Final Trailer.

AS Media Evaluation

http://prezi.com/6y_5tvd9n9rd/media-a2-evaluation/

Storyboard

Here is our basic and first story board, we never precisely followed the plan but we attempted to recreate it to as best as we can.

Idents

An Ident is a introduction into the film to represent the films producers/publishers and is typically around 10-20 seconds. They are using in radio, film and TV. They may be used to please the licensing authorities and for a form of branding, sometimes both. They are typically used at the start in films but are also used for TV between adverts or breaks, as for radio they are usually a recoccuring voice naming the station throughout the shows. Each company has their own unique ident that represents them.

We will be using this ident below in our film trailer as it is high resolution and very smart and professional. Also we will be using this because of the dark nature it gives out which will suit our action film.

Here are some well known idents.

Stages of creating Film Magazine and Film Poster

Mock up of Film Poster and Film Magazine

Planning for the Film Trailer

Plot

Mason (Scott Mosher) is a family man, a hard working journalist with a beautiful wife L'fonda (Tasha Maguire), who is unaware of Masons drug obsessed past... Until it catches up with him. Mason owes £100,000 in unknown fee's to a high class drug dealer, who is willing to go to extreme lengths to get his money, even if it means killing his wife.

Extras

As an extra on set we need a driver, someone who will not actually be featured in the film, but can provide a transport source to make the trailer run smoothly. We are very lucky to know someone who doesn't mind giving up his time for this short part in our trailer.

Kieran Gateley - Driver

Risk Assessments



Locations

Locations are a very important factor in any movie, and so I have arranged them so that they match the criteria of the storyline, we needed a family home, a house that looks as if it has been settled into. We also needed an office, after talking to many local business's and companies, it appeared nearly impossible to find a suitable location for this movie, however I was very lucky to be able to book the Maghull Business Center, I originally didn't think about asking there but as a last resort I asked and they granted me permission to use one of the offices for 15 minutes. We will need to be prepared and organised for the shots taken in the business center due to the short time we have been allocated. For a final location we needed an outdoor, deserted and private place to film, my original plans were to use a field in Lydiate, however time management and travel plans forced us to pick a more local place, and so we decided to film on Maghull canal. This was an excellent decision as the graffiti walls and worn bricks give a typical british, gritty film appearance.

Time Managment

The trailer is set to be filmed on 26/10/11, starting at 12:00 and continuing to around 4:30. We are very lucky to book an office at the Maghull Buisness Center, however they allowed up to 15 minutes starting at 15:00, so whilst in the office we have to plan and carefully construct our usage of time. The scene in which the actors will be entering the building can only be filmed once also, as our driver Kieran has other plans and has to leave us. Myself and Richard Dyer will enter the building and set up cameras suitabley, ensuring no posisble errors or hazards will affect our shot, we then text Kieran and begin shooting. Kieran drives up too the building, L'Fonda is taken out of the car by our 2 bodyguards, and dragged into the building; I will film this process. As soon as they enter the building it is my job to point to the room in which they are supposed to go into, and pan my camera from left to right. We have also planned that if we have missed any shots during this day or if we discover that some shots turn out bad then we can re-film on the 16/11/11.

Soundtrack

In our trailer we will not be focusing from sounds from the actual filmed scenes. Instead we will be including a soundtrack that will build dramatic tension from start to end. It fits very well with the equilbrium. Aswell we will be fitting the scenes to be in time with the trailer. We will also be using extra voices which we record in our studio to go along with the acutal trailer



For my movie I will be following a basic version of Propps Theory, in that I will include a hero, a 'princess', a villain, and sidekicks for the villain. The Hero will be the main subject throughout the movie, and to gain attention to the hero I need a well built, handsome and brave posed actor. The 'Princess' needs to be able to connect to the hero in a way that'll convince the audience that the two are deeply deeply in love, she should be attractive and show feminine attributes throughout her performance. The villain should appear powerful, someone that the hero will have to fight hard to beat, the villain could look powerful in build or in appearance (I.e clothing choice and attitude on set). The Sidekicks should try to mimic their boss's actions and personality, but in a way that doesn't quite fill his shoes, they should appear 'dumb' or 'slow' so that it is clear that they'll never be able to out-grow their own boss. I believe I have picked the perfect actors for my project and am very excited to work with them.

Actors

For my movie I will be following a basic version of Propps Theory, in that I will include a hero, a 'princess', a villain, and sidekicks for the villain. The Hero will be the main subject throughout the movie, and to gain attention to the hero I need a well built, handsome and strong posed actor. The 'Princess' needs to be able to connect to the hero in a way that'll convince the audience that the two are deeply deeply in love, she should be attractive and show feminine attributes throughout her performance. The villain should appear powerful, someone that the hero will have to fight hard to beat, the villain could look powerful in build or in appearance (I.e clothing choice and attitude on set). The Sidekicks should try to mimic their boss's actions and personality, but in a way that doesn't quite fill his shoes, they should appear 'dumb' or 'slow' so that it is clear that they'll never be able to out-grow their own boss. I believe I have picked the perfect actors for my project and am very excited to work with them.

Mason - Scott Mosher pos
L'Fonda - Tasha Maquire
Nikolas Bellonski - Michael Fairhurst
Bodyguard 1 - George Hart
Bodyguard 2 - Steven Ecott

What went wrong

Story Time Line/ Running order

0:00 – 0:03 (Fade into extreme long shot panning virtically up sky scrapers, fade out)

0:03 – 0:06 (Fade into slight zooming of room where Mason lives, fade out)

0:06 – 0:08 (Fade into Mason writing on desk, camera angle table height facing up, fade out)

0:08 – 0:11 (Fade into L’Fonda hugging Manson from behind whilst still writing, fade out)

0:11 – 0:14 (Fade into Mason in kitchen drinking coffee, panned upwards, fade out)

0:14 – 0:16 (Fade into letter being posted through front door, fade out)

0:16 – 0:19 (Fade into Mason stood reading letter in shock horror, low camera angle, fade out)

0:19 – 0:22 (Fade into letter being dropped on floor)

0:22 – 0:24 (Fade into L’Fonda and Mason arguing stood up, low two shot)

0:24 – 0:27 (Fade into L’fonda slapping Masons face, close up on Masons face)

0:27 – 0:29 (Fade into door being broken open by Bodyguards 1 and 2, fade out)

0:29 – 0:32 (Fade into L’fonda being dragged away whilst Masons being held back, two shot angle)

0:32 – 0:34 (Fade into Mason being punched in face and falling down, face down, close up)

0:34 – 0:37 (Fade into L’fonda in back of car between body guard 1 and 2 with bag on head)

0:37 – 0:40 (Fade into Mason running out of house and looking left and right)

0:40 – 0:43 (Fade into Mason running down road in attempt to catch L’fonda, ripped clothing exposing muscles)

0:43 – 0:45 (Fade into L’fonda being taken into iconic building by Bodyguards)

0:45 – 0:48 (Fade into Jamie stood outside iconic building tired, worn down and angry)

‘’COME THE FUCK AT ME BRO!’’

0:49 – 0:52 (Manson jumping over fence)

0:52 – 0:55 (Nikolas creepy smile, close up angle)

0:55 – 0:57 (Mason kicking bodyguard 1 whilst bodyguard two holds him from behind, long shot)

0:57 – 1:00 (L’fonda on phone crying)

1:00 – 1:03 (Mason walking down busy road in suit)

1:03 – 1:05 (Brief case angle of Mason walking from

side)

1:05 – 1:08 (shot carry’s on from Briefcase scene however the briefcase is gone)

1:08 – 1:11 (Mason on knees screaming,  camera angle birds eye view)

1:11 – 1:13 (Nikolas shooting bodyguard 1, over the shoulder angle)

1:13 – 1:16 (Mason beating up Bodyguard 2, 2 punches and 1 kick)

1:16 – 1:19 (Mason and L’fonda Kissing/hugging, two shot)

1:19 – 1:21 (Mason running downhill in forrest, half suit dressed, followed by bodyguards, long shot)

1:21 – 1:24 (Mason aiming gun at camera, close up)

1:24 – 1:27 (L’fonda jumping off wall)

1:29 – Jump cuts to 1:37

Marketing Campaign The Dark Knight

I have decided to research the marketing campaign for TDK (The Dark Knight) as it is in the same genre of the film trailer I am producing.

The first usage of a marketing campaign they used for TDK is that they created a website with the tagline "We believe in Harvey dent" promoting Harvey Dent's (Fictional character in TDK) political campaign. Warner brothers wanted the fans to earn on what they would like to know about the upcoming film so they decided to have a system where the audience had to send emails to the company to chip away a pixel which eventually led to a vandalised website which revealed the Joker. This is a very good use of Viral marketing through the internet as it interacts with the audience and makes them earn the right to know about the film.

Eventually in 2007 at comic con, WhySoSerious.com released a scavenger hunt which made the audience search for a teaser trailer and a new picture of the Joker. This is another way of interacting with the audience to promote their film. Involving the audience will make them personally more interested in the film as they are connecting towards it. Eventually each prize the audience won (Such as Posters, Trailers etc.) would connect to another website revealing even more about the film itself.

 

They also used several different techniques with teaser trailers with cinemas. In IMAX’s I Am Legend, the played the intro scene as a teaser. In non-Imax cinemas they play other teaser trailers for the film. Not only did they use this, they created spin offs such as animated series and special features connecting the first film to the new one in the Blu Ray disk of Batman Begins.

Unfortunately, one of the main actors passed away. Heath Ledger who played The Joker was primarily focused on via memorials and tributes. Warner Bros informed the fans that they would inform fans that actual campaign buses nicknamed "Dentmobiles" would tour various cities to promote Dent's candidacy for district attorney.

Another marketing campaign they had used is that they open Batman themed rollercoasters, role plays, toys, clothes, puzzles and other synergy with company’s such as Dominos.

Overall this is a massive marketing campaign that would have cost a lot of money. I could very possible recreate some of these techniques used such as the linking websites. The main technique Warner bros has used is to personally interact with their audience, making them work for information about the film. This would be satisfying to working for information if I were the audience.

Software

I will be using several different software programs to help me create my media coursework. Two programs I shall be using are iMovie and Macromedia Fireworks.

iMovie is a movie editing software that comes with any Mac. It has simple interface and is very effective in its usage. It comes with simple but effective transitions as well as not becoming very time consuming as it is simple and fast to use. It is also compatible with most video formats which make it easier with not having to convert them. It also has some good rendering software for optimal visualisation.

Software I will be using is Macromedia Fireworks which works will all platforms. It is similar to programs such as Photoshop but I am more comfortable with using fireworks as I have already used it in several different topics. I believe it has a better interface and more simple, while delivering the same expertise as Photoshop has. I will be using this software to create logos, banners and posters for my film production.

MERRY CHRISTMAS

MERRY CHRISTMAS

Synergy between a Film Poster, Film Trailer and Film Magazine Cover

These media texts use each several methods to link and help each other’s promotions. There are several different elements that are linking to each of these different promotional materials. Each material has a feature that is linking between them all, a reoccurring theme. One of these first elements is the colour theme that is taking place within these materials, it follows the colour scheme of a dark blue set with dark bright colours such as the dark purple and green set against the dark blue set. They also seem to share the same visual effects with each other. These also link into the film as the villain of the film (Joker) is represented by these dark bright colours, making him stand out from the rest of the set. These colours also represent that he an insane character as the colours are very extravagant. Also he is illustrated as the main villain as he is mostly promoted, through posters and trailer. He always seems to stand out from the rest of the scene, like he's different from everyone else. Another feature that is linked between all of the materials is the batman logo, which is found in all media texts. This picture immiedently is known to a large majority of the audience. The media also seems to focus on the Joker a lot; he is only most covers of posters and magazines and has a large part in the trailer, including the voice over. This is maintained throughout the several different media texts that are published up until the release of the film; they seem to focus on the same features to keep it all in the same context. Along time, they seem to develop more of the storyline with each release of the media. At first it was promoting Batman but they started to play in villains started focusing on them to lure the audience in to excite them. Though not to develop on to much of the story, the synergy of these products is to relate to each different media text, helping each other out on developing on the story in their own way using the main theme shown through the media texts.

Media Regulation

Almost everyone relies on the media, known as the public watchdog, to learn about news and hear debates. Governments often dislike influential alternative or critical voices and works to stop them capturing, curtailing or controlling the media through regulation.
Below from top to bottom are the influences on media policy in a hierarchy.

State and government intervention
Specific media laws
General laws of the country
Regulatory and licensing authorities
Technical/administrative agencies
Advisory bodies
Public complaints and standards bodies Industry standards authorities
Professional self-regulatory bodies
Public opinion and pressure groups
Voluntary consumer and audience watchdog groups
Media criticism

Richard Dyers Star Theory

Dyer has written a large amount on celebrities within music and film. What he states is that a Star is an image but not a person. This person is 'fake' and is designed to be extraordinary and different from the 'average' person. This star is often published via advertisements magazines famous events etc. The Star uses all technology to promote him/herself, such as the internet, TV, movies magazines etc. Dyers star theory is based around 2 paradoxes.

Paradox one - The star must be ordinary and extraordinary

Paradox two - The star must be simultaneously present and absent to consumer (private life that audience wants to know more about)    

Propps Theory

In the 1920's Vladimir Propp published his morphology of the folk tale. He said that most storys have the same basic struggles and have stock characters.

Characters to Propp always seem to follow this pattern.

The Hero – a character that seeks something

The Villain – who opposes or actively blocks the hero’s quest

The Donor – who provides an object with magical properties

The Dispatcher – who sends the hero on his/her quest via a message

The False Hero – who disrupts the hero’s success by making false claims

The Helper – who aids the hero

The Princess – acts as the reward for the hero and the object of the villain’s plots

Her Father – who acts to reward the hero for his effort

Also he says that the storys are always basic and follow the same storyline.

      Prepartion - A warning is given
      Complication - A state of disorder
      Transference - The Hero leaves home
      Struggle - There is struggle between the hero and villian
      Return - The hero returns
      Recognition - The hero is recognised and recieves award of some type.

Queer Theory

The queer theory revolves around sexual minorities within mass culture/media and an intellectual extension of the Gay & Lesbian rights movement. The queer theory recognizes queers as a disadvantaged class in society whose voices are obscured, misrepresented in, or omitted from mainstream popular culture. Also television upholds mainstream values (dominant ideology) and “normalizes” them and television upholds mainstream values (dominant ideology) and “normalizes” them and homosexual/queers positions challenge societal gender roles.

Strauss

Claude Levi-Strauss
Strauss is a Social Anthropologist and studied myths of tribal cultures. He examined how stories unconsciously reflect the values, beliefs and myths of a culture. These are usually expressed in the form of binary oppositions.His research has been adapted by media theorists to reveal underlying themes and symbolic oppositions in media texts.

Roland Barthes

Linguist Roland Barthes described Five Codes which are woven into any narrative.

Hermeneutic Code: the voice of the truth

The Hermeneutic Code refers to any element of the story that isn't full explained and becomes a mystery to the reader.

Proairetic Code: empirical voice

The Proairetic Code builds tension, referring to any other action or event that indicates something else is going to happen, and which hence gets the reader guessing as to what will happen next.

Semic Code: the voice of the person

This code refers to connotation within the story that gives additional meaning over the basic denotative meaning of the word.
Symbolic Code: the voice of symbols

This code refers to connotation within the story that gives additional meaning over the basic denotative meaning of the word.
Referential Code: the voice of science

This code refers to anything that is founded on some kind of canonical works that cannot be challenged and is assumed to be a foundation for truth.

Trailer Terminonlogy

Plot Summary
Most trailers have a three-act structure similar to a feature-length film. They start with a beginning (Act 1) that lays out the premise of the story. The middle (Act 2) drives the story further and usually ends with a dramatic climax. Act 3 usually features a strong piece of 'signature music' (either a recognizable song or a powerful, sweeping orchestral piece). The last act often consists of a visual montage of powerful and emotional moments of the film and may also contain a cast run if there are noteworthy stars that could help sell the film.

Voice-over
Voice-over narration is used to briefly set up the premise of the movie and provide explanation when necessary ('In a world...'). Since the trailer is a highly condensed format, voice-over is a useful tool to enhance the audience's understanding of the plot.

Music
Music helps set the tone and the mood of the trailer. Usually the music used in the trailer is not from the film itself (the film score may not have been composed yet). The music used in the trailer may be:

• Music from the score of other films
• Popular or well known music, often chosen for its tone, appropriateness of a lyric or lack-there-of, or recognisability
• 'Library' music previously composed specifically to be used in advertising by an independent composer
• Specially composed music
• Songs, which may include knock-offs of recognizable (but expensive to license) songs

Cast, Crew, and Studio Information
A cast run is a list of the stars that appear in the movie. If the director or producer is well-known or has made other popular movies, they often warrant a mention as well. Most trailers conclude with a 'billing book', which is a list of the principal cast and crew. It is the same list that appears on posters and print publicity materials, and also usually appears on-screen at the beginning (or end) of the movie.

• Studio production logos are usually featured near the beginning of the trailer. Until the late 1970s, they were put only at the end of the trailer. Often there will be logos for both the production company and the distributor of the film.

Technical Elements

• Sound Mix: many movie trailers are presented in Dolby Digital or any other multichannel sound mix. Scenes including sound effects and music that are enhanced by stereophonic sound are therefore the focus point of many modern trailers
• Video Resolution: movie trailers, preceding feature films are generally presented in the same format as the feature, being in the general terms 35mm film or a digital format. High bandwidth internet connections allow for trailers to be distributed at any resolution up to 180p

Film Trailers Definition and History

Definition

Trailers consist of a series of selected shots from the film being advertised. Since the purpose of the trailer is to attract an audience to the film, these excerpts are usually drawn from the most exciting, funny, or otherwise noteworthy parts of the film but in abbreviated form and usually without producing spoilers. For this purpose the scenes are not necessarily in the order in which they appear in the film. A trailer has to achieve that in less than two and a half minutes, the maximum length allowed by theaters. Each studio or distributor is allowed to exceed this time limit once a year, if they feel it is necessary for a particular film.

History

Some trailers use "special shoot" footage, One of the most famous "special shoot" trailers is that used for the 1960s thriller Psycho, which featured director Alfred Hitchcock giving viewers a guided tour of the Bates Motel, eventually arriving at the infamous shower. At this point, the soft-spoken Hitchcock suddenly throws the shower curtain back to reveal Vera Miles with a blood-curdling scream.

The people who create trailers often begin their work while the movie is still being shot. Since the edited movie does not exist at this point, the trailer editors work from rushes or dailies. The trailer may be created at agencies such as;

• The Cimarron Group
• MOJO
• The Ant Farm
• Aspect Ratio
• Trailer Park

while the movie itself is being cut together at the studio.

The first trailer was shown in November 1913. The short promotional film was for the musical The Pleasure seekers. Up till the 1950's most film trailers where created by the national screen service, film trailers normally consisted of large descriptive text consuming most of the screen and the video in the background and most trailers had some form of narration and those that did featured stentorian voices.

In the 1960's motion picture trailers changed significally. Text less, montage and quicker edits where featured a lot due to the arrival of new Hollywood. From this time on, trailers consistence of quickly edited scenes. Then in 1964, Andrew J Kuehn distributed his trailer for Night of the Iguana using stark, high-contrast photography, fast-paced editing and a provocative narration, his format was the start of modern day trailers. From that time on, trailers production companies emerged such as The Cimarron Group (Chris Arnold), Ant Farm, Aspect Ratio (Mark Trugman), Trailer Park (Benedict Coulter) and Motor Entertainment, run by Greg McClatchy.

Many home videos contain trailers for other movies produced by the same company scheduled to be available shortly after the legal release of the video, so as not to spend money advertising the videos on TV. Now trailers can operate as a bonus feature instead of having to watch threw them all.

Conventions of Film trailers, magazines and posters.

Conventions of a film trailer typically to create a successful trailer include a suggestion into the storyline as well as introducing some of the main characters. Also it should set the genre of the film and create a feel for the setting but it mainly has to attract an audience into watching the full film. It should draw the interest of the audience by displaying attention grabbing footage which should normally slowly build up from the beginning and should consist of quickly paced clips. It should also usually contain graphics like the film title and opening dates and may include music and voice over.  A careful point to look out for is not to include too much of the main points of the film as you may spill too much info and render the film pointless as the main points are already in a short trailer

Conventions of a film poster typically have to be eye catching and captivating as well as have a focal picture that will be intriguing. It also has to display a large title that is easy to read and include a suggestion of the film genre. The film poster may include the most famous/well-known actors to promote the film and attract a target audience. The tagline is usually evident of the poster and the age certification, coming soon or release date displayed, directors and production company is displayed.

Conventions of a film magazine front cover generally include the magazines name, clearly displayed. The cover has to be noticeable to the audience and stand out from other magazines. Famous actors/images generally used as a focal point or other recognisable features to the audience. Images on the front have to target a contain audience and the graphics and colour are used to create a mood for the magazines. Font size, shape and colour are also used to creatively suggest different ideas. Several cover lines dotted around the page to promote other good content inside and the price and barcode are displayed

The BBFC

The British Board of Film Classification is an independent, non-governmental body which has classified cinema films since it was set up in 1912 and videos/ DVDs since the Video Recordings Act was passed in 1984.


The BBFC was originally set up in 1912 by the film industry and an independent body to bring uniformity to the classification of the film nationally.


Also in 1984 the government passed the Video recordings act which all videos to be tested for suitability for home by the BBFC.


Also the BBFC is a non-profit organisation. Its only income is of the fees it charges to class its products

The current BBFC system is:

• U (Universal) Suitable for all. (The board states that while they cannot predict what might upset a particular child, a 'U' film should be suitable for audiences aged 4 and older).
• PG (Parental Guidance) General viewing but some scenes may be unsuitable for young children. (It is the board's policy that movies rated 'PG' should not disturb a child of about 8 years of age or older; however, parents are advised to consider whether the content may upset young or more sensitive children).
• 12A (12 Accompanied/Advisory) Recommended for 12 years and older. People under 12 years must be accompanied by an adult. (Exclusively for cinema, '12A' was first implemented on The Bourne Identity and, contrary to popular belief, not on Spider-Man, which was first released months before, under the previously fully restrictive 12 certificate, and then immediately re-released to take advantage of the new guidelines).
• 12 Recommended for 12 years and older. Nobody younger than 12 may rent or buy a '12' rated video. (Until 31 August 2002, this mandatory certificate used to apply to cinema exhibitions as well).
• 15 Suitable only for 15 years and older. Nobody younger than 15 may see a '15' film in a cinema. Nobody younger than 15 may rent or buy a '15' rated video (these films may contain offensive or emotionally harrowing scenes or strong language and violence).
• 18 Suitable only for adults. Nobody younger than 18 may see an '18' film in a cinema. Nobody younger than 18 may rent or buy an '18' rated video (These films may contain extreme gore/violence and/or sexually explicit content).
• R18 (Restricted 18) To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults that are older than 18 years old. (These films contain sexually explicit, pornographic content.)

Trailer Comparison

Cinderella is one of the earliest created trailers. Most of the typical conventions of a trailer are not followed as this is one of the earliest trailers. It introduced little about the actually story in the video clips and is heavily focused on large text displays covering most of the screen up. The clip is only 30 seconds as modern day trailers are over 2 minutes on average. There is a small voiceover section but not detailing any information about the film itself but the creator of the film. To a degree the creator is famous and himself alone would bring a large range of audience towards the film as well as the production name "Walt Disney" but little about the story of the film is shown or told. In the text a lot of features enticing the audience to watch are used but again little information about the story has been shown. It uses some basic features such as a film title, music and a voice over. It doesn’t follow the usual pattern of starting out slow and building up, it just jumps right into promoting the release. They use Walt Disney as a device to make the audience watch as already he has a large following from other productions so he is the main device used to promote this film.

Terminator 2 follows the typical conventions of a film trailer. It starts out slow and builds up and keeps on building to the end. The soundtrack is a well-known track that was made famous from the first film which is used to relate to the previous audience from the last film. It includes a voiceover and dialog from the film to set the scene and genre from the film. It states a lot on the previous film, informing information that happened on the previous film so not only will it aim for the audience that has seen the previous film but a new target audience. The voice over and sound track suggests the storyline but doesn't give away too much of the plot of the film, luring the audience into watching the mystery that is given in the film. Also it uses dialogue from the film to bring the audience into the film and create more depth to the film. It draws much attention due to large blockbuster effects such as CGI and explosions. This was created in the 1990's where CGI was just at its peak, where effects where becoming realistic and this trailer try’s to show of this new technology by providing scenes where CGI is shown. It is one of the earliest films as well to use CGI so at the time it was a big interest. It also uses the main character/actor to promote the film as Arnie is well known throughout the world; people would most likely see the film just for the actor. It also contains graphics such as the film title, opening dates, cast and other basic information. The soundtrack is also synced with the film itself; such a drum beat timing with an explosion. Allot of devices have been used and this was the start of a typical blockbuster trailer we see today, this is a one of the first blockbuster trailers. Allot of action is used as well to keep the audience interested in it, as well as using key elements to provide information on the back story of the film.

Film Posters

Here are 3 film posters for the film Inception. In each poster, the actor Leonardo Di Caprio is at front of each poster thus giving the audience the information that he is most likely to be the main character. They also use Leonardo is a famous actor and is used to attract the target audience. Another feature that signifies this is that in each poster, Leonardo's name is at the top of each poster with the tagline underneath it. Each poster is slightly different but revolves around the same theme; all 3 with dark blue colour schemes are the title "Inception" in a dark red colour to stand out from the dark blue scheme. Also the title is centred in the posters overcoming any image. It is most likely the standard out title with be the first thing to catch the audience’s eye. Another reoccurring feature is that each poster has twisted scenery. The architecture is not realistic, showing that this is a fictional film. Each film poster seems to be eye catching and mysterious, which makes it so the audience want to solve the mystery behind it. Each of these posters use the common conventions of film posters and are all well designed to draw in the audience

Here I have posts two front pages of film magazines. Each is promoting the new film "Inception". A common feature in both is that the magazine revolves around the main film they are discussing about. This is show by Leonardo covering up the masthead of the magazines title. Also any other film release is put aside to the Inception image revolving around the main release. Another feature that the magazine Film is promoting is that they've personally changed their masthead to suit the "Inception" themed magazine. The have replaces their masthead with a strange architectural film title. Not to say that empire hasn’t tried as their background has a strange architectural image has been used in the back ground. The image of Leonardo isn't up to a high standard though compared to the strong stature of Leonardo in the empire image. Comparing the posters, these have followed the exact same theme of dark blue and architectural background. Also Leonardo has been shown into each image as he is a famous actor who will attract a large majority of the audience due to his fame.