The idea of producing a drama trailer appealed to me in a bias perspective as dramatized movies are my favourite movie genre, and hence I felt like my experience in the industry through being an avid watcher of many drama films would assist me in producing a drama, however, dramas as a film genre require deep context, well thought storylines and plots that are given an insight to throughout the trailers and ancillary texts and for my media project I was more inclined to want to boast my media skills through camera usage, editing and account of the technical elements rather than considering a storyline as priority. the girl with the dragon tattoo, the trailer I am about to analyse, was Inspiration for my drama/ crime short movie I produced in my lower school years, my first ever media project, with a link to the right. this trailer with usage of sound, fast paced editing and crime themes inspired my future works.
the trailer for the girl with the dragon tattoo begins with wintery ambience, the sound of a whistling wind commencing the trailer, which sets an eerie tone for the piece and places audiences in an external environment, making audiences feel vulnerable and almost lost with the echoing sound. this interlinks the usages and gratifications theory suggested by blumler and katz as audiences will be feeling like they can associate with the characters and feel as if they are experiencing the movie happenings for themselves. The wintery ambient sound diegetically played in the opening to the trailer coincides with the visuals of an establishing collection of shots panning round an outdoor snowy environment, depicting a storm connoting a disequilibrium to begin the trailer which is unconventional of drama trailers as typically there is first an equilibrium that is broken and distrupted throughout to reach a disequilibrium at the trailers midpoint rather than right at the beginning. the white purity of the snow connoting innocence juxtaposes with the themes of darkness, murder and violence depicted in the rest of the movie, which audiences are expected to have a understanding of with the books of the girl with a dragon tattoo being huge global best sellers, hence the film being widely awaited. the white snow hence is not what audiences would be expecting of the opening to the trailer, creating enigmas as to why the snowy atmosphere is what begins the trailer. The juxtaposing darkness of the bare trees creates a parallel between light and darkness, a visual symbolic parallel of good and evil, later exemplified in the trailer. The usage of the snowy imagery panned around in establishing shots for the first 8 seconds of the trailers flaunts the film institutions and visual editors usage of editing and unique selling point imagery.
The following montage of short milli second snippets of high action scenes from varying angles of low angle and close ups creates almost a whirlwind of different shots to confuse the audiences, a key technique of author stein Larsson when he wrote the girl with the dragon tattoo as confusion leading to a big reveal of an enigma was one of his writing techniques. The repeated shots of pressed flowers from a close up shot and from a long shot triggers audiences to ask themselves questions about what these could connote, creating enigmas in the trailer audiences will have to watch the entire film to decipher. This makes audiences more inclined to watch the whole movies entirety, and acts as an effective marketing campaign.
the fast paced techno music in a tension building rendition created by repeated sound motifs and keys playing creates a high paced atmosphere for the imagery shown, particularly necessary and effective for the trailer especially with the absence of dialogue in the trailer, hence the music is used for purpose of interlinking the shots together.
the inclusion in the montage of high status actors, Daniel craig, Christopher plummer, stellan Add to dictionary to name a few, act as unique selling points for the film to enable it to be marketed to audiences who recognise these characters from prior films. The differing shots of these characters begin to give away characteristics of their personas, without the dialogue involved, and chiefly the drinking of alcohol they all participate in throughout the montage give them a feature in common, the alcohol a link that interlinks the characters together. The alcohol also connotes disorientation when people are intoxicated, linking with the disorientated non linear non chronological order of the shots from the movie. the similar repetition of the snowy road shots reinforce the setting for the movie, which is what in fact the full length movie opens up with.
the girls voice that begins a onomatopoeia chant with echoing 'ooohs' and 'aaahs', creating an almost warped rendition of a infamous tribal chant. this similarly coincides with an idea we had for our own movie trailer to use nursery rhyme warped renditions.
The montage imagery of contrasting modes of transport, trains, motorcycles, cars, boats depicts a fast moving travelling process through the course of the trailer, keeping audiences enticed throughout during the fast paced course. similarly to the transport imagery, weaponry with gun shot and shootings are used in milli second appearances to reinforce the danger involved in the movies plot, a juxtaposing idea to Maslow's need to escape from daily troubles and woes, instead this movie captures further troubles and woes, seeming appealing to audiences. the contrasting usage of differing saturation shots with light and dark being used is effective in presenting an ongoing plot throughout the course of day and light, giving the plot depth and making it three dimensional.
the ambiguity behind the date of the films release at the very end of the trailer simply saying 'comming', creates tension for audiences who will feel almost threatened and patronised. This ambiguous technique will make audiences want to find out more for themselves, assisting in the marketing campaign.
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