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Analyses of Horror Movie Trailer: The Devil Inside

Todorov’s narrative structure does not strictly apply to this trailer as the equilibrium is not of the average one that is seen. In “Devil Inside”, the equilibrium is that of a woman with a possessed mother, and the disruption is Isabella helping her.  The beginning of the trailer features a 911 phone call featuring “three people are dead” and “I killed them” in a creepy, disjointed tone, thus establishing the genre of horror and sets the dark tone of the trailer. Following this, piano music begins to sound as the narrative of the film is established in a conversation between a woman, who states herself as the obvious antagonist’s daughter, with a group of people, featuring a priest. This is the first signifier of a supernatural movie, as priests and religious imagery are a common convention, just as crucifixes are; these are shown throughout the hospital on various doors as well as carved upon the antagonist’s arms in both normal and inverted fashions. Clips of news reels are shown to add realism to the plot, and to add depth to what the character, Isabella, is saying and to show the audience what the antagonist looks like. Shots of police cars and medium shots of reporters reflect clearly the overlaying narrative that the mother committed a murder. As the mother turns and looks through the back of the police car window with lifeless eyes, the horrific nature of this woman is first shown. A photograph of Maria is shown with the camera zooming in upon her face, displaying clearly that this character plays an important role.

By dressing and looking like an average mother, realism is created for the audience; they can put themselves in Isabella’s shoes. Isabella then sets the scene of the trailer by telling us that her mother is in a hospital in Rome, long connotated with Christianity, religion and the Vatican, and states that it is her goal to save her mother. The term exorcism is said, linking in the religious imagery to the storyline that is featured throughout the trailer as iconography of the paranormal genre as the music begins to grow more tense. There is an establishing shot of a panning view of Vatican City, emphasising the heavy religious aspects within this movie and the fight between good and evil, before Isabella is seen walking through a bleak courtyard in warm, winter clothing in a low angle shot, meant to make a character look intimidating, but actually just portraying Isabella as a main character in the plot, just as the zooming in of the picture did for the mother. The setting is seen to be during winter, as it represents the death of nature, and within this film: the death of a soul.

Isabella is shown in a medium two shot with a doctor, as presumed by the white lab coat, in a blank, white hallway. The colour scheme not only represents a lack of life, but almost heavenly, as if her mother is already dead. Their reunion is paired with eerie music of violins, and by preceding this scene with CCTV style footage and providing a panic button; the feeling of danger is enhanced.  Whilst Isabella is dressed in normal, average clothing that the audience would recognise, the mother, Maria, in a zoomed in, over-the-shoulder long shot, is dressed in a hospital gown, cardigan and socks, contrasting Isabella and soon to become her key “look”, and is presented as dazed and confused, bringing forth connotations of mental asylums and illnesses. The bland colour scheme represents the theme of a lack of life that was previously hinted at through the weather. Her messy hair reflects her crazed state of mind, and her make-up is designed to make her look sallow, with sunken eyes like that of a dead body. This and the genre of supernatural is confirmed by the close up of crosses carved upon her arm and inner bottom lip, through special effects make-up, and her innocent, child like beckoning as the soundtrack goes silent before screaming. Eerie music begins again as the image then flickers, as if on CCTV and flashes in and out of black, featuring the antagonist screaming and gesticulating wildly.

 This continues until the series of shots ends with a close up of Isabella sobbing hysterically. Religion is then once more brought into the film with the reappearance of the priest from the beginning conversation who tells Isabella that she must watch an exorcism to gain understanding. The scene then cuts from a small, enclosed room with warm, peach coloured wallpaper and brick to a cold, blue tinted tracking shot of the three walking into a house. The house that they are welcomed into is very bland in colour that reflects the lifelessness of the human inside. The group are led downstairs in a high angle shot and through a series of hallways to where the victim lays, reflecting how deep down the possession can reach, and just how much protection the house owners need from the victim. A sheet is removed to see a long shot of a disfigured young woman on a hospital-like bed. The young woman is dressed in a seemingly innocent, white bed clothing, that is used to highlight the grotesque positioning of her limbs and that her innocence has been violated by the demons possessing her.

Her bones pop out of their sockets with amplified sound as the shot cuts to a shocked and terrified Isabella, before cutting to a priest turning on a machine of some sort and then flickering to an extreme close up of an eye, which when the scene cuts back to the priest by the machine, turns out to be from the camera the priest holds. The feature of science mixed with religion is unconventional to supernatural films, but by pushing the rules of conventions, the writers draw the audience further in. In a close up of the victim, Isabella’s name is mentioned in a hoarse, demonic voice, and from the subsequent reactions of Isabella, the priests and the victim, more intrigue is created in the audience. Multiple angles, including a bird’s eye and worm’s eye view, of the victim’s suddenly levitating body are shown with a stab of sound before the first strap is shown, “This January”, to increase the audience’s heart rate and to maintain their attention Distorted marks on this strap are reminiscent of the shape of crucifixes, emphasising the religious imagery once more. Close ups of the technology are used; however it is every day technology that the audience may have used at home. Four voices are heard on the recording, meaning that the antagonist is possessed by four spirits, deepening the plot further. A quick cut of a time-lapse of a church is shown with a stab of orchestral music, reminding the audience of the religious theme of the trailer.

A hospital room is shown as they work on the antagonist, where she yet again has a demonic fit. More conventions are shown by throwing a man against a wall with inhuman strength and singing a lullaby to her daughter over eerie music; a contrapuntal sound for this genre, and then holy water. “Between science and religion” is shown, reaching out to atheists, spiritualists, Christians and all faiths over a background with more defined inverted crosses; signs of the anti-Christ. The straps are also used to tie the shots together into a more cohesive narrative as well as increasing the fear in the audience. The quick-cut montage is then featured with the contrapuntal lullaby being sung over the top, with conventional images of possessed people hidden in the shadows behind a character before a strap, “between hope and fear”, a medium close up of a possessed man (the priest), the antagonist grabbing at someone in another demonic fit, before another strap, “No soul is safe”, and then another series of quick cuts; getting attacked in a car, running to a hospital room and the young possessed woman having demonic fits, and climbing the wall.

 

The quick cut montage is ended with Isabella leaning closely to her mother, telling the demons to let her mother go. They respond; “You’ll burn” with multi-layered voices, creating a demonic tone. A stab is then showed with the mother flying across the room, then screaming in a close up before a dimly lit, quick cut shot within a dark room of the young possessed woman grabbing for the camera, adding further realism. The fast paced nature of the quick-cut montage is to raise the audience’s heart rate and entice them to watch the movie, something this trailer does masterfully. It is through the range of sounds played over the shots of lullabies and eerie noises paired with the emphasised heavy breathing and screams of the clips that the audience is pulled in. As the title information plays, Maria is heard in a non-diegetic soundtrack, linking the end of the trailer back to the beginning. The editing for this trailer is effective as whilst is does stick to the convention of slowing increasing to the fast cut montage, there are instances where the trailer will slow down at seemingly random before a big scare in order to recapture the audience’s attention. The quick cuts and those that seem to flicker in the style of a VHS tape are conventional to this genre as it enhances the distorted, possessed feel of the narrative, and is used in congruence with the soundtrack and pace of the scenes.  This trailer is, overall, very effective in capturing and retaining the audience’s attention in a way that we hope to replicate within our trailer. We plan to take much inspiration from this text due to its successful execution. 

Analyses of Horror Movie Trailer: Last Exorcist

The trailer for this analysis is the supernatural “Last Exorcist”. As our film trailer is of this sub-genre and also deals with possession, I have decided to analyse this trailer.

The trailer tells the tale of Reverend Cotton Marcus and a documentary crew visiting a man and his daughter in Louisiana, 2009, to exorcise the devil from the man’s daughter; however the demon proves to be much stronger than he anticipated. The trailer begins with the Reverend and his companion driving through a derelict town, soon named Ivanwood, Louisiana in 2009. The characters stop to ask for directions but the man purposely directs them away from the area and then attacks their car by throwing mud as they frantically drive away. The dilapidated nature of the area is shown again and then the audience see the cause for the characters’ travels. In an interview, the man they meet, Louis Sweetzer, tells them of his wife’s death and how his daughter, Nell, has struggled to cope and has “the devil” within her. The Reverend then decides to try and exorcise the demon from Nell, however something goes wrong and the demon takes over Nell’s body. The audience then see Nell kill a white cat, and then stand at the end of a darkly lit hallway before approaching the crew. The scene changes to the crew filming in a pitch black room and the Reverend tells them to turn their lights off. Nell is sitting on top of a wardrobe and staring down at them, straight into the camera. The scene cuts to black, and then, presumably Nell’s, feet are seen walking along hardwood floors, the boards creaking under her and chains around her ankles. Nell is then suddenly outside of the house and the crew are filming her and she watches as she walks, watching them like prey. The editing gets quicker and the scene cuts to the Reverend and the girl in the barn as he slowly walks to her, then quickly cuts to her breaking her own neck. Louis then decides to “save his daughter’s soul” by shooting her, and the scene cuts to Nell on the porch steps and she launches at the camera, making the audience believe that she attacked her father. The quick cut montage shows the reverend trying to help a flailing Nell, the crew running frantically from something into the safety of the house, Nell crawling across the ceiling, the Reverend in the ceremony of exorcism with the reactions to the process from Louis, Cotton and Nell, her father trying to save her, a cross being raised, Nell screaming, the barn being set on fire, more religious imagery and crosses, and then Nell bending backwards with the sound of bones crunching. The movie title then fades onto screen with an edited image of Nell standing in the hallway, the image distorted and the layer of it moving around before institutional information is shown.

 The trailer hasn’t got a set structure, and the beginning isn’t even tranquil. The start of the trailer is unsettling for the audience, who can tell that something bad is going to happen through the foreshadowing of the man throwing mud at the car and warning them and the neglected house and bus featured. The disruption occurs after the Reverend tries to exorcise the demon from her, and then the scenes following jump time periods back and forth within the time line of the film to give a frenzied sense to the events after the exorcism. The editing speeds up from the fades at the beginning of the trailer eventually to the quick cut montage at the end.

Sound

This is a vital element to horror films as it creates a tone for the film and enhances the fear through silence or loud noises. The first scene has the non-diegetic soundtrack of eerie choir music with a ghostly gasp as Rev. Cotton turns the page of The Bible. This music continues until the scene cuts to him in a car, driving, and ends with a slight boom from a drum before an unnatural electrical sound occurs after the character mentions the devil to scare the audience by using a sound then sounds like metal upon metal, and makes the hair stand up on the backs of the audience’s necks. A drum sounds as the first strap appears to mimic a heart beat before the soundtrack cuts back to the eerie choir music. Another unnatural electrical noise is used after the man threatens the Reverend and the crew and then the sound of the mud hitting the car is emphasised to again mimic the heavy beat of a heart and scare the audience. The electrical sound is then used again as the scene transitions to institutional information and repeats as the scene moves between each company, and then again as the next strap appears. A new soundtrack of non-diegetic sound appears now with an electrical sound to it and a ghostly inhale mixed with a roar as exorcisms are mentioned. This stops with the effect of the sound being ‘sucked away’ to tense music for the meeting with Louis Sweetzer. As the scene is inverted with a red colouring, the electrical sound is repeated to show danger to the audience. A beat and a light wind howl are heard over the strap and continuing on very faintly into Louis’ interview and then the interview with Nell. Towards the end of Nell’s scene, a crescendo in orchestral music sounds, ending with the electrical noise and a strong drum beat. Nell’s heavy breathing and a ringing noise is heard as the reverend begins to perform the exorcism and gets louder until it ends with the same electrical noise that gets ‘sucked away’. Another boom and eerie orchestral music is heard as a strap is shown and continues as the demon takes over Nell’s body. The soundtrack cuts out as the scene cuts to black and returns loudly as the scene returns and Nell’s neck snaps and persists until the scene cuts to black again. The sound of heavy breathing is emphasised as Cotton talks to the girl and orchestral music begins to swell again before ceasing as Nell responds; “In the fire”. A different electrical sound is heard, like the sound of helicopter blades, to match the quick cutting of the scene to show the destruction of the Nell the audience met towards the start of the trailer. Creepy orchestral music is played in a diminuendo as the camera moves closer to the house in a point of view shot as the possessed girl, and then closer to the white cat when the music ends and stabs of sound are heard along with the cat screeching. The music then is a crescendo again of tense music as Nell appears in the hallway and walks closer to the crew. The crescendo gets higher and higher to make the audience’s hearts beat faster and has an over laying unsettling electric sound until a stab of sound. The audience then hear the heavy breathing of Nell, the creak of her footsteps on the floor boards and the chains around her ankles before a stab of sound intended to scare the audience. Straps appear on stabs of sound as another crescendo is played until Louis says the he will save his daughter’s soul and cocks his gun. As Nell jumps at the camera another stab is heard and a scream to make the audience jump and emphasise the action. As the quick montage plays, unsettling sounds like a metal saw are heard as drums beat and this gets louder and faster, increasing the audience’s heart beat until it stops suddenly, and then returns in a stab with a roar to scare the audience. The only sounds heard are a light sound of crickets as heard in the southern states of America and the fade in of the text. The recurring use of metal upon metal and electrical sounds are used to set the audience’ teeth on edge and make them feel disconcerted. The drums and stabs of sound are to emphasise the action in a clip and the orchestral music gives fear to something that is supposed to be beautiful and calming.

Mise-en-scene

Nell and Louis Sweetzer are dressed conventionally for a southern family in old style farming clothes. Louis in worn jeans, a grubby undershirt and a denim button-up to show that they don’t have much money and he is an average man and Nell is first dressed in a plain, simple, childlike grey cardigan, grey shirt, pink below-knee skirt with frilled socks and basic shoes, and is the dressed in a white night gown. The white gown is usually connotated with virtue, but the nature of the character alters that, and as does the grimy look to it. Her clothing reflects her soul; it should be clean and virtuous, but is soiled with the devil. Rev. Cotton’s white suit also reflects this, but with him it says that his nature of work is virtuous, but those that he works with are not. By removing his shirt and rolling up his sleeves, the audience see that the line of work is hard and that this case is incredibly difficult. The costumes of the sub-characters are conventional to the setting and time-period with the man in the beginning in a worn tee and an equally worn camouflage cap and the barely seen crew members I conventional jeans and tees. The average, every-day nature of the clothing makes the film seem much more realistic to the audience as it may be what they wear.

 The hair styles for the males in this film fit societal conventions of short, or thinning in the case of Louis. Nell’s hair, however, makes a transition from the clean, neat hair of the beginning to the ratty, sweaty hair towards the end showing the alteration in her character from sweet, normal daughter to possessed by a demon. This is also the case in regards to make-up. The males all have make-up that isn’t noticeable on camera, just enough to make them seem more lively, such as foundation, in contrast to Nell. This character begins the trailer looking youthful, but slightly tired, possibly from the stress and lack of sleep from her mother’s death that still troubles her, but after that scene, there is a visible change in her appearance. As her clothes get messier and grimier, so does her hair and make-up. During the exorcism itself, she has a sheen of sweat coating her face which could be in relation to the pain of a demon within her or fear of forthcoming pain of the exorcism, but the audience would connotated her sweat with that of a fever and see her as sick.  Her bruising around the eyes also add to this, and that shadowing and the pale make-up used on her face creates a lifelessness, as if the demon has sucked it all out of her.

The setting for this trailer is contained in an isolated area of southern America in Louisiana. The majority of the trailer is filmed on the land of a farmhouse including the house and the barn. To begin with, the house is filmed in available lighting, but as the trailer goes on, there is only background and foreground lighting used to imitate the evil within Nell, as if the house is as possessed as she is. The barn is the location for the exorcism and is returned to multiple times in the trailer to emphasise its importance. Within the barn, it is almost as if there is a spotlight on the opening where they perform the ritual, like a performer would have. By focusing the light and camera on this area, it creates almost a stage for the exorcism. The land around the house, including the shack and the rusted bus at the very beginning of the trailer, is very barren to add to the effect of lifelessness that surrounds the Sweetzer family.

 The main props used in this trailer are that of a religious nature, and crop up during the quick cut montage towards the end. This could be so that it is the most memorable part, and the image of the Reverend raising the cross in front of a roaring fire is kept in their minds. Religious imagery is a popular convention in supernatural films as it is often the main way that people use to rid themselves of evil spirits and curses. In this trailer, there is a progression in the use of props as the first view of a cross is in the light, as if it is a saviour, and the second, it is in darkness against a fire. This could tell the audience that even God cannot save them.

 The only other prop used in this trailer is Louis’ gun that he intends to use in order to kill Nell and save her. Each prop featured in this trailer is intended to save her, but seems to not be able to.

Camera/editing/straps

The camera angles and shots in this trailer vary to make it more interesting for the audience. A wide assortment of angles and shots are used in order to create a certain atmosphere for the audience. For example, this shot has been used to focus on the religious imagery of praying by placing the character on the right hand side and within a single window pane. This is for two reasons: firstly, the window pane frames the character and contrasts against that of the left which is practically empty, and also it gives the sense that someone is watching him pray, and that it is something that is worth watching. Another type of shot used is a medium close-up to give the audience a full view of the action and thus increasing the terror. This is also true in regards to a close-up.

This type of shot is used frequently for the red filter/contrast effect on the short cut scenes. This is to not only scare the audience, but let them see the evil right up close. During the quick cut montage, long shots, high angle shots, and medium shots are used to make the audience feel like a bystander and that they have no control over the scene. When Nell is clutching her head and screaming, a push in is used to make the audience feel that loss of control and to also make them feel as if she is screaming at them. Closer shots are used to make the audience feel as if they are in the action, and long shots are used to make the viewer feel like the problem is large and insurmountable.

The editing used in this trailer evolves as the clip continues. When the trailer is being established in the opening scene, fades are used often to show the calm before the storm, but contains flashes of inverted colours or the red filter/contrast effect to foreshadow the danger to come. The editing technique used makes it look as if the video tape they are filming on is faulty or broken, thus enhancing the fear factor because it makes the audience believe that all of their filming equipment, and possibly other electrical items, is faulty and that the protagonists aren’t safe. As the trailer moves forward, the filter/contrast effect is used more often to make it seem as if the demon is infecting the video as well as Nell, and the cuts become faster and faster. In the quick cut montage, the cuts are joined with something that sounds like a shutter and a strong beat to make the audience’s hearts race and increase their fear. By suddenly stopping the montage with a cut to black, the audience feel safe that it is over, but the use of a sting with quick cuts makes the audience scared all over again.

The straps change in this trailer due to their relevancy and meaning. To begin with, the straps “Ivanwood, Louisiana 2009”,  “Reverend Cotton Marcus has performed over 47 exorcisms” and “This will be his last” all are in the same font and with the same fade in effect as they are all narrative establishing straps. These ones need to draw the audience in and make them curious about the film by using a worn font and a simple colour scheme. The strap lines change after Louis says “the devil got in her” to a white, formal serif font with a red glow that contrasts the simple white typeface font of the previous straps. This change represents the importance of the strap by making it bolder. Eli Roth is a big name in the horror industry, as is the movie “Dawn of the Dead”, so the mention of them in bold writing is to add credibility to the story and make the audience intrigued to see it. After this, the straps all relate to the title and release of the movie with “Coming Soon”, “He Preys”, “On The Flesh”, “Of The Innocent”, “The Last Exorcism”, “Written by Huck Botko & Andrew Gurland, Directed by Daniel Stamm” , and “Coming Soon”. By splitting up the strap, the creator makes it more memorable and striking within the audience’s mind.  The repetition of “Coming Soon” does this also and convinces the audience to keep a look out for it. The mention of the writers also adds an element of credibility to it as the audience may be horror film buffs and know the names.

Lighting

The purpose of lighting is to create or improve the atmosphere and tone of a scene whether that is using natural lighting to create a realistic feel, or low lighting to make it seem scary or mysterious. The beginning of this trailer uses natural lighting until we reach the disruption scene; the exorcism. From then on out, the lighting is much darker creating a scarier scene for the audience. When in the barn, there is light coming from above Nell and the Reverend, leaving a pitch black shadow underneath them whenever they move suggesting a darkness that is close to them, that is within, or will touch, each of them. By using lighting from above, the sweat on Nell’s face is highlighted, and also it makes her brown eyes look almost completely black, so that even before the exorcism has begun, the audience can see something lying under the surface. There is a very short cut to a long shot of the house, and the only lighting used is available lighting on the porch or indoors, leaving the rest of the scene in darkness. This creates a haunting, foreboding feel for the house, and makes it look almost like a face, the whiteness of the porch being teeth. What seems like a cracked pot in the foreground of the scene gives an ominous feel for the destruction and chaos that is to come. In a stab of light, the colour of the scene is decreased in saturation leaving only the harsh white and black of the scene, and done so quickly that the flash makes the audience’s hearts jump slightly. The viewers are returned back to the barn as Nell looks to 

her right asking “what is that?” and as the character leans up, a shadow is created underneath her and it seems as if she is looking at the darkness and she believes it is coming for her. There is a quick cut to a close up of Nell in profile lighting that has a red filter on it to symbolise blood and danger that will follow the ceremony. By using profile lighting, it seems as if the darkness has taken over Nell, and her human side is losing as the next quick cut is of a close-up of her face in bright light with a scared expression. The scene cuts back to the barn where she is on the floor and feels something crawling up her arm and then to another red filtered clip of Nell presumably on her back, with lighting from the foreground that puts emphasis on the red of the filter, the effect that it has on her skin and eyes, looking as if she is coated in blood.

 The barn is then shown again, the quick changes in lighting and scene made to look as if the demon is fighting its way through her. The father and Reverend are then seen further away from the girl, both in profile lighting. This has been used to emphasise the expressions of their faces. Grief for Louis, and shock and fear for Cotton. This may also have been used to foreshadow the demon encroaching upon them as well. The profile lighting on the Reverend is much harsher than that on Louis, however, possibly because he is a religious figure, and this demon is much worse than he has ever dealt with, thus attacking his religious nature worse than that of her father’s.

We then see a close up of the Reverend cloaked in shadow that emphasised the features of his face and shows that he is still human after the exorcism. By following this with a clip of Nell kneeling over, and her hair covering her face, the audience are aware that this girl is no longer the sweet but troubled daughter, she is something different entirely. This idea is continued by using the red filtered scene again but with Nell looking straight into the camera, the red filter and high contrast making her eyes seem pitch black, and making her seem, for the first time, properly possessed.

The barn is then shown in a long shot with available lighting from the security lights, but in a red tint, linking back to previous scene signalling that there is danger in this barn. The white cat is shown in bright high angle to make her white fur seem even more so, and then the quick cuts with the same tint but with red filter continues the theme of the quick cuts and shows the girl attacking the cat without actual gore, another convention of supernatural horror. The contrast between white and red shows the murder of innocence and reflects that of Nell. The hallway scene is a use of background lighting to leave Nell in shadow, adding a frightening, ominous atmosphere. There is a slight light from available lighting behind the Reverend to show him walking towards darkness, towards the demon. The rapid flashing of lights is to disorientate the audience slightly and to add an extra element of fear to scene when paired with the drum beat and electrical sound.

By using a very bright light in the foreground, showing Cotton and his film crew, the entire background is left in complete obscurity, and by telling the camera man to turn off the light, the Reverend is seen to want to go into complete darkness, making the audience fear for his safety against the demon.

When in the room, however, the technique of foreground lighting is continued and paired with high angle lighting as Nell is atop the wardrobe to make the girl seem imposing even though she is in the foetal position. The flash cut of another scene before returning to the original is effective as it uses the same technique as that of the red filter scene, red filter and high contrast, but removes the red filter to make the girl seem lifeless. Even without the red signalling danger, this seems even scarier as there is no foreshadow, and it could come at any time.

The next scene, of Nell walking with a chain around her ankle, is presumably available lighting that highlights the worn floorboards and the simplicity of her dress and shoes. The following scene uses available lighting also from inside the house to create profile lighting as Nell walks predatorily outside and this adds to the demonic look of Nell. The trailer then goes back to barn scene with low angle lighting shining down upon Nell and then profile lighting on the Reverend to emphasise the interpretations created before of fear on both people’s parts, and an inhuman like nature on Nell’s. The repeated lighting and blurred filter adds to the creepiness of the scene and Nell breaking her own neck, and by keeping the wheat in the foreground in focus, it emphasises the inhuman action of the scene although it is blurred.

 Louis is then seen in available, almost profile, lighting to add fear to the scene as he says that he will kill his daughter to save her. It reflects the darkness he sees within her, and the darkness her must face within himself to do the deed. It also highlights the tears in his eyes over the notion that must kill Nell, and pulls on the emotional link between the character and the audience.The following scene emphasised Louis’ point as there is low angle lighting to emphasise Nell’s human nature which, as she gets closer and attacks the crew, engulfs her whole face to take that away.

The strong contrast and red filtered effect is then used again to see, who is seemingly, the Reverend tearing Nell away from the porch and across the lawn as she screams, showing the terror and brutality that comes with an exorcism. This effect is then repeated as the crew members run into the house, the camera following them as if they are being chased and then again as Nell crawls across the ceiling. The strong uses of red and black in this scene accentuate the notion that she is possessed, as does her crawling across the ceiling.

The trailer once again cuts back to Cotton performing the exorcism in profile lighting, Nell in available lighting, the contrast/filter effect and then Louis in profile lighting before it cuts to black. This is used to constantly remind the audience of the reason these events are happening so that they don’t get lost in the action of the film. Again, it cuts between the barn scene, a contrast filter scene and back to the barn, but it then followed by a new one of Louis carrying a violent Nell away from the crew in foreground lighting that highlights the anger in her face. This effect continues as the Reverend holds up a cross and then when Nell is writhing on a makeshift bed.

 However, when the Reverend is holding a cross up to Nell in the quick cut montage, there is high angle lighting and high angle camera to make him feel dominating, as if he has the power of God on his side and is taking control of the situation. Although, the scene is followed by a close-up of Louis with tears in his eyes in profile lighting which suggests that none of them have control. More red filter effects are used as the quick cut montage continues and fire is now present, so the connotations include danger, blood and hell. The final scene of this montage however is a seemingly normal image of the camera crew screwing on a lens, however it is cracked, symbolising the crack the demon has created in their simple, rural life and how what at first seemed like a simple exorcism has turned into something so much more.

The final scene of the trailer is in the same contrast/red filter effect, continuing that theme, and emphasises the blood on her white dress, the awkward, disjointed stance that she is in, and the deep, dark shadow that is beneath her. The film title strap also contains this effect, thus ending the trailer with a creepy, but familiar scene.

This teaser trailer is very successful in attracting the target audience as it practically ticks off the conventions of exorcism movies from a list. They create enough tension and fear to intrigue the audience to see more, but managed to tell the entire storyline whilst doing so.

Analyses of Horror Movie Trailer: Drag Me To Hell

To produce a successful trailer, a practitioner must combine multiple elements and adhere to conventions. These elements are narrative, lighting, camera angles, editing and straps, mise-en-scene (costume, make-up, props etc.) and sound. When used together, these elements can either terrify an audience into watching a horror movie if used correctly or completely turn them off when not.

 Drag Me To Hell is an example of these elements coming together successfully as Sam Raimi has effectively used them to haunt and frighten the audience into watching his film. The story is of a young woman named Christine Brown who, in an attempt to gain value at the bank of which she is employed for a possible promotion, declines an extension on a mortgage for a decrepit old, eastern European woman. Seeking revenge for being shamed by Christine, the old woman, Mrs. Ganush, sets a curse upon her that, after three days, will send her to hell. The plot of the trailer follows that of the movie very closely, however the audience is shown just enough to tantalise and not to spoil. Trailers conventionally follow Todorov’s narrative structure to the third stage, equilibrium, disruption, then reaction and repair, as does Drag Me To Hell; the audience is shown the reaction and attempts at a repair, but as is conventional, they are not shown the new equilibrium or the repair coming to fruition.

The trailer begins with crane shot of a busy American highway to establish the scene as a normal, average day. The sun is shining, and natural lighting is used to make the scene immediately relatable to the audience. This relatable nature continues as a medium close up is shown of an average woman driving a car. 

With blonde hair, brown eyes, light make-up and a plain hair style, the woman, Christine, is instantly accessible to the audience as the women can place themselves in her shoes, and both genders can recognise her to be like someone they know. Whilst the scene set so far is typical, the overlaying non-diegetic soundtrack of creepy piano, lullaby-like, music adds a mysterious quality to the scene. The audience can instantly realise that this woman is important, and something bad is going to happen to her. As she calls after a man who the audience would presume is her superior, as he is wearing a suit and glasses; stereotypical for a managerial role, the audience see her costume that is as plain as her hair and make-up. The clothing is simple yet feminine, and whilst the gold necklace draws the male eye to her neckline and slightly unbuttoned blouse, it is not overtly sexual. This would be so in a slasher film, however as this movie is a supernatural, women are slightly less obviously sexualised. The setting of a bank adds to the realism of the scene as it is an every-day location, and the busy atmosphere enhances this.

As Christine and her manager talk about a promotion, the scene cuts to her looking forlornly at a desk before it cuts to the sign outside the empty cubicle. This not only tells the audience what it is that she is wanting for, but her gaze shows the audience that it is something that she wants desperately, and will perhaps do anything to get the role. When the scene cuts back to their conversation and the “new guy” is mentioned, the audience feel sympathetic to the main character and an emotional bond is created. By creating this bond between character and audience, when the supernatural happenings occur to the woman, the audience will be much more scared and afraid for Christine as they can identify with her. The message put across by her gazing at the empty desk is reinforced as she is told that the Stu is “not afraid to make tough decisions”, to which she replies “I’m perfectly capable of making the tough decisions.” This foreshadows the coming scenes and shows the audience that Christine feels like she needs to prove herself.

The scene cuts to institutional information, signifying that the previous clips were the introduction, and now the storyline is going to ‘hit its stride’. The diegetic dialogue is played over this institutional information, and it is clear that the voice belongs to an old woman. The audience are lured into a false sense of security by this as they would assume that the old woman would be of a stereotypical “Old Age Pensioner” look, and is therefore unsettled by the old woman put before them. With a shawl around her head and a disfigured eye, the audience will immediately assume that she is a gypsy, and her eastern European accent reinforces this however the natural and available lighting of the bank gives her a more human quality than in the rest of the trailer.

 She appeals to Christine, and the audience feel sympathetic towards her, again luring them into a false state of security. The non-diegetic orchestral music is quietened to a low hum of violins at this point to give focus to the dialogue, but to add an emotional depth to the scene. A close up of Christine is shown to see her reaction to Mrs Ganush, a sympathetic one, just as the audience would have. She agrees to help, and the non-diegetic music begins to tense as her boss tells her that it’s her decision to make as a point of view shot of the woman is shown from Christine’s perspective, showing that the old woman is causing a personal dilemma in her as she looks between both her and the manager. The audience at this point would recall back to the previous scene as they spoke about the assistant manager role as the manager says “It’s a tough decision. Your call.” The music tenses at this point as the camera pushes into Christine’s face, showing the conflict more vividly in her face. The audience can pre-empt that she is going to decline the extension due to the building of tension by the soundtrack and the need for a disruption in a film narrative.

Christine declines Mrs Ganush, as the audience would have expected, and the audience would feel very sympathetic towards her as she grovels to Christine. With everyone in the bank staring, the audience would feel second hand embarrassment for Christine and the emotional tie is strengthened further.  As the old woman cries and gropes at her, the music tenses, signalling a pivotal moment coming. The stab of sound after Mrs Ganush says “you shame me” indicates this as the scene cuts to black. Christine yelling for security shows that the old woman is in fact dangerous, and her tone of voice before the stab reinforces this. Her hissing voice is almost demonic and adds to the tension of the scene.

Christine’s shoes echo in the empty parking lot, a stereotypically dangerous place to be in horror movies. There is only available lighting from fluorescent bulbs above her, only radiating a dim light, giving a dark, foreboding tone to the scene, along with the lack of non-diegetic sound. The lack of other cars and her echoing footsteps show the audience that she is alone in a dangerous place, and the audience would be considering her to be a “stupid blonde” for going out alone after the old woman had acted in that manner. The diegetic sound of the car door is enhanced to add to the idea of solitude, and the twist and push in of the camera into a close up of her calm expression lulls the audience, yet also builds tension through lack of action; the audience are waiting for the jump.

A cut and stab is used to Mrs Ganush raising what seems to be a cinder block and smashing Christine’s car window in.  As Christine cowers in fear from Mrs Ganush, the audience fear for her life as the orchestral music swells. When she is dragged from the car, her skirt is pulled up and her bare legs are shown in the process, sexualising Christine when she is vulnerable showing just how helpless she is, the quick cuts showing the frantic nature of the scene and reflecting a racing heartbeat. The low angle camera on Christine and the high angle on Mrs Ganush show a clear contrast in power between the two characters and shows that Christine is at her mercy. When Mrs Ganush steals the button, there is clear confusion written on her face that would reflect the audience, strengthening that bond between character and audience further, and as the old woman sets a curse on Christine, the stereotype of gypsies laying curses on well-meaning, innocent women is perpetuated.

 The close up of her yellowed, dirty teeth removes any remainders of the previous  misconception that she was a sweet old lady losing her house, and brings focus on the button, showing that it is a central part of the narrative. The high angle shot in combination with the backlighting of the fluorescent bulb gives Mrs Ganush a supernatural, powerful representation that reinforces the control she has over the situation and over Christine. The close up of her eyes is a slightly blurred point of view shot from Christine, possibly from the effects of the curse that shows a clear contrast between her good and bad eye, emphasising her disfigurement. A staple in her forehead is seen, relating back to the stationary that Christine was seen carrying to her car, and the bloodied eye shows defensive wounds made by Christine, highlighting the violence of the previous scene. A close up of the young woman’s face is shown and the old woman is seeming to have a drug-like effect on her as the camera shifts focus to create a “trippy” effect from Christine’s point of view, as if she is woozy. A more focused close up of Mrs Ganush’s eyes are shown, and sue to the better focus, her eyes seem darker, as is she has more power after cursing Christine, or that there are evil forces running through her. This is enhanced by the non-diegetic eerie noises being played as the younger woman looks up at her confused and seemingly weak. This weakness is reinforced as Mrs Ganush tells her “soon it will be you who comes begging to me.” The close up is almost like a tilt shift as the focus is altered on the lens. The cut to Christine’s eyes show the contrast between each of theirs and the confusion that clouds hers. Mrs Ganush’s voice is almost taunting towards her, adding to her evil image.

 There is the stab of sound on the strap that occurs on each one throughout this trailer. This strap features “From Sam Raimi” on top of a plain black ground with a spotlight at the centre that shifts towards the end of the short strap as the brass instruments of the non-diegetic orchestra music sound. This can be seen to reflect Christine as an average, pure, innocent woman being approached by darkness and shadow. By featuring a well known director, the audience will recognise the name and immediately become more attracted to the film as the y may have seen his other works. A male hand is seen lifting Christine’s as the scene cuts, and the darker complexion and beaded male jewellery would immediately signal to the audience that his hand belongs to a fortune teller, psychic or medium, as is stereotypical in all films; most characters with a darker complexion are wise, exotic people. A medium shot of Christine and the medium is seen, confirming the audience’s assumptions.

 Despite being dark from only using the available lighting from the lamps, the audience can make out the knick-knacks covered the man’s desk, the older books that litter the bookshelves and the worn furniture. These props would tell the audience that this man is the “helper” as seen by Propp’s character types. He will aid the main character in ridding herself of the curse. The small cloth covered table is stereotypical to psychics, and the light tone of the fabric is bold in the dark room, and highlights their joined hands. The close up of Rham’s face adds to the stereotype of a mystical exotic foreigner that knows more than a simple American with his beard, wild hair and dark eyes that make him seem dark and mysterious. There is once more a cut to Christine’s concerned and scared expression before he explains what he knows of the curse. As he does so, the scene cuts to a darkened street lit by available lighting of street lamps as the non-diegetic orchestral music begins to swell and create tension. The wind blowing leaves around suggests an invisible mystical force or some form of witchcraft, and the camera pushes in and lifts slowly before the scene cuts to Christine who, in a close up, turns her head sharply, as if she had heard a noise, and the scene cuts back to outside where the wind is picking up. The music tenses further and stabs as the gate is flung open by the wind and makes Christine jump, as seen in the following shot. The wind breaching the gate makes it seem as if there is no escape for Christine and the supernatural force is invading everything around her.

A tab of sound is heard and a strap shown displaying “Director of Spiderman”, reinforcing the fame of the director and ensuring that those who may not know him by name, would recognise him by his famous pieces of work. In this strap, unlike the last several, the font of the “I” drips down slightly, reminiscent of blood or connoting the curse that is running through her veins. The flicking pages of the books that follow after a cut show ages pages, signifying that the curse is of an older magic, making it scarier. There is an scary, unknown quality that comes with looking into history. With tales of witchcraft and curses in every nation’s history, the audience have been bred to fear such things. The flicking of pages stops on a page detailing the curse. Whilst in real life it would seem unlikely that the person you seek help from just so happens to have an old book on a curse from an eastern European woman, as it is a film, the audience accept an altered reality where such things can happen and they don’t question it. 

 With the details of the curse revealed to the audience, the trailer begins to present the effects of the curse by using a canted camera angle to reflect the main character’s fractured state of mind. The shadow on the curtain is a convention of older horror films seen primarily in the 1940’s, that used suggestion to create fear. The suggestion however is more blatant than subtle in this trailer as the audience is shown a demon-like shadow paired with a beastly cry, then a quick cut of the creature at the kitchen window before it cuts back to a quick shot of Christine turning away with a gasp.  

With a short, slow paced tracking shot, beginning to circle the couple in bed, making it seem as if the camera is a point of view shot from a demonic predator. The strap of “And the Evil Dead Trilogy” slows down the pace for a moment to keep the audience on their feet, with eerie noises overlaying the soundtrack of orchestral music and the narration from the  donor continues over this as the soundtrack begins to rise in volume. There is a close up of a fly to ensure that the audience know where to focus on in the forthcoming scene, leaving the couple in the blurred background in the transition from deep to shallow focus. A close up of Christine’s mouth follows, once more to show clearly where the audience’s attention should be as the fly lands on her lip. 

By cutting to Christine talking to the donor, the tension of the scene is raised by introducing a new scene that continues with the narrative, to create dramatic tension by pausing the action yet continuing the fast pace and tense music. The medium-close-up shot of Christine with a person hidden in the foreground shows the character as desperate, therefore increasing the pressure. Christine’s headband in addition to the bright, yellow lighting makes her seem innocent, however the dark tone of her clothing makes it seem as if she is going to a funeral, perhaps her own. The scene cuts once more and the fly enters her mouth as the orchestral soundtrack reaches a crescendo as she flies upright in bed. With the windows in the bedroom open, the audience would wonder at this point whether it was a dream, or whether it was in fact reality and the fly had flown in. The stabs of the brass instruments before the cut increase the heart rate of the audience before it cuts to black. 

The short silence before the donor says "To burn in hell" emphasises the sentence, and the fade in of images from a seemingly ancient text of demons also serves the same purpose. The camera zooms in on Christine’s terrified face with dark, almost pitch black eyes before the fade to a pan across the book. The fade to a following shot of Christine going back to sleep is to slow the scene down and to show deep contrast that in turn accentuates the grotesque horror of the old woman lying beside her. The demonic noise as the old woman roars at Christine is a sharp stab that makes the audience jump just as they were lulled into a false sense of security.

A quick cut to a strap is shown with a quick fade in of the text "This May", which features more distortion on the font showing the transition through the trailer, and how the film is getting more intense. This strap features more brass music to maintain the level of tension and to retain the audience as it cuts to an over the shoulder shot of the young couple as the narrative says "It's coming for me" before a shadow of hands creeps across the bare floorboards as a non-diegetic demonic groan sounds. The bare floorboards represent bare bones in this section, and just as the demon's shadow encroaches and takes over the floor boards, it will take over her too, to her very core.

By using a well known actor, Justin Long, along side a non-well known actor, Alison Lohman, the movie both fits the convention of horror using unknown actors, but also appeals to a wider audience who may be fans of Justin Long and will therefore see it even if they don't like horror films. Clay Dalton, Long, is shown as a sweet and caring boyfriend to Christine over a series of fast cuts. By doing this, it is clear the Clay is only a sub-plot, and not the main storyline. The low angles show him as  vulnerable and confused, not stereotypically associated with males in film, however within this plot, the main female character doesn't need to be saved by a man, as in other genres, as she needs to be preyed upon by the supernatural being for the entertainment of the audience. The low angle shot of Christine followed by the high angle of the skyline with the continued imagery of the hands reinforces this. By cutting back to Clay telling Christine "There is nothing coming for you", the audience immediately know that there is, and that it is coming soon; the denying acts as foreshadowing. 

The strap of institutional information that follows is quick in both length of clip and action of fading to reflect the pace of the trailer with a slight stab in orchestral music to reflect the tension.  There is then a conventional seance, that is common in supernatural films, around a circular table with a geometric design set out by the floor tiles in a similar shape of a pentagram below them, a shape long connotated with the devil. They hold hands and chant, surrounded by candles, as the darkness seems to surround them through key lighting that focuses on the characters' faces only. The pan of the seance members make it seem as if they are being watched, and the cut to a high angle shot of a shaking chandelier makes it seem as if an evil spirit is with them. The donor is then showed again as the trailer begins to come to it's climax so as to tie the story lines further together and entice the audience. 

The distortion on this strap on the stab is reminiscent of wings on the P and T, however due to their colour and the tone of the trailer, they are more likely to be demon wings, or a fallen angels. A fast whip pan moves through the characters as a chanting chorus swells with the orchestra, representing the rising tension as the climax approaches. 

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