdered, the men cut out her tongue.
And this town has been plagued ever since, families found without their tongues.
She was buried with her doll collection, her children as she called them.
Somebody dug them up, all 100 of them!
When they came back they didn’t stay dead.
She’s here!
What’s going on?!
Beware the stare of Mary Shaw; she had no children only dolls.
Destroy the dolls!
I am!
And if you see her do not scream, or she’ll rip your tongue out at the scene.
Compared to the 2 minute and 12 second length of the film trailer in its entirety, the fact that collectively only 49 seconds of dialogue was used is interesting, this proves that the trailer relied heavily on the editing, mise en scene, camera work, instrumentals and sound effects in order to portray a plot. Character narration was included in this trailer, using a voice over; therefore making the dialogue used both diegetic and non-diegetic sound.
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The rhyme used ‘beware the stare of Mary Shaw, she had no children only dolls, and if you see her do not scream, or she’ll rip your tongue out at the scene’ creates a nursery rhyme, sing-song tone. This, combined with the sinister lyrics, portrays the effectiveness of the juxtaposition between child-like innocence and threatening evilness. This makes the negative forces in the film seem worsened, drawing a larger audience as the movie seems scarier and better as a horror movie.
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The use of music in this trailer was significant, with the use of music incorporated in order to convey a domestic and relaxed atmosphere, with the alteration of the sound creating an eerie atmosphere. The change from the positive to the negative tone in the music used implies the overall change from neutral to fearful in the trailer, providing a false sense of security only to make the scary parts even more effective. It also may inform to the plot of the movie as it may go from seemingly fine to terrible.
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Manipulated Music
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