The trailer effectively delivered the main theme as the conflict between the film industry and animal rights. For Levi-Strauss, text tend to work through binary oppositions, that is strong versus weak or good versus evil. In the trailer it is clear that audiences are invited to side with the small innocent girl who takes on the might of corporate greed, personified by Tilda Swinton. For Stuart Hall, the meaning of the text resides in the viewer, not in the text itself. However, for this film the preferred reading would be on the side of animal rights. This is done with the help of the little girl and the animal being so cute.
The first scene is an establishing shot that romanticise and idealise the place in which she is living. This is juxtaposed with the frantic and hostile life in the city. From the onset of the trailer, there is a narration of the creature and describing it in a loving way. The turning point in this is when the audience discover she is not talking about the creatures beauty but instead the benefits this creature would have to the industry as the shot cuts to a room full of journalists and that "most importantly it must taste good".
In keeping with all trailers there is very little dialog, mainly one liners. Tilda Swinton grins in an evil way and says "its a shame we had to tell all those little white lies". Earlier the spokesman for the animal activists tells the little girl that "we're going to help get Okja back".
Trailers need to build towards an explosive, exciting end to gain the audiences attention. A series of hard, rapid cuts help to achieve this. As well as this, the action sequences expand and intensifies to leave the audience on the edge of their seat.
Good. This trailer was brand new when we watched it in class. We identified its USP. You have paid attention to some aspects of Stuart Hall's audience theory, such as how audiences take meanings from texts, and narrative theory, such as binary oppositions enabling audiences to understand texts.
ReplyDelete