The fast and the furious trailer

THE FAST AND THE FURIOUS TRAILER

1. Is it a teaser trailer or a theatrical trailer?

It is a teaser trailer, because it far exceeds the thirty second mark of what an average teaser trailer would amount to


2. What shots from the narrative are used? Can genre theory be applied to what is shown?

Roland Barthes’ Enigma Code: Though not much of the plotline is left to the imagination, viewership still are not receivers of the disclosure of: why do they street-race and who are the villainous and upstanding characters shown within the trailer?

What is more, is that ‘’another world comes to life’’ means insignificance for the viewership, as that exotic-sounding slogan does not have with it, what that truly impacts in The Fast and the Furious universe.

And with another quotation taken right from the trailer, a character is heard and seen answering to another’s question of ‘what was that all about?’’, to which the other responds to that, with ‘a business deal that went sour. Plus I made the mistake of sleeping with his sister’. Because that extracted quotation is without context, the viewership does not absolutely know what to make of it. In that, what the business deal involved and why it became sour are not evidenced for their recognition.

ROLAND BARTHES


2. What shots from the narrative are used? Can genre theory be applied to what is shown?

‘’If the lines must be crossed’’ and ‘’If loyalties must be broken’’ are obscurely ambiguous with yet again, no contextual information provided to the viewership to refer to upon weighing up these spurring statements.

ROLAND BARTHES


At the start of the trailer, people are gathered stationary at parked tuner cars. They act like lookouts and have about them, suspicious and shifty demeanors.

It’s only through Vin Diesel’s character saying ‘’Let’s go for a little ride’’, that begins the rapid successions of speeding shots. From this, the viewership can recognise implicitly, that he is the main protagonist who orders people or rather, ‘calls the shots’ and ‘directs traffic’.

TZVETAN TODROV


3. How does its editing make narrative?

Through the scenes of vigilance and downbeat scenario, being unexposed to rapid cuts of angular variance.

Musical accompaniment to the scenes that preceded and proceeded climax, clearly are unlike each other with their differently speeded tempos and the climatic portion, seeming more conscientious of synchronisation between beat and visual correlation.


4. What is well with the visual style and editing?

What is done flawlessly, is the balance established for activeness and mildness. Moreover, the sudden and shocking interjecting dialogue during the fast pace, shows that the movie isn’t one to overdo excitement, and includes it sparingly.

5. Which genre signifiers does it use?


6. What does the audience learn about the actors, directors and producers of the film?

Are there any intertextual references?

From it, the viewership learns from stereotyping, that they are hardened criminals, that still however, have time for fashionableness and consumer lifestyles


1. What are the central concepts of it and how does it correlate to its trailer counterpart?

Blurred vision, high speeds and a combined charismatic yet unforgiving facial expression

Blurred vision: Even without the cars in it, the blur alone would remain indicative enough of the Doppler Effect visually

High Speeds: Even though picture cannot well enough, demonstrate movement, the cars still do not seem static.


THE FAST AND THE FURIOUS POSTER

2. Does the typography synergise with the trailer?

Yes, because they are no different to each other. They also take their skewedness form exactly


3. Was this poster devised, before the movie’s release, or afterward?

Judging from the poster’s lacking of date details, and tagline slogan, I think that it was from before, as that would be careless advertising if it were the case.


4. What is the colour palette of the poster and does it match the visual style of the trailer?

The colours are: Charteuse, Lime, School bus yellow, Mikado yellow, Tangerine, Lust, Aureolin, Beige, White and Black

These two titling features, succeed in having happen what the titles express. For the ‘When the sun goes down’ scene, it darkens from a fade – like sundown would do, and the pitch black background of the title ‘Another world comes to life’ is demonstrative of just exactly that – a new world being spawned out of the big bang-similar darkness


Two different camera angles for the same action is all too commonly seen in many an action film; and The Fast and the Furious doesn’t break this trend.

As a trend, this technique is used so very often, so as to be flashy, appealing and a cover-up for a lack of substance in a plotline, that other genres would have easily been able to pick up the slack on.


The view being blurry isn’t just only coincidental – blurring in most other instances, would lead the audience to believe that the movie was the work of an amateur, but for high-octane street racing, this very effect, helps to visually heighten drama surrounding the racing stipulations. The blur helps create a shared feeling of uncertainty and ‘living on the edge’. So with all of those qualities taken into account, without them, The Fast and the Furious wouldn’t be nearly as good as it turned out to be.


Close ups such this one, are reminiscent of action movies for a reason. Because the audience has very little insight into what is going on, consequent to the surroundings of this car being unseen, it lures the audience into interest that usually dissipates; from possibility of what a close up like that could mean, leading to nowhere, usually seconds later, it can be that quick.


The fast and the furious trailer

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Transcript of The fast and the furious trailer