Ananlysis of Comedy Trailer: The Inbetweeners 2

https://www.youtube.com/watch?v=cfJxwhzgvS4




Continuing on from my last post, I will be analysing in this post the successes of another film trailer. This time, however, I will be angling my analysis towards the trailer promoting a different genre of film. The trailer for comedy movie The Inbetweeners 2 shares attributes with the previous trailer I analysed: Star Trek Into Darkness, in that the aim of the trailer is to attract a previous following from the original audience of the franchise but also the trailer, similar to Star Trek Into Darkness, is aiming to attract new fans to the franchise with the release of the trailer.
However, despite this, the trailer's primary focus is to attract and maintain the attention of the franchise's original cultural following of a fan-base. Featured in the trailer  are jokes that mainly fans of the previous movie and whom viewed the television programme when it was on air are more likely to be familiar with as well as the characters and their attitudes such as the character of Jay Cartwright being a predatory sex pest, the character of William Mckensie being a know-it-all and a hopeless romantic; the character of Neil Sutherland being somewhat of a dim witted character and the character of Simon Cooper being quietly successful with the ladies. These charcters and their stories as a group of friends and their individual stories is the appeal to the existing demographic and the trailer is arguably more attributable and relatable to fans of this demeanour.
 Additionally, the original fan-base of the series are being provoked into the viewing of the new film as ideally they are keen to revisit the characters and the story for a second time. One of the criticisms I would cite upon the trailer, however, is that fans of the old television series and the original movie are not being treated to any new, original jokes or humour with the viewing of the trailer and this may lead some sceptical fans to believe that the franchise has been unsuccessful in it's attempts to adapt and evolve in an ever developing market of competing comedy films, as fans are served up jokes of which they are familiar and have been exposed to on such regular occasion, their continued repetition  may become monotonous.
The use of the music used within the trailer is to reflect the mood and atmosphere exhibited in the trailer is one of uplifting spirit and adds zealous energy to the events unfolding on the screen for the audience. The music is intentionally uplifting in the trailer to transmit feelings of a carefree and relaxed attitude to the viewer.
It is evident from the title of the film "The Inbetweeners 2" that the film is intended as a sequel to the franchise's original movie "The Inbetweeners Movie" which was released in  August 2012, therefore it can be expected that the film appeals to the niche existing fanbase of which it has gathered from not only the success of the first movie but additionally the original television series which aired on E4 from 2008.
It is also evidently clear that the trailer is that of which belongs in the comedy genre due to the humorous nature of it's jokes even to those of the original fandom who may have already been exposed to them. It could also be argued consequently that it is the clear and unmistakeable immature phrasing of the jokes featured within the franchise that make it a synonymous feature attributable to it, playing to the strengths of the immature minds of it's male orientated target demographic reaching from the age of 18 up to, but by no means exceeding, 30.
It is also a clear inference from the title that the film is appealing to an existing audience and through the production and subsequent release of the new film, fans should be suitably appeased with the new edition and consequent addition to the continuingly humorous story of The Inbetweeners.

The Art of the construction of the Film Trailer

https://www.youtube.com/watch?v=QAEkuVgt6Aw&list=FL7bwRB2K5q3gw7CNQqZugHQ&index=4


We've all seen film trailers. Indeed, any time you've ever gone to the cinema there is approximately about 20 minutes of somewhat inconveniencing and rather annoying trailers. But, contrary to popular belief, film trailers are far from simply the annoying pre-text to the viewing of a film, they are in fact an effective marketing tool that are deployed as part of the arsenal of marketing tools and techniques at the disposal of film production companies, or moreover, the film distributor whose job it is to, on behalf of the production crew, to effectively market and promote the film product to a potential target audience/ demographic.  In this post, I will be analysing what makes film trailers so effective in achieving and fulfilling their marketing requirements for a product both successfully and effectively.
My first example to showcase the effective capabilities of the film trailer as an effective marketing tool is the trailer to summer blockbuster: "Star Trek: Into Darkness." Given the blockbuster nature and grand expenditure clearly evident of the film through the large use of special, fantastical visual effects it is clear that the film classifies itself into that of the action and the science fiction genres. This becomes evident through the location and setting of the film trailer, as it is in the setting of space that the main action for the trailer takes place, informing audience members and potential would-be viewers that the film being promoted is that of the science fiction genre.       
The use of the steel font used to portray the title of the marketed film to the viewer as "Star Trek: Into Darkness" immediately invites the viewer into the atmosphere and overall 'feeling' of the film as claustrophobically dark and uninvitingly sinister. However, there is reason to suspect that this is an intended effect and finish to the font to give indications and subtle hints as to the dark and foreboding nature of the film. Indeed, given the fact that the film's setting is supposedly that of a far off world and fantastical location of another galaxy, the pure, raw human emotions give indications to the viewer that in fact for all of the special effects and clichéd dialogue, there are very much large elements of relatable nature to the characters transferring to audience members and their situations of unimaginable peril and deadly danger.

 This, I believe, is ultimately the most evident unique selling point of this blockbuster, that, given it's unparalleled laws of physics and large explosions and space fighter chases, there are still very human characteristics that the audience can unquestionably relate to. Perhaps the best example of this being showcased with particular effect is the point of dialogue within the trailer where the antagonist with which the protagonists of the film view with great danger and a clear threat to their personal safety, where he proclaims with evil intent and cold malice: "No ship should go down without her captain", portraying an unnerving sense of cold calmness and calculated intent to his proclamation. Just as this has occurred, the audience hears the harsh scream of a female protagonist, implying great peril and danger that the characters are placed in.

It becomes clearly evident and immediately apparent as to the film's intended genre due to the clear emphasis placed on space and alien concepts and technology reminiscent of a world largely removed and unrealteable to that of our own.  Throughout the trailer, the audience are confronted with images of crashing spacecraft and even at one point a character hurtling through chunks of space debris.
The target audience for the trailer I believe is one that the producers of the film are looking to expand upon with the release of the trailer as, talking from experience, the audience is one that does not have to be entirely infatuated with the Star Trek franchise in it's previous incarnations to be attracted to the appeal of the franchise. Through the trailer, producers are aiming to widen the niche audience market previously associated with films of the Star Trek franchise through the openness and diverse appeal of the trailer to male audiences of 18 to 40 years of age, given the long association of the original Star Trek franchise and their enjoyment of the action adventure as well as scifi genre.


Another appeal of the trailer I believe is the very humanistic nature in which events are portrayed. Through the viewing of the trailer, it is clear that through all of the expanse and diverse range of deep space, there remains a very simple plot at the heart of the story. A battle for one man, in this case, the protagonist Captain Kirk, Commander of starship, the SS Enterprise doing all he can to defend his morals and his beliefs as well as the lives of his loyal and beloved crew, shown in an emotional portrayal in the trailer as more like a second family to the captain. Pitted against him and utterly mocking and deprecating of Kirk's values exemplified in the line "You can't even guarantee the safety of your own crew" is the insufferable antagonist of Khan portrayed by British actor Benedict Cumberbatch to meet both audience expectations of the American audience and target demographic to contrast with the casting of American Hollywood actor Chris Pine as the suave and dashing Captain Kirk to appease audience expectation of the stereotype that Britons and Americans have conflicting ideals and interests exemplified   through films of the action/adventure genre. This in turn, is also an interesting plot development as through Khan's lack of morality we as the audience experience in the trailer how far the normally cool headed Kirk is prepared to go to defend his beliefs and liberties from those opposing them, as he demonstrates when questioned by Spock, an extraordinarily intelligent member of his crew, he replies: "I don't know what I have to do, I only know what I can do." Through this line, the audience are exposed to yet another Unique Selling Point of this film's production is that the audience are able to experience how far protagonist and antagonist dare push each other to be declared victor over the other side, even though for the audience the outcome of the conflict is most likely predictable and pre-determined.

A2 Media Studies Coursework Brief

Today we have been issued with the requirements for our A2 Media studies coursework. The requirements dictate that candidates must;
Produce a media portfolio comprising of a main and ancillary text.
A presentation of their research, planning and evaluation in a digital format/s.

To undertake the task effectively and exploit the opportunistic creative gains that are contained and have the opportunity to be exploited within the brief, the main 'text' of the production will be to undertake the production and creation of a new project, namely that of a film trailer for a new film release which would ideally be exhibited at the build up to a film screening of a film of similar themes and genre to attract a similar proportionate audience and target demographic.

The construction of the marketing package will take the form of a film trailer, being this our main 'text' of production. Whilst the focus of our production in it's majority will lie on the production of the main text of the film trailer, we will also be required to produce as candidates, a supporting ancillary text, which is secondary to that of the film trailer, and provides a supporting material to the film trailer and completes and complements the promotional film materials package as a whole.

To support my project, consequently I will be undertaking a large quantity of planning and research as support for my creative influences, ideas and decisions throughout the duration of the project being undertaken. I will be thoroughly producing analytical supporting analysis and planning and research that documents my creative influences and decisions and upload these onto this blog in the hope that the process from idea to screen is effectively documented and for the impact of my decisions and ideas and their intentions  are clear for all to see.