CAMERA SHOTS
Close up: The initial first few shots are of three different people, all close up's of their faces. Straight away, we as the audience, can establish the type of relationship these people have between one another. The close up allows the audience to step into the characters world as they are some what 'face to face' with the characters on screen. A close up therefore distinguishes differences between characters facial expressions whether that be one of fear, sadness or happiness.
Over Shoulder shot: In terms of a thriller/ horror trailer, an over the shoulder shot conveys much more than a relationship between two characters. The fact the shot is placed behind a character adds to the tension and suspense of characters always being on edge and feeling like they are the prey of an attack. It helps to build up suspense with in the trailer.
Wide Shot: A wide shot allows for a location to be put into perspective. It allows the audience to understand the setting of the place which will then help inform the audience of the type of environment the characters are in. For example in the trailer the woman is in the presence of a killer in a prison, this setting evokes danger when we think of this woman being trapped here.
Extreme Close up: An extreme close up is used to convey intense emotion, a focus on the eyes allows the audience to see pain or fear very easily without showing their emotions through the use of body language. It's a much more intimate way of evoking emotions and allows the audience to empathise with the character as they become more emotionally invested.
Tracking Shot (backward): Brings the audience away from the action, and reveals the rest of the scene leaving the characters in the middle.
Tracking Shot (forward): A fast tracking shot forward is show and this immediately draws the audience right in to the pinocle of the action.
Pan: A panning shot allows a variation in the shots and allows for a quick glance around the scene allowing for all characters to be viewed in one take.
Mid shot: A mid shot allows more body language to be used in the shot but still is close enough to enable facial expressions to be accounted for as well.
Long Shot: A long shot is mainly used in the trailer to establish the characters surroundings.
EDITING TECHNIQUES
Over Shoulder shot: In terms of a thriller/ horror trailer, an over the shoulder shot conveys much more than a relationship between two characters. The fact the shot is placed behind a character adds to the tension and suspense of characters always being on edge and feeling like they are the prey of an attack. It helps to build up suspense with in the trailer.
Wide Shot: A wide shot allows for a location to be put into perspective. It allows the audience to understand the setting of the place which will then help inform the audience of the type of environment the characters are in. For example in the trailer the woman is in the presence of a killer in a prison, this setting evokes danger when we think of this woman being trapped here.
Extreme Close up: An extreme close up is used to convey intense emotion, a focus on the eyes allows the audience to see pain or fear very easily without showing their emotions through the use of body language. It's a much more intimate way of evoking emotions and allows the audience to empathise with the character as they become more emotionally invested.
Tracking Shot (backward): Brings the audience away from the action, and reveals the rest of the scene leaving the characters in the middle.
Tracking Shot (forward): A fast tracking shot forward is show and this immediately draws the audience right in to the pinocle of the action.
Pan: A panning shot allows a variation in the shots and allows for a quick glance around the scene allowing for all characters to be viewed in one take.
Mid shot: A mid shot allows more body language to be used in the shot but still is close enough to enable facial expressions to be accounted for as well.
Long Shot: A long shot is mainly used in the trailer to establish the characters surroundings.
EDITING TECHNIQUES
Eye-line match: When Hannibal and Clarice are talking, there is an eye-line match to suggest they are on the same level. Although Clarice is of a higher status than Hannibal because he is a prisoner, (Claude Levi Strauss' binary opposition is demonstrated here) she needs him to help her with this crime case therefore they become equals.
Direct eye contact: Hannibal is seen to look directly into the camera multiple times. It makes the audience feel as if they are also being manipulated by him and reluctantly makes them feel closer to the action and more emotionally invested in the film.
Pace: The pace of editing is of a normal pace yet when there are very loud notes in the sound track the editing speeds up to match the sound and flicks between 1 second cutaways. This becomes a reflection of the fragmented mind of Hannibal and the confusion in which Clarice feels.
Shot reverse shot: Shot reverse shot between Clarice and Hannibal, it distinguishes a very distant relationship between the two characters as they are not seen in the same shot.
Prevalence: The character with the most prevalence is Clarice but equally Hannibal. This shows the hegemonic model being challenged as the woman is seen as the hero rather than the white male.
MISE-EN-SCENE
Location: The primary location is in a maximum security prison with the most notorious, psychopathic serial killer 'Hannibal'.
Set design: The set design is 'dirtied' up to make the prison look harsh. The bars on the prison cell are very prominent and look to be rusted and old suggestive of the long period of time the prison has been there. There is basic to minimal furniture emphasising the lack of possessions which prisoners have.
Costume: The woman detective looks smartly dressed, with a feminine suit and heals. She has a professional look. The prisoner on the other hand is either dressed in a white t-shirt and plain basic trousers or prison overalls.
Lighting: The lighting in the prison is very dimly lit with low-key lighting being the main source of light.
SOUND
Dialogue: There is a lot of dialogue in the trailer mostly between Hannibal and Clarice, the use of the dialogue going back and forth between them throughout the trailer allows the audience to understand the twisted relationship that they have as Hannibal tries to get inside Clarice's mind.
Voice over: The voice over is not spoken by a character in the trailer but as a narrative feature. As this film was made in 1991 (25 years ago) it is considered to be an older film compared to the other movies I am analysing. The use of a narrator was perhaps more common in older thriller movies.
Score: The running track of the score that is played under the trailer consists of very low pianist base notes with the resultant effect of a tense and dangerous environment.
Foley: The use of Foley emphasises the 'jumpiness' of the trailer, such as the footsteps, breathing, cell doors/bars slamming and the photograph shutter click. It keeps the audience on the edge of their seats.
NARRATIVE
EQUILIBRIUM: Clarice the young female detective is assigned to help find a missing woman who is in the hands of psychopath 'buffalo Bill'.
DISEQUILIBRIUM: Clarice decides to match wits with Hannibal the 'Cannibal' in order to help understand the mind of 'Buffalo Bill'.
RECOGNITION: Hannibal is very manipulative therefore Clarice must gain the confidence of the once most respected 'psychiatrist' in order for him to give her any information.
ATTEMPT: Clarice must not let Hannibal inside her mind once he starts asking questions about her personal life. The twisted relationship between Hannibal and Clarice is a dangerous one.
RESTORATION: There is no restoration as this is a TRAILER
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