Trailer or Leader? The Role of Music and Sound in Cinematic Previews

Deaville, James

doi:10.4324/9781315681047-20

Cited by 7 publications

(2 citation statements)

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“…Th e lack of actual images and the fact that they have been reduced to text also seems to imply that due the formulaic nature of blockbuster movies, their images are somewhat interchangeable-as also suggested by the trailer parody itself in the intertitle "Pretty much anything here." Th is would also lend further support to the argument that trailers are just as much structured on a sonic basis as on a visual one (Deaville, 2017). Th e clip only needs sound to conjure imagined imagery.…”

Section: Auralnauts' "How To Make a Blockbuster Movie Trailer"mentioning

confidence: 70%

“…"How To Make A Blockbuster Movie Trailer" is notable for its particular audiovisual strategy, especially the way in which it uses music, sound and intertitles to conjure up mental images, seeing that this trailer parody in fact contains no actual images, but communicates solely through white words appearing on a black background paired with different sound and music cues. As such, it appears to indirectly confi rm one of the main arguments of this article: that the (fake) trailer is generally characterized by an aesthetic Article: Fake trailers as imaginary paratexts Mathias Bonde Korsgaard centrality (or perhaps even primacy) of sound/music (see also Mera, 2009, p. 15;Deaville, 2017; as well as Deaville's research project on "trailaurality" at trailaurality.com).…”

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Fake trailers as imaginary paratexts

Korsgaard

2020

MedieKultur

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In recent years, trailers have undergone several changes due to the fact that they are now distributed online. The new possibilities in digital production and distribution have also led to the rise of new remix formats that parody and challenge trailer conventions. This article engages with the audiovisual aesthetics of so-called fake trailers in order to deliberate on their paradoxical promotional status. In terms of their audiovisual aesthetics, it is shown how such trailer remixes are driven equally much by the creative (mis)use of sound/music as by rearranging pre-existing shots visually. In terms of their promotional status, it is argued that even though fake trailers have most commonly been seen as proof of an increase in media literacy or as a means for ridiculing trailer conventions, they are nonetheless also firmly entangled in the promotional culture they allegedly aim to denounce. This is exemplified through an examination of the trailer parody "How To Make A Blockbuster Movie Trailer” (2017) made by the remix-duo Auralnauts.

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Section: Auralnauts' "How To Make a Blockbuster Movie Trailer"mentioning

confidence: 70%

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confidence: 66%

Fake trailers as imaginary paratexts

Korsgaard

2020

MedieKultur

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Identity chains in newspaper cartoon narratives: an integrative model

Abdel-Raheem

2020

Journal of Visual Literacy

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The Creative Process of Composing for Video Games: From Pitching to Gold Master and Beyond

Baysted

Summers

2020

The Oxford Handbook of the Creative Process in Music

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This chapter explores the composer’s experience of writing music for video games. It does so by following the musical creative process through the cycle of video game development. It begins with the pitching process, examines the factors at play in establishing the musical approach to the game, considers the compositional challenges of the video game medium, outlines approaches to recording the music, and finishes by explaining the role of music in the game’s marketing. While characterizing the creative processes of game music in general, the chapter uses two contrasting racing games as case studies. At each stage, the chapter emphasizes the variety of factors and agents involved in the musical decisions. Ultimately, the chapter suggests that the creative process of game music sits in tension between the financial realities of the marketplace, the practicalities of technology, and the creative ambitions of the producers.

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Trailer or Leader? The Role of Music and Sound in Cinematic Previews

Cited by 7 publications

References 0 publications

Fake trailers as imaginary paratexts

Fake trailers as imaginary paratexts

Identity chains in newspaper cartoon narratives: an integrative model

The Creative Process of Composing for Video Games: From Pitching to Gold Master and Beyond

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