1. Codal Analysis Yasmin WatkinsS

2. Visual Codes S Costume/colour scheme: Uses white clothing toconnote innocence in the female protagonist, creating the damsel in distress character stereotype. However, this is also done with the assumed antagonist as well, suggesting that she is not the actual threat. S Props: An extreme close up of knives and the chloroform ishighlighted to the reader through this visual code, creating the disequilibrium for the trailer. S Location: The main premise is conventionally set in an isolated/dingy house, which is also contrasted in the trailer to that of a clean, more modern house, to create that sense of isolation and a sense of verisimilitude for the viewer. 3. Sound of HATES trailerAudio CodesS Minimal diegetic sounds are used, only those synchronous withactions that add to the trailer are used, such as the antagonist climbing out of a cellar. S Minimal dialogue is used, with mainly the use of a narrativeactually from the film, screams and one-liners which effectively adds to the pace by only giving the audience snippets of actual speech from the film. S Sound track is used in sync with the editing, which fades to blackat regular intervals in the first part of the trailer. The soundtrack takes away the audiences sense of verisimilitude as it suggests something isnt quite right, leading to enigma codes 4. Narrative Codes S Tzvetan Todorovs simplified narrative theory can bedescribed as: Equilibrium Disequilibrium Renewed Status Quo Disruption Solution Equilibrium S This trailer goes: Disruption Equilibrium continuedDisruption with a short clip featuring an Equilibrium again. This was done to follow the non-linear, almost reverse narrative of the trailer, which also uses enigma codes to an extent. S Inter-titles are used to inform the audience, and work alongsidethe reversal editing-technique 5. Action Codes S Action shots are used in sync with the non-diegetic sound and fading transition editing techniques to create a fast pace. This is slowed down to create a realisation for both the audience and the protagonist S Extreme close ups are focused on hands in the space of 0:37-0:39, highlighting the fast-paced editing using different shots can be effective to quicken pace. 6. Enigma Codes S The reverse-style narrative used in the trailer has automaticallyencoded enigma codes, by creating mysteries for the audience to naturally want to solve. S The inter-titles relate to the pain, the horror and thetruth, without fully explaining what those are. S The question of why Carrie Anne killed both her parents isbrought up through dialogue towards the end S Are there multiple antagonists? 7. Visual Codes S Location: The opening uses establishing shots of the island,which is isolated and creates an initial mood and impression in the audiences mind.Point-of-view shotS Costume: The protagonist wears a white suit to connote innocence/some vulnerability while the characters with authority at the institution also wear white, more likely connoting cleanliness. S Make-up/ costume: The contrast between the officials who work thereand the criminally insane is evident thus, creating binary opposites to form part of the films disruption.S Lighting: Pathetic fallacy and the lighting match the circumstancessurrounding the protagonists/ their clarity over the situation, which would match the audiences state of mind. 8. Audio Codes S The sound track adapts to the situation, to effectively changethe audiences state of mind S Dialogue is used to establish the story and accompany theimagery S The tone significantly changes after the protagonistsays screw their sense of calm, by revealing more disturbing imagery S Diegetic sound of someone screaming is used to also increasethe pace, and heighten the disequilibrium 9. Narrative Codes S Predominantly follows a more linear narrative; Todarovs theoryof Equilibrium is used, but is more abstract, as the protagonists are placed in an unfamiliar situation from the start. S Disequilibrium follows, with the secrets of the institution startingto emerge through imagery and the characters own development S Inter-titles are not used, instead, the characters dialogue isemployed to narrate the trailer 10. Action Codes S Conventional action shots are not initially used, however, oncethe disequilibrium has been established, the camera focuses on the actions of the main protagonist, by framing his face in an extreme close up repeatedly in different situations. S The two main protagonists are framed on their own, isolatingthe audience, which is subsequently increased by using a pointof-view shot, to affect the audiences state of mind, by putting them in the same vulnerable position of the protagonist.Point-ofview shot 11. Enigma Codes S Only snippets of scenes are shown, causing the audience tonaturally want to resolve these mysteries S Where the mysterious patient is, who is actually only seenbriefly in the trailer S The secrets surrounding the institution itself, which is repeated indialogue: We havent heard the truth yet No one wants to talk; its like theyre scared of somethingS Adds some psychological/ philosophical aspects, conventional tothe genre. E.g:Do you know what fear does to the mind? It corrodes it and Wouldnt you agree When you see a monster, you must stop it 12. Technical Codes S A contrast in scenes is used, adding to the psychological conventionsof the genre S Slow-motion shots are used at the start, in contrast with the fast-pacedclips towards the end of the trailer, which gradually increases the pace. S Lockdowns are used frequently to establish the disrupted equilibrium.These are effective in showing more scenes from the film, without showing too much or decreasing the pace. S For example: At 0:17-18 a lockdown is used as the protagonist drivesaway in the car, increasing the pace and depicts him driving into the unknown, away from the established equilibrium. 13. Visual Codes S Characters: Use of the young girls contrast their innocence to thesupernatural evil they encountered when , which heightens the S Isolation is a key theme which is connoted through the locations andsetting S Lighting: Dark lighting creates the sense of unknown andchanges the audiences state of mind S Location: The plot is predominantly set at Eel Marshhouse the surrounding marsh connotes mystery and danger for the characters S Props: old, Victorian-style props add to their sense of verisimilitude andchange their state of mind by creating a scare factor 14. By listening to the trailer without actually watching it, for these codes, I found:Audio Codes 0:05-0:23S Several different non-diegetic soundtracks are used thefirst is mysterious to establish the setting. S Pace of the soundtrack changes considerably after the 0:23mark when the protagonist has actually entered the house; here, a lot of door-creaking and other synchronous diegetic sound is used once the disequilibrium has been further established S Dialogue: The dialogue isnt really needed, just there togive the initial context to the audience and narrate the story 15. Narrative Codes S Non-linear narrative is used, as frames are used from the beginning andend of the film for its intended purpose of giving a scope of the scenes included in the film S Todarovs theory of disequilibrium is almost immediately established forthe character, as he has come from London. S His first supernatural encounter heightens this at 0:38, whichdisrupts the equilibrium aided by the soundtrack which changes to match the audiences new state of mind, after lulling them into a false pretense with the original soundtrack.S The following recognition and attempt to repair the disruption fora renewed equilibrium in the narrative are highlighted through dialogue. E.g: I cant leave yet 16. Action Codes S The fire/ screaming outside the house shown very briefly S Ripping the wallpaper S Boy is now in front of him S Concludes with an action shot S Uses fade-to-black transitions in between the more frequent actionshots to create a fast-moving pace towards the end. This is an effective trailer convention, as it gives the audience partial scenes from the film in a fast-moving sequence. S Focuses predominantly on the protagonist, after Daniel Radcliffesname is shown on screen, to appeal to his audience his names attracted. 17. Enigma Codes S Examples of Shes there and I cant leave yet show people trying todissuade the protagonist which will attract the audience to want to resolve these mysteries. S The significance of the children shown, and how theyare involved in the storyline S What happened in the house/marshes which is linked to You could havesaved him It can be argued that, due to the length of the trailer, the plotline is alreadyvaguely outlined in the audiences mind, through short clips shown of the story arc. 18. Technical Codes S Special effects are used to convey the supernatural elements ofthe film, and to superimpose the woman in black onto the frames S Uses inter-titles to introduce the film and narratethe story; the right-hand example uses third person pronouns to include the audience, as well as the same capitalised typeface used in the promotional materials for the film keeping to genre conventions S Uses fade-to-black transitions in-between shots, to continuouslyintroduce other elements of the film to the audience. 19. Summary: After analysing all three films, I have found that all three use fadeto-black transitions in-between shots, which effectively increases the pace, while still giving the audience extracts from the film. All of them use the horror genre convention of white costume to connote innocence in certain characters, or cleanliness in others like in Shutter Island. Furthermore, there is an early disequilibrium established in all three as the protagonist is placed in a new environment, experiencing the unknown. E.g a new house, island and village. Lastly, a community acts as an auxiliary antagonist in The Woman In Black and Shutter Island