How My Trailer Conforms to Generic Conventions of Noir & The Trailer Form

In what ways does your media product use, develop or challenge forms and conventions of real media products?

In this video, I discuss how my trailer conforms to the generic conventions of the noir genre and trailer form. One thing I forgot to mention in the video is that at the end of the trailer, the use of the credit block is extremely common throughout trailers of all genres, hence why we included it.

There is also an updated version analysing bits we added on as we tweaked our trailer.

Trailer Conventions:

Whilst I did touch upon this in the above video, I will go through again briefly some of the ways in which our trailer conforms to the typical conventions of film trailers.

Firstly, we have the use of the production company logo, which advertises Fibonacci Films as a brand to the audience. If this were a mainstream Hollywood production, this would be a lot more important as a certain brand name may persuade an audience member to go and watch a film. This can be seen in Brick, with the name Focus Features.

The introduction to the narrative of the film is introduced within the first twenty or so seconds. This sums up the purpose of the trailer- to summarise the film in a short space of time. If the audience is intrigued by the premise of the film, then they will watch further into the trailer. If you do not summarise the narrative in this way, then the viewer will not have a clear idea of the premise of your film.

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The main characters of Mark, Hans and Rosette all feature heavily throughout the trailer as they are the ones that the viewers will spend the most time with in the full film. This is to be expected of any film trailer. An example of this is shown in the video with Nightcrawler, where the first shot is of Lou and introduces his willingness to work his way up the job ladder in news media.


We also have titles to narrate plot points to the audience. This is a progression from the style of Chinatown’s trailer where a stereotypical and frequently parodied voice narrates over the top of the trailer. We also build on this by including film reviews from respected media outlets which act as opinion leaders in persuading the audience to go and see the film.

The tone of our trailer increases in the latter stages as well. This is to increase the frequency of shots to show a wide array of scenes within the film to the audience to show off its good qualities. This can be seen in Nightcrawler or Looper and is often combined with a change of music track.

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Finally, we have created a narrative enigma at the end of the trailer with the gun to Mark’s head to give the audience a reason to go and see our film. This is combined with an end line that is often used to sell a film, with our own trailer it’s “because when I’m on a case, I always dig deeper” but in Girl on a Train it is “why are you here – because I’m afraid of myself”.

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Finally, we have the title of the film which is the most important part of a trailer to actually promote the name of it so the audience knows what they are looking for and is common in every single film trailer. We also have a credit block to credit the main people who have worked on a film and with a mainstream production, many contain names who help attract a wider audience due to their own popularity.

Thus, this shows that we have maintained a consistent understanding of the trailer format and have used this to create an effective and hopefully entertaining trailer for the audience to view; persuading them to watch the full film.


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