Texas Chainsaw Massacre (2003) - Trailer Analysis.

This trailer begins, with a low angle shot of a car driving past in a hot sunny desert like place. The location at this point isn’t really a setting paradigm. The non-diegetic sound sounds calm. It is set in the day time, the fact that it is also set during the day, also breaks that convention. The camera cuts to a two shot of the two couples in the car, Equilibrium. The camera then cuts to a tone card: “August 18, 1975”, this establishes hen it was set, also it’s been written in a traditional font, which contributes to it.  The camera cuts to a two-shot of a couple, this shot establishes their relationship. Everyone is laughing having a good time (Equilibrium). The camera cuts to a close up of a sign, then cuts to a tone card; “Travis county Texas”, establishes where they’re going. The camera then cuts to a long shot of the truck slowing down next to a “hitchhiker”. There’s a lot of dust, making it hard to see what’s happening behind them, which suggests that wherever this person “hitchhiker” came from is somewhat a blur, distorted. The diegetic sound of speech spoken by the “hitchhiker”; “They’re all dead” creates tension, moment of disequilibrium.

The camera then cuts to a series of short quick shots, in sync with the diegetic sound of a vinyl scratching which almost sounds identical to the sound of a heartbeat. The first shot is of the couple, looking back at the “hitchhiker” in shock to what they’ve just herd. The next shot is a close up of the “hitchhiker” crouching over her knees with her hands covering her ears, like she’s looking for a place to escape, trying not to hear or see anything. The camera cuts to a close up of someone observing from behind a set of blinds. You cannot see the face of the person, which makes it very voyeuristic.

Camera cuts to an establishing shot of an old building, isolated in the middle of nowhere, they have done this to show that, no one’s around to help them, they can scream as loud as they want, and no one would be able to hear them. Camera cuts to a girl walking up to the house on her own. Camera then cuts to a shot from inside the house, and two people are standing outside banging on the door, shouting to see if anyone is there. The house is dimly lit; the only form of light is the ones coming from outside shining in from the windows. Camera cuts to a low angle of the girl walking towards the house by herself. The fact that the camera is a low angle shot suggests that she is a powerful character, possibly the final girl? The camera then cuts to the guys face which shows his facial expression which is of suspicion.

“BANG” the diegetic sound of that bang stopped the non-diegetic sound. The camera then cuts to the girl jumping as a reaction from that sound. The camera then cuts to a close up of a “peeping hole”, which suggests that someone is watching which is yet again voyeuristic. The camera then cuts to the girl on the other side of the “peeping hole” looking through it, which suggests that she might have had the feeling of someone watching her. Camera then cuts to an over the shoulder shot of an old guy in a wheel chair, him being in a wheel chair makes him vulnerable therefore not a threat to them. Camera cuts to a two shot of their faces as a reaction to the man’s appearance. Cuts to the “hitch- hiker” With the diegetic sound: “You’re all gonna die” moment of disequilibrium. The camera cuts to a close up of the peeping hole, which suggests that someone is probably watching behind it.  Camera then cuts to that door opening finally revealing who is behind it however the camera cuts to a close up of the boy and girls face in reaction to the villain.

The camera fades out to a white screen which looks like a flash of the camera, it fades out in sync with the non-diegetic sound which also sounds like a camera. The camera cuts to a hand held/point of view shot of the villain chasing one of the guys through a clothing line, the camera does the same thing with the fade out and the non-diegetic sound. The camera then cuts to a close up of the girl holding back the door in order to prevent someone coming through, Final girl? The camera then cuts to a close up of two girls huddling in what looks like a basement. Due to the way they have been composed in this shot, they look extremely vulnerable. The camera is still doing the fade to white, with the non-diegetic sound that sounds like a camera. The camera then cuts to a series of quick short cuts, with the sound of the non-diegetic sound speeding up. This creates tension.

The camera cuts to a tone card one after the other, and the second one says “Inspired by a true story”. By doing this they have made the movie 10 times scarier than it already was, as by saying it’s inspired by a true story, it make people believe that it could happen anywhere, to anyone. There is a voice over, over a fade to black of a girl screaming, with then a sound of some sort of chains, gives the impression of imprisonment, claustrophobia. The camera then cuts to a series of short quick cuts, yet again building tension. The trailer ends with the villain sliding his door shut, going back to hide away. Until now he has remained hidden.

The Last House On The Left - Trailer Analysis (2009)

This trailer starts off with an establishing shot of a car driving through the woods; it is set during the day which gives a sense of equilibrium. The camera cuts to a long shot of the car taking the left route, with the diegetic sound of speech saying: “Only house for miles” whish shows that they’re isolated. The camera then cuts to a medium shot of the girl taking her clothes off to go for a swim; gives a sense of voyeurism. Camera then cuts to a two shot of mum and daughter, established the relationship between the two. The non-diegetic sound is calming very melodic which contributes to the equilibrium.

The camera then cuts to a close up of Justin’s face which is in shock; he’s got his hood up, hiding his face, which gives the impression that he is hiding something. The camera then cuts to a close up of the 3 characters (Mary, Justin and Paige), establishes each character and the relationship between them. Camera then fades out to a different scene, establishes a change of time. The camera then cuts to a close up of feet as the door opens, in sync with the non-diegetic sound of a “whoosh”, moment of disequilibrium.

The camera cuts to a medium close up of the three villains walking in, and due to the way that they have been composed in this shot, with two of them slightly more in front in a sort of protective stance, shows that they’re protecting him from something or someone. The camera then cuts to a close up of their faces, Mary looks scared. The camera then cuts to a two shot of Justin and one of the villains, the one being “protected”, establishes a relationship which we then find out to be a father and son relationship. The camera then cuts to a shot – reverse shot between Mary and the villain. The camera then cuts to a close up of Paige being held captive with a knife to her throat. They have used a knife, as it’s more personal. The camera then blacks out to nothing.

The diegetic sound of speech; “NO, NO, NO” shows signs of distress and mercy. Camera cuts to quick short cuts of Paige attempting to escape, by banging on the windows crying out for help, to then of the villain coming back in and grabbing her and banging her head against the sink to knock her out of consciousness, camera then fades out, linking with the idea of Paige being unconscious. The camera then fades back to a long shot of them in the woods; this establishes a change of time. The camera then cuts to a close up to Mary escaping by running into the water, the diegetic sounds of gun shots link in with the fade, which suggests that she’s been wounded and knocked out of consciousness. The camera then cuts to a tone card: “It was a brutal crime”. Camera then cuts to a high angle shot of Mary, which makes her look vulnerable.  This shot links in with the first time line. The camera then cuts to the villains walking past a sign which read; “Lake ends in the road”, establishes that they’re heading to the same place as where Mary’s parents are staying at, it is now night time which suggests a change of time.

The camera cuts to a point of view shot of someone opening a door, the door opens to the sight of the villains, we then discover that it was Mary’s dad who had opened the door, and they stay unaware of where they are. Cuts to a tone card; “It was a place to hide”, camera then cuts to a point of view shot of Justin looking at the picture of Mary that’s attached to the fridge. He finally realises where they are. The camera then cuts to a close up of Mary taking a breath; this then fades out to a close up of Justin’s face, which is in shock, horror and guilt. There’s a voiceover of Mary’s parents and the villains talking about Mary, but not exactly mentioning her name. Cuts to a tone card; “It was the wrong house”.  The camera then cuts to a close up of May’s hand grabbing the red cone in the water. This makes her seem weak and vulnerable, as she’s holding out for something to keep her stable. The camera fades out to a rocking chair banging against the porch. The camera then cuts to Mary’s dad shining a light on the rocking chair, only to find Mary on the floor barely alive. Cuts to black, the non – diegetic sound comes in, this song juxtaposes with what’s going on as this song is a joyous song.

The camera cuts to a close up of the parent’s reaction of shock and horror, as they find out what had happened to her. Camera cuts to a medium shot of them placing her on the living room coffee table, camera cuts to the villain getting comfy in bed. The camera fades out to a high angle close up of Mary’s mum crying, makes her look very weak and vulnerable. The camera then fades to a close up of another villain, then to a close up of a gun.  The camera then cuts to a close up of Mary’s dad looking down at Mary’s mum in a kind of protective way. This shot makes him look extremely powerful. Camera then cuts to a close up of the kitchen knives, disequilibrium.

Camera cuts to a close up of the female villain in the shower; this shot relates slightly to the famous shower scene in the film psycho, in this shot she looks very suspicious and cautious. The camera cuts to a point of view shot of Mary looking up at one of the villains; this shot makes her look very vulnerable, especially after the shot reverse shot of their reactions; the villains being in shock, and Mary’s in pure fear.  The camera then cuts to a series of quick short shots, of the parents killing the villains, this juxtaposes with the non – diegetic sound, which is still that joyous song “Sweet child of mine”. It then cuts to two tones cards; “If some hurt”, “Someone you love” but in a fade, so it makes sense. Camera then cuts to a close up of Mary’s face being pressed up against the dirt. Cuts to a tone card; “How far would you go”, Cuts to a series of short quick shots of more violence, cuts back to a tone card; “To hurt them back”. That section is of an almost shot reverse shot kind of thing linking the tone cards with the shots, explains, what is going to happen.  The diegetic sound of speech; “Do you wanna hear what I did to your daughter?” in a voice over, this shows that he is provoking the dad, and that he has no morals, and is pure evil. The camera cuts to a close up of someone taking the gun, from the villain’s bed side table. Camera cuts to another series of quick short cuts, of more violence.

The camera then cuts to a point of view distorted shot of the villain looking up at the dad, seeing as his sight is distorted almost as if he has just woken up from unconsciousness suggests a change of time. The camera then cuts to a close up of a slight high angle shot of the villain’s face, makes him look weak and vulnerable. This supports my theory with that first shot of when the villains were introduced and the other two were in an almost protective stance, as those two villains died before him, leaving him to attempt to defend himself. The camera then cuts to a close up of the mother’s face smiling, slightly sinister. This is a new equilibrium for them. The camera cuts back to the point of view distorted shot, of the villain looking up at the dad. The trailer ends with a medium shot of the villain paralysed from the neck down, with his head in a microwave. 

Saw Trailer Analysis:

The trailer starts with a very old T.V on an old chair that looks pretty much broken. The location is in a rundown setting. There’s some sort of a clown, ventriloquist doll mask which distorts his features. The mask is a paradigm.  The idea that he is on a T.V In an isolated place, which could be anyone anywhere gives a sense that it could happen to anyone anywhere. Also the use of a point of view shot. The trailer in the beginning lacks in tone cards or preview card, it gets straight into it. There is no disenable equilibrium, we are already thrown into disequilibrium.

The camera then cuts to a couple of newspaper articles, which gives a narrative creates a background story. The non-diegetic sound “whoosh” creates a sense of unease. Finally a tone card has been introduced. “It’s his game” there is a colour connotation, which gives a sense of darkness. The words are slightly unfocused and disorientating. The smoke being used gives a sense that things are unclear, this links in with the unfocused writing. The font used looks slightly like a serious and traditional font. This suggests that maybe this is not a traditional horror film, as the font gives a sense of age and maturity, the font is intelligent, which cannot be linked with a slasher film.

The camera then cuts to a point of view shot through a camera lens, which gives a sort of voyeurism effect, as the character is being watched. The location is set in like a prison, with barred windows; also the balcony suggests that they’re high up, and isolated. Someone knows that they’re being watched, as the curtains moved.

The camera then cuts to a man in scruffy jeans and blue shirt; he looks like a middle class worker, in which anyone could identify with. The camera then cuts to a medium shot. He is not wearing any shoes which give a sense of exposure and vulnerability. He is in an isolated setting, all you can see is that they’re in a place where there are tiles and pipes its a little damp. It suggests that he is located in a place that is hidden away, as nothing looks like it has been take care of.

Camera cuts to a man in a black cloke, which slightly looks like the grim reaper, which gives the impression that he could possibly the villain. He is surrounded by smoke, which gives a sense of mystery as you cannot see through smoke. Also he is in a low key lighten location with cages which gives a sense of imprisonment.

There is a voice over which narrates parts of the film. This establishes the narrative of the story. We also learn more about the characters. The non –diegetic sound of a low rumbling creates a sense of unease. The camera then fades to black, which suggests a passage of time. This suggests that they have been there for a long time.  The colour black gives a sense that they’re plunged into darkness. The tone card “it’s your move” draws audience in, makes them identify with the characters, which then makes them an active audience instead of a passive audience.

The camera then cuts to a point of view shot, looking up which gives that almost in a hospital kind of effect, drifting in and out of consciousness. The camera then cuts to a point of view shot of a chain saw, which is a paradigm. The fact that the image of the chainsaw is slightly blurred and rigid, suggests that the character is in an unstable mental state, which shows a real sense of panic, sets up the narrative.

The camera cuts to a CCTV camera with yet again gives that sense of voyeurism. Also the man in wired cages gives the sense of physical imprisonment. The non diegetic sound of the clock links in with the spinning of the camera, which breaks the 180 degree rule, which makes it extremely voyeuristic. It also makes you feel sick and disorientated.

Camera cuts to a load of different character types which supports Propps theory of character types. The camera cuts to a blonde girl, which is the victim which could possibly be the final girl. She is leaning against a banister for support.

The camera cuts to a cellar door, which gives a sense of being trapped and imprisonment. It also suggests that it’s underground, in the darkness where horror happens. (Light = salvation). There is an acceleration of shot types which are very short, which raises questions (pleasure of the texts). There non diegetic sound of a sort of industrial noise links in with the use of the machines and tools e.g. saw. The trailer ends with the diegetic sound of the clown/ventriloquist doll laughing in a creepy sinister way.  

Media Theories - Presentation.

http://www.slideshare.net/Eleonitaa/media-theories-12531583

Post-modernism - Attack The Block Timeline.

Final Girl - I Spit On Your Grave Timline.

Theory of Narrative - Teeth Timeline.

Character Types - Scream Timeline.

Binary opposites - Exorcist Timeline.

Halloween Trailer Analysis.

“How does Halloween, follow the codes and conventions of a slasher horror sub-genre?” The Halloween movie trailer follows the codes and conventions of a typical slasher horror movie, through the ways in which they use the paradigms; The establishing shot of an isolated white house, in the dark. The only lights that are visible are those coming from the bedroom and the porch. This follows the codes and conventions of a stereotypical slasher horror film, as it is set in an isolated house; also it is set in the dark, which makes this a typical structualist horror movie. The eerie non-diegetic sound also follows the code and conventions as it creates a mysterious, creepy atmosphere, also the diegetic sound of the owls suggests that it is set pretty late as the owls don’t “hoot” until it gets dark. This suggests that the house is also set near the woods, as that is their natural habitat is in trees. The camera cuts to a hand held camera/point of view shot from the inside of a mask, you can barely make out what is happening, but the fact that the hand is slashing across the screen suggests that she is being stabbed. This follows the code and conventions of a slasher horror sub-genre as the weapon normally used for a slasher film is a knife, as it is more personal, therefore it is a paradigm and follows the codes and conventions of a stereotypical slasher horror movie. The camera then cuts to a point of view shot walking out of the front door into the dark. The walls inside the house are all white with white knitted curtains, this follows the codes and conventions as the character paradigms suggests that there’s a victim, and the victim represents innocence, purity and vulnerability, so by using the white walls and white curtains, it links to that idea. Camera cuts to a mild shot of a man removing Michael mask, we then find out that the murderer is only a little boy. The camera then cuts to a close up of the doctor’s face, the non-diegetic has cut out and the diegetic sound is of the doctor talking about Michael and his illness. This follows the codes and conventions of a slasher horror sub-genre, as the killer is a sick evil person, even though it is a child, it still fits in with the structualist theory. The camera then cuts to a close up of a nurse in the car, then to a man jumping on the car. The non-diegetic sound speeds up creating tension. The camera then cuts back to the nurse in the car, who is being grabbed by Michael. The fact that they have used a nurse as a victim is somewhat ironic, as a nurse would usually be the one helping those who are wounded and in need of help, but no one is going to help her in this situation. This follows the codes and conventions of a slasher sub-genre as an innocent woman has been attacked, also linking in with the structualist theory, the scene being in the car, where you would feel safe, is actually the place where you shouldn’t go, as you are trapped. The camera cuts back to the doctor. The non-diegetic sound of him talking “he will be back” creates and builds tension. The camera cuts to 3 girls walking, wearing smart but casual clothes, 2 of the 3 girls are smoking, this suggests that the one that is not smoking is most likely to be the innocent one, and the other 2 are most probably the “promiscuous girls” linking in to the structualist theory. Whilst the girls are talking there is no non-diegetic sound, when the camera cuts to a tracking shot following them from behind, the non-diegetic sound crescendos which creates tension and suspense. The camera then cuts to a close- up of a two-shot of the girls and then a close up of the other characters showing their facial expressions, which is of shock and confusion. The camera then cuts to a dark room, door swings open a person covered in a white sheet representing some sort of ghost. The camera then cuts to a mid-shot of a girl in bed, I assume she is in the nude as she is covered by her cover; she is filing her nails which suggest that she has been waiting. This follows the codes and conventions of a slasher horror sub –genre, as she is the promiscuous girl that will soon die, according to the structualist theory, also slasher films in general have a lot of sexual intercourse, so this links into that idea of sex. Camera cuts to a hand held camera smashing through a door, suggests that someone is desperate to get someone else, the non-diegetic sound crescendos creating tension. The camera then cuts to a close up of the woman gasping in shock, suggesting that something bad and unbelievable has occurred. The camera then cuts to a girl in the bed lying dead in the shape of a cross, with a lit pumpkin on the bed side table, and the bed post is in the shape of a gravestone with the name “Mike Myers” written on it. This follows the codes and conventions of a slasher horror sub-genre as the fact that they’ve linked religion with horror, as religion is also a big part with the whole structualist idea of the survivor being a virgin; “No drink, no drugs, no sex and you’ll survive”. The camera cuts to a guy with glasses alone in the dark kitchen with nothing but the fridge light shining. There is no non-diegetic sound as he shuts the door, a tracking shot is used for when he walks to the door, and he is then greeted by Michael who then strangles him. The non-diegetic sounds starts and immediately creates tension and a sense of fear. This follows the codes and conventions of a slasher sub-genre as even though Mike is not using a prop paradigm (knife), he is still using his hands, which make it really personally and gruesome. The camera cuts to a mid-shot of a woman leaning against the wall in the dark. The way she has been positioned in this shot makes her seem really vulnerable and week as she is leaning against the wall for support, she is also stroking her arm for comfort which also suggests that she is really scared. As she walks towards the camera a white mask comes into focus and attacks her. Camera cuts to a hand held camera/point of view shot of the girl falling down the stairs. The camera then cuts to a point of view/low angle shot of the girl looking up at Mike, which makes her seem even more vulnerable and week. Also Mike is standing in the dark with a bit of light shining behind him, even though he is the villain, this shot makes him look powerful and almighty, almost god like. This follows the codes and conventions of a slasher horror sub-genre, as the villain is made to seem more powerful and stronger than the victim, who is made to seem weak and vulnerable. The camera cuts to an establishing shot of the house, this time there are no lights on at all which distinguishes that a change has occurred. The camera cuts to a tracking/handheld camera of the girl limping to a house with the porch light on, the fact ta she is limping shows that she is hurt and weak. The non-diegetic sound is very tense and staccato, which gives a very frightening atmosphere. The camera then cuts to a series of quick cut shots between the girl limping to door, and Mike walking slowly towards her. The fact that he is walking slowly towards her in comparison to how she is literally trying to run, is slightly patronising as he’s giving her the impression that he doesn’t even need to make an effort in killing her, and can get her easily. The camera cuts to inside the house, the house is dark and the only light is coming from the T.V as a little boy is watching T.V. This shot makes this boy really vulnerable as he is on his own watching T.V, and the by the looks of it this little boy looks about the same age as Mike, way when he started killing, do the fact that he’s just sitting there on his own watching T.V I the dark is kind of creepy. This follows the codes and conventions of a slasher horror sub-genre, as in scenes like these you would expect something bad to happen, even though it doesn’t show you what happens in the trailer, due to our culture and understanding we would assure this. The camera cut back to outside and the girl is screaming “HURRY!” Whilst banging on the door which suggests that she is desperate. The non-diegetic sound gets louder and more aggressive, as Mike gets closer and the girl gets more desperate. Camera cuts back to Mike walking towards the house from a point of view shot. The fact that he is in sight of the house is very frightening and the non-diegetic sound helps create that mood with the aggressive sounds. The camera cuts back to the girl getting more desperate, banging harder on the door, The trailer ends with the screen fading out to black followed by the fading out of the non-diegetic sound and the diegetic sound. This follows the codes and conventions of a slasher horror sub-genre.

How does “Shaun of The dead” Subvert Structuralist Notions of A Horror Film?

Shaun of the dead is a post modern film. It plays with generic conventions knowingly, and there’s a deliberate subversion of paradigms. In Shaun of the dead, they do this through the character types; the props they use; the location, and through the use of mise-en-scene, camera angles and sound.

The characters in Shaun of the dead are subverting and upholding stereotypes. For example, the zombies in this film just like in any other ‘zombie film’ move very slowly, they are emotionless and also they feed upon human flesh. They also slightly use “Propps” character types: You have the main character, his girlfriend, the geek that’s in love with the main characters girlfriend, the main characters dopey best friend, the hippy girl, the mum, and the villain(s). This set out of characters also reminds me of the character types in scream. Although they do this, they also challenge the notion of horror characters; this is shown when in an emergency, and Shaun and Ed mess about slowly choosing a weapon, whilst the zombie is slowly approaching them. Also after a big fight with the zombies, they just casually chill out in the living room and Ed is eating his Cornetto. This subverts the notion of a horror film character as, when you see a stereotypical horror film, in the event of an emergency, the characters would think fast instead of debating which Record by which artist should be thrown. They also play with the idea of having the same character types, for example when Shaun is leading the group behind the neighbourhood gardens, and they bump into another group of people, and the two groups are almost identical. This also shows that the group of people could be anyone. The mise-en-scene also contributes to this. Shaun has been shown to be wearing a short sleeve shirt with a red tie and a red name badge, which suggest that he works in some kind of retail, giving the fact that the shirt is short sleeved.  Ed has been shown to be wearing a worn out greyish/brownish short sleeved with the words “I got wood” written on it, this shows that this is most likely to be his favourite top, as it looks worn out, also shows that he is laid back, and doesn’t really care of his appearance.  Liz is wearing a blue jacket with a shirt, and jeans, shows that she is also casual and practical. Also Liz upholds stereotypes by being the final girl, but then subverts it by being blonde and not really much of a hero. The nerdy one is simple wearing jeans a stripy jumper and a brown jacket, the fact that he is wearing glasses, is stereotypically as glasses in a film is used to show some ones intelligence. The hippy girl is wearing a stripy shirt, jeans a red scarf around her neck, a red bag, and a hat. The fact that she has even bothered to match her scarf with her bag, shows that she cares about her appearance and that she is the stylish/girly one out of the bunch, which differs from Liz’s character. And the final character, Shaun’s mum she is just wearing jeans a plain violet jumper, a cardigan and a black bag. Throughout the film, they’re chipping away at the characters, but leaving only the two characters. This upholds the stereotypes as this usually happens in a horror film. The fact that at the end of the film they keep Ed as a zombie, he is tied up in the shed, being kept like a pet, definitely subverting structuralist notions as that doesn’t happen in horror films.

The props used in Shaun of the dead definitely subvert structuralist notions. They use pretty much anything that they can find as a weapon, instead of a knife which is a typical paradigm, which was shown, but then rejected. Instead they use a cricket bat; which is usually used in a middle class game (sport) which subverts the meaning. Children’s toys/plastic chairs have been used which erupts their innocence. A spade/shovel has been used which doesn’t uphold the stereotypes as a spade/shovel is usually used for gardening which is a calming thing, where here it is destructive. Also when the song “don’t stop me now” is being played through the diegetic sound, this then turns into the non diegetic sound, they use a cue stick to attack the zombies, and when they attack the zombies they do it in time with the song. At the very end, they use a rifle, which was found in the pub, which even though is a paradigm, subverts the whole setting as it is used normally in an action/western film.

The location and settings throughout the film subvert structuralist notions of a horror film. It challenges the notions as it is set in a suburbia, which is supposed to be a calmer/quieter area, not as violent also it could be anywhere. There is a reverse shower scene, just like the scene in psycho, but it’s reversed, instead of the villain being on the other end on the shower curtains with a knife, its Shaun on the other end, with a baseball bat. This whole film is mostly set over the course of one day, gets darker towards the end, and as it gets darker it gets more dangerous and tense. This subverts structuralist notions of a horror film as horror films are usually set during the night. Most of the action is set in the pub. The pub is just one room, which is usually packed and crowded never normally isolated, which reminiscence to a saloon. Also the fact that it’s set in a pub shows that it could be any pub, with any group of people. Which doesn’t uphold stereotypes as in horror movies, they are normally set in the dark in isolated places, such as; woods, abandoned warehouses, haunted houses, and isolated houses.

The message that this film is slightly giving, is that it is criticising the modality of life that we are all stuck in a routine, and that life is mindless. 

Horror Conventions.

Brief.

To make a film trailer for a new horror movie.