vs

TONE Cards1) As the trailer for ‘Attack

the Block’ starts we are shown a tone card that introduces what we believe to be the ‘bad guys’

2) However, we are surprised to find that it is something much more formidable, playing on Ferdinand De Saussure’s semiology. As we signify gangs as an everyday, modern ‘bad guy’ character

3)The contrast of tone gives the audience this sense of shock at the fact that there is actually worse out there than the characters we first expect to be the trouble

4) The fact that the real ‘bad guys’ are never properly shown throughout the trailer plays on Roland Barthes: Myth Theories. We know that by doing this something bad is going to happen and they will be the cause. However it contradicts the binary opposites as we are shown the bad and the worse in this case rather than the good and bad.

The beginning of Harry brown is very similar to ‘Attack the Block’ however, here out initial thoughts of how the bad guys are, is correct…

The moments of equilibrium and disequilibrium within the ‘Harry Brown’ trailer is broken up using sound effects and music rather than tone cards, giving it more of build up and more continuity as to how you will be feeling as the story progresses

FeministFeministDespite there being a majority of men shown in the trailer it seems to have

and undergoing feel of the feminist theory involved. With girls and woman being shown as the strong type, eg, the woman going out to see what happens rather than cowering in the house (man). This ties in well with the contemporary comedy horror that we are used to from the producer of Shaun of the dead (Nira Park)

Age rather than genderThe forefront of ‘Harry Brown’ is Harry brown himself, within

the advert we see the shift from the innocent hiding behind the curtain to the ‘hero’ standing up against the bad guys. Giving this idea that his through his experience he can still beat the ‘ghouls’ despite his age.

Especially when the shot shifts to us becoming even lower compared to light coming towards us.The quick concession of

scenes build up the tension to then be lighten with a longer scene of conversation, which acts at the comic relief, to then go back into the build up again

The final build up at the end, carries on as the music gets louder and gets faster, in conjunction to the quick concession of the scenes that summarise the story line.

Throughout most of the trailer we are at a low angle, always looking up to the kids as if they are above us and at this point in time, we are depending on them.

ShotsShots

As with Attack the Block there is a quick concession of shot build ups, accompanied by a faster sound, making the action throughout more dynamic. Despite he inferiority at the beginning, ‘Harry Brown’ remains in a low angle shot throughout the trailer symbolising that he really was superior to the bad guys all along.

The WHolee

A big thing within both trailers is the sound and music, it is what builds up the trailer into what we all know to be a horrror. Attack the block has a familiar feeling of of Shaun of The dead, this horror comedy, post modern genre which is so easy to watch due to the comedic relief. From the sound which starts off quite alienated and hospital life line like, to the camera shots that are varied and shattered, keeping this idea of mystery yet still keeping you compelled enough to want to know more. Like the piece itself the angling and sizing of the shots are very modern, with various shot being filmed on a hand held camera, allowing the viewer to feel more involved as if they are actually apart of the action.

Harry Browns trailer is more traditional, keeping the classic idea of society against youths and society winning, there a few moments of ‘black comedy’ substituted in the film itself but throughout the trailer there is an overwhelming feeling of eeriness and regret, embroidered with a lot of ‘boo’ moments

Overall the trailers ring true for a horror as they follows the basic Aristotle story line but have elements of Campbell and other theories to keep the element of surprise, that ever horror has, intact.