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Pushing the Boundaries of Film Trailers a Quantitative Analysis of a Multimodal Genre

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Pushing the Boundaries of Film Trailers a Quantitative Analysis of a Multimodal Genre Pushing the Boundaries of Film Trailers A Quantitative Analysis of a Multimodal Genre Sabine Elisabeth Snapper 24-6-2017 Supervisor: Dhr. Dr. C.J. Forceville Second reader: Dhr. Dr. T. Poell University of Amsterdam, Research Master Media Studies 1 2 Contents 1. Introduction 1.1. The Trailer as Research Object 5 1.2. A Multimodal Approach 6 1.3. Overview of Contents 7 2. Literature Review 2.1. Introduction 9 2.2. Trailer as Paratext 9 2.3. Narrative in Trailers 10 2.4. Promotion and Audience 12 2.5. The Rhetorical Role of the Trailer 14 2.6. Conclusion 14 3. Genre 3.1. Introduction 16 3.2. A Semantic/Syntactic Approach to Genre 17 3.3. A Semantic/Syntactic/Pragmatic Approach to Genre 19 3.4. The Mixing of Genres 21 3.5. Conclusion 23 4. Film Trailer as Genre 4.1. Introduction 24 4.2. Different Types of Film Trailer 24 4.2.1. Theatrical Trailer 25 4.2.2. Teaser Trailer 28 4.2.3. Television Advertisement for a Programmed Film 31 4.2.4. Fan-Made Trailer 32 4.2.5. The ‘Fake’ Trailer 34 4.3. Semantics and Syntax of the Film Trailer 35 3 5. Analysis 5.1. Analytical Approach and Corpus 37 5.2. The Used Modes and Their Elements 39 5.3. Film Trailer by Genre 41 5.3.1. Science-Fiction Trailers 42 5.3.2. Drama Trailers 45 6. Results and Reflection 6.1. A Comparison of Science-Fiction and Drama Trailers 52 6.2. Concluding Thoughts 54 7. Bibliography 56 8. Filmography of Trailers Viewed 8.1. Drama Trailers 59 8.2. Science-Fiction Trailers 60 8.3. Other Trailers 62 9. Appendix 9.1. Drama Trailers Charts 63 9.2. Science-Fiction Trailers Charts 71 9.3. Drama Charts Overview 80 9.4. Science-Fiction Charts Overview 81 4 1. Introduction 1.1 The Trailer as Research Object Every time audiences enters a cinema and view their desired film, they are also confronted with other films in the form of film posters in the hall before entering the screening room, and film trailers that are screened before the film they paid for. Furthermore, the film they intend to see was probably first introduced to them by a film trailer they saw before. Film trailers are a powerful advertising strategy in promoting a film. They are mesmerizing pictorial displays which hope to motivate audiences in watching their accompanying full film. The film trailer is an important advertising opportunity to show the film’s potential audiences why they should see it. Most current trailers have a duration of around two minutes, which means that the material used in the trailer should be carefully selected and presented. Studies on the films promoted in these trailers are readily available, but this is not the case for the actual film trailers. Going to the cinema, watching a film on your couch at home, these are two uses of leisure time that are not overlooked. Yet the attention attributed to the promotion of these films via film trailers by scholars is marginally. “It is important to distinguish between the activities of consuming films and the activities of talking about them” (Jancovich 2000, 31). Film trailers offer interesting study possibilities concerning their relation to their audiences. It is a form of advertising that could be seen as a genre in itself. Charlotte Sun Jensen sees this apparent blind spot within academia as a consequence thinking of the trailer “as a prior epitext (Genette 1997) – that is, an advertisement for the film,” while there are unique aesthetics at work within the trailers setting them apart from films (2014, 105). This thesis is not driven by the idea of filling this apparent gap but addresses a single aspect of the film trailer as media object, namely, how it is structured. The careful considerations by the editors of the film trailers are motivated by a single purpose, the purpose of promoting and selling a film. To be able to say something about how audiences perceive and make use of film trailers, a closer look at the structure of these trailers is necessary. Claims about audiences and the reception of film trailers will not be made, this thesis focusses on forming a basis notion of the structure of film trailers, more specifically of the science-fiction and drama genre. There are many ways to approach the subject of film trailers. They can be related to audience expectations, evoked emotions, and audience readings. The interest of this thesis is focussed on how the film trailers are speaking to their audiences. The way a trailer can speak 5 to its audience is mainly driven by its structure. As will be argued this structure can be divided into two relevant contributions: genre and multimodality. The film trailer tends to carry genre elements over from the film; however, it will be argued that the film trailer itself poses interesting genre traits that are worth investigating. The multimodal approach (see section 1.2) will be used in analysing a total of fifty trailers, 25 from the drama genre and 25 from the science-fiction genre. Two different genres were chosen to analyse common traits but also noticeable differences between them. 1.2 A Multimodal Approach “Multimodality, in its most fundamental sense, is the coexistence of more than one semiotic mode within a given context” (Gibbons 2014, 8). Complete mono-modality does not exist; even a purely verbal text such as this one has visual dimensions such as font choice, size, bold face etc. Since the term multimodal is based on multiple modes a clear definition of this is needed before anything else in regards to the film trailers can be discussed. The different modes as distinguished by Charles Forceville are “(1) pictorial signs; (2) written signs; (3) spoken signs; (4) gestures; (5) sounds; (6) music; (7) smells; (8) tastes; (9) touch” (Forceville 2009, 23). When thinking of for example pictorial signs a variety of examples come to mind, like photographs, moving images, but also smileys or more basic pictorial signs like exit signs in public and commercial areas. These different modes are described in their broadest sense; it is not unreasonable to ask whether these categories can be further defined. But then this would be a subdivision within the modes described by Forceville. When every scholar were to add its own modes to the already existing list, this would possibly become an endless one. This thesis will make use of the following modes when analysing the selection of film trailers: pictorial mode, written mode, spoken mode, sound and music. The modes gestures, smells, taste and touch will be excluded for the reason that the latter three do not apply to film trailers and the mode of gesture is hard to define when it is shown through the acting which is visual and thus a pictorial sign. These five different modes will for the analysis be further subdivided. This is however, not an attempt to broaden the amount of modes, but a choice made to enhance the results from the analysis of film trailers. The categories are merely a subdivision within the modes themselves to further clarify what type of contents can be ascribed to a certain mode. For example, if only the pictorial mode would be analysed, this would prove too limiting in a scoring system, whereas several elements pertaining to the pictorial mode will be able to offer more data and thus yield more possible conclusions. A total of thirteen elements are used to analyse the trailers. The choice of these elements was based upon key elements as witnessed in 6 several film trailers and based on common knowledge of film trailers. These thirteen elements can be brought under the five different modes as follows: Modes Elements 1. Pictorial mode: Image, Logo and Black Screen 2. Written mode: Written diegetic materials, Title, Announcement, Name and Approved Message 3. Spoken mode: Dialogue and Voice-over 4. Sound: Diegetic sounds 5. Music: Music score and Silence Ruth Page defines a mode “as a system of choices used to communicate meaning” (2010, 6). This idea that every mode selected is based on a desired communication and thus is consistent with the sole purpose of film trailers: informing the audience of the existence of the film and an advertisement why they should it. 1.3 Overview of Contents The trailer as an advertisement is a valid perception, but as these trailers will demonstrate, there are elements that make the trailer unique as a genre, as a multimodality object and as a research object. This introduction offers some first steps into the exciting field of the film trailer. This field is not as extensively researched as could be. A plausible reason for this may be that the film trailer is locked in a grey area where several fields of study intersect. In chapter 2 a literature review will be offered to further explore what has already been done with research related to the film trailer. This research will be divided into four different approaches. The trailer as paratext will introduce the work of Gerard Genette to the film trailer and how it exemplifies the relation between film and trailer. This will be followed by an overview of narrative in trailers. By repurposing the materials from the film, a new narrative is formed. This narrative tends to be highly open-ended and has the purpose of raising questions and evoking curiosity. Promotion and audience is another aspect that needs to be explored, because the trailer is inherently promotional and tries to influence audiences.
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