Trailer for We're The Millers 2013
This trailer for 'We're The Millers' (2013) is clearly a film trailer for a comedy. This is evident through an abundance of hilarious 'one-liners', montaged (the Kuleshov method) together to form a trailer. Another way we can tell it's a comedy is by the mise-en-scene features of the clip. For example, the trailer is brightly lit, most scenes are filmed in a large open spaced area and there are a mix of strong characters. Cinematography elements that support this (that are typically found in the comedy genre) include the types of shots used; large establishing shots used to capture the entire environment and lots of mid shots used to show characters' expression without focusing too much on it. The sounds that have been added in post add yet more humour to the trailer, with the nostalgic 'Waterfalls' song towards the end that links diegetically to the action on screen, and is carried over the end credits/titles. Again, this trailer conforms to Steve Neal's hypothesis that 'Genre is a repetition with an underlying pattern of variations', the variation in this case is the focus on a 'family' smuggling drugs across an international border.
Representation
Gender plays a heavy role in this trailer. Here we can see Laura Mulvey's hypothesis of 'the male gaze' in full swing - especially in the scene where Jennifer Aniston is stripping. The shots in this scene last much longer than any other used in the trailer. As well as this, the film is focused primarily on the protagonist male drug dealer - further supporting Mulvey's theory of 'the male gaze' in the film industry. It's clear that stereotypes have been conformed to in this movie. First of all, we have a 20-something male who looks quite dirty and untrustworthy (unshaven) who is playing the role of a drug dealer. Then we have an attractive female playing the role of a stripper. A young boy who is clueless about life and 'sexually charged'. And finally, we have a stroppy teenage girl.
Narrative
The protagonist is a petty drug dealer looking to pay back his 'boss' for some drugs that were stolen from him. To do this, he is sent on a mission to smuggle drugs from Mexico into the United States. The main character plays the role as an 'anti-hero', he tries to be a hero but fails at every task he does (though not ultimately). The story itself is quite passive, it's predictable but with a few plot twists and turns - nothing too unpredictable. The plot follows Todorov's 'equilibrium, disruption and equilibrium-resolved' formula. The equivalent of equilibrium to start off with is the main character being a successful petty drug dealer. The disruption comes when he breaks up a fight and has his drugs stolen from him. This is followed by yet more disruption as he has to smuggle drugs into the US to pay back his boss who's drugs they were. As well as this, there are more instances of obstacles/disruptions as the 'family' try and cross an international border with drugs whilst trying to escape a Mexican drug lord. It ends with the drug dealer doing the right thing.
Audience
Similar to the Reception Theory, I think the trailer for We're The Millers (2013) will be either loved or hated, depending on the audiences personal views on drugs having such a prominent role in the film. As for the trailer itself; I think it requires the audience to be quite active as there is quite an interesting/unusual story line that develops throughout the trailer. I believe the intended audience for this trailer is males and females (though primarily males) aged between 15 and 28 that enjoy watching comedy films. The big name stars of the trailer (Jennifer Aniston, Jason Sudeikis and Emma Roberts) will attract a large audience from their existing fan bases. One of the reasons I believe the trailer to be aimed slightly more towards males is because of the inclusion of the scene in which Jennifer Aniston strips - which will no doubt appeal to a large male audience.
Media Language
The very beginning of the trailer starts with a graphic of the production/distribution companies, partnered with non-diegetic upbeat background music that immediately sets the tone for the trailer. We see that a lot of medium close-ups are used throughout the film to highlight the characters expressions and reactions to comedic moments. Straight cuts and jump cuts are mostly used in this trailer to carry the plot along quickly. This works well as the plot is a little confusing, but they have managed to explain it very well using only a montage (Kuleshov's method) of clips from the film. As well as medium close-ups, a lot of establishing shots and aerial shots have been used to set the back drops of the film. The trailer ends with a graphic giving the audience information on the release of the film, as well as social media links and production information.
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