In Depth Trailer Analysis- Dream House (2011)

Link to Dream House Trailer

The title ‘Dream House’ implies a psychological storyline due to the word ‘dreams’ and also implies something is not real and is a ‘dream’ and this creates an enigma ; what is real and what is a dream? The trailer starts off with the institutional information and logos that is usually seen in most trailers. The titles between the shots are white on black and the font is jagged. The use of binary oppositions black and white represent good and evil and the fact that it looks like the white is fading into the background suggests that good is too and is being taken over by evil. There are titles used for narrative exposition but also create questions; which itself creates enigma. This makes the audience want to see the film to find out the answers and what happens in the end.

There is a traditional family containing a man, woman and two little girls who are their children. The sense of a loving family is created right from the beginning, when the children are hugging their father. The fact that there are two little girls who are scared is very emotive and has more of an impact.

There are the typical character types of heroes (father) and villains as well as victims/damsel in distress (wife and children). However they are not the typical character types as we are unsure who the villain is and there are hints; when he is he is shown on the camera in the asylum, that the hero is also the villain. The involvement of Daniel Craig; seen in James Bond among many other films may be a selling point for the film as people may recognise him from his previous films therefore they might be encouraged to see this film more because of his involvement. The children and the wife are presented as victims as well as damsels in distress that need to be saved, however, they may be already be victims as there are indications that they are already dead therefore cannot be saved.

The main locations are inside and outside of the house. Inside where it is light and outside where it is dark.

This uses Strauss’s binary oppositions and highlights the contrast between the good of the family inside in the light and the evil of the man outside in the dark. Also the fact that it is winter creates a more oppressive atmosphere as it seems darker and the man in the shadows appears darker in contrast to the snow which silences any movement outside. The trailer focuses on a chiaroscuro shot of a basement but the father is clearly presented as the hero as he is stood in the light. It also shows that he will have to confront the darkness and danger presented by the basement; there is also the use of the binary oppositions known and unknown. The use of chiaroscuro lighting to create darkness and shadows adds to the theme of mystery and unknown as well as helping to present certain characters as evil and high key low contrast lighting to present other characters as good.

Establishing shots outside the house of a man looking at the house who we do not see the face yet and it is just a silhouette. This then changes to a medium shot of the family inside of the house as though he has just arrived home; which is matched with the little girl’s dialogue: ‘daddy you’re home’. There is contrast between the light inside and the dark outside. There is a shot reverse shot between the male and female characters and there is a quick montage of shots which establishes the romance between them and that they are together and have children. There is an over the shoulder shot of the mother and one of the little girl reflections in the window as something hits it.

This enables you to see their facial expressions and the girl screaming. This has a significant effect on the audience as it will make them jump as well as increasing tension.

There is a close up of the parents asking the little girls if they are okay which immediately signifies that something is wrong. The pace of editing starts to increase after a series of shots with fades between them. There is a low angle shot of the father stood at the top of the basement stairs looking down at the camera, this would normally indicate power and domination but in this case it makes him appear weaker as he doesn’t know what is in there hiding in the darkness this is a common convention of thrillers and horror films as it creates anticipation and fear in the audience. This is followed by close ups of him in the basement with his face partially hidden by shadows which indicates the twist that he might not be good after all as well as creating the enigma that we don’t really know who he is or his connection to the killer. The pace of editing increases and the shots are accompanied by more dramatic sound stings as the shots shows some disturbing images of dolls and candles and blood. There is shot reverse shot between the man and the father as the effect of the realisation sinks in – that he is the man on the tape.

This creates a dramatic impact on the audience and puts emphasis on the terror of the situation that in fact the father may be the killer.

The quick paced editing surrounding the shots in the asylum creates a tense atmosphere and anticipation in the audience and puts negative attention on the father. There is a medium shot of the mother holding a knife looking scared which indicates that there is a threat hidden from the audience’s view.

The knife is a strong indicator of violence, as well as establishing the genre and narrative themes. In this case it seems as though it is in self-defence therefore making the audiences support lie with the mother. This presents her as a potential victim. There is a low angle shot of the mother opening the door at the top of the basement stairs then the same shot with the door continuing to open but the mother is suddenly not there.

This hints at the fact that she is a ghost and has been dead all along. This creates enigmas through the use of hermeneutic code as the audience is unsure as to what has happened to her or what will.

There is unnerving non-diegetic music which turns into the diegetic sound of the young girl playing the piano establishing them as principle characters. The tone of the music is quite eerie due to the use of a single instrument. Non –diegetic voice over creates narrative exposition and fills the audience in on what is happening as well as creating questions and enabling the audience to create different individual ideas and interpretations such as different ideas as to who the killer is. The next few shots are accompanied by eerie sounding sound stings which creates an unnerving and tense atmosphere. The pace increases the shots are accompanied by dramatic sound stings. There is a series of shots containing dialogue creating narrative exposition and making it clear that in the past there has been some murders and that there is still the threat of a killer related to that particular house. There is dialogue from all the members of the family but mostly the females presenting them as scared victims.

There are further ominous sounding sound stings at the realisation that the man on the tape in the asylum is the father and the enigmas created by that realisation.

The white haired man from the asylum’s diegetic dialogue turns into a non-diegetic voice over as he informs the father of why he was in the asylum and for how long. This creates narrative exposition and although he is telling the father he is also informing the audience too. Whilst this is going on there is a shot of the man sitting at a table covered in shadow only a candle around. This connotes what the audience is already thinking; did he commit the murders and is he a threat now?

The genre is a thriller with horror elements. Typical conventions of this genre seen in this trailer are the creation of enigma- who is the killer? As well as many twists making it more exciting to keep the audience guessing. Also there are several proairetic action codes such as when they are looking out of the window saying: ‘something is out there’, then something hits the window. Although the audience is partially predicting it, it still has a large impact especially as it is accompanied by the loud diegetic sound of the young girl’s scream.

Some questions start to be answered when the focus on the father increases but only to create more enigmas; what does he have to do with the murders? This makes the audience form their own answers and interpretations as to what has already happened and what is going to happen.

There is an establishing shot of an asylum which could create many interpretations and ideas about the killer and the link to the father- such as; is the father the killer and has been in an asylum?

The pace of editing speeds up towards the end creating more tension and there is a series of shots containing action codes as well as close ups of the two main female characters horrified faces.

The film has elements of violence, blood and gore; however it is not the main focus of the film as the film focuses more on the mystery. Due to only some blood and violence enables the BBFC rating to be lower, as a 15, therefore widening the target audience. The violence mostly involves guns and bullet holes rather than knives so it appears less violent and threatening than a horror film. There are also elements of romance which could appeal to some people more, stereotypically women, so therefore they might be encouraged to see the film more.