Shaun of the dead

trailer breakdown
This trailer is lead into its first shot with a minor sounding, synthy sound bridge from the
universal logo that connotes mystery and negativity. The high angle shot of a pair of legs,
coupled with the diegetic sound of the figure moaning suggests that the figure is a zombie yet
as a tilt shot angles upwards to the face of the character, this proves to just be a joke already
establishing the film as a comedy and horror parody.
Then, a montage sequence begins that involves the same character getting ready for work,
with a mirrored close up showing his lack of enthusiasm through facial expression and body
language. On top of this, the soundtrack here picks up in tempo yet keeps the traits of a horror
score reinforcing the establishment of genre whilst a voiceover that parodies a stereotypical
advert gives context to the film. This displays Neales repetition and difference theory in setting
this film apart from others.
The voiceover continues to give context, suggesting one of the themes of the film is
dissatisfaction with life which turns out to be a metaphor for the modern world living like
zombies. This connection is clearly made in the trailer as this montage sequence installs a slow
and monotonous tone into the images with actors displaying zombie-like facial expressions
and body language whilst working their dead-end jobs. This then challenges the Binary
opposites theory from Strauss, as the trailer tries to blend the opposites of alive and dead into
the same concept.
This sequence also helps to introduce secondary characters, like this two shot does. The
addition of the flower prop and the voiceovers contextual references leads the viewer to
become aware of further elements in the film such as here the romantic story arc that
influences the main plot of the film. The romances secondary nature to the main plot here can
act as an enigma code, creating a question that can only be answered by viewing the film.
Towards the end of this section of the trailer, an over the shoulder shot reveals the important
friendship between the main and secondary characters that are present and therefore
establishes in the trailer that this relationship is influential to the script. Also, the setting of the
pub and other reappearing locations are shown, noting their relevance in the film. This is all
done as the voiceover confirms the zombie theme and it actually becomes clear to the viewer
that this is what the film features.
Upon the appearance of classic thriller/horror trailer conventions like static television, fake,
exaggerated news-reels and plot revealing text on a black background, the trailer picks up in
pace and excitement. These conventions are quickly cut together increasing the momentum of
the trailer and letting a high pitched piano score reinforce the horror side of the film whilst the
text that is shown on the black screen reminds the viewer of the comedic side. This is simply
another display of the repetitions and differences of this horror fil.
The eerie music then cuts out and various action sequences and story-building conversations are
shown or played asynchronously over the top of this section. Through the use of handheld shots
and a quick pace of editing, the action sequences and particular plot points are made to seem
more exciting by the trailer. The excitement that is generated also creates build up for the mood to
be changed by the comedic elements of the film, displaying most of the themes of the film,
energetically in this section. They also act as Proairetic Codes that tell the viewer that action will
occur in the film.
These action sequences continue throughout the trailer until this ending sequence that
summaries the film well, leaving viewers sure of what to expect when the actual film is out. It
does this through the use of horror conventions like low-key lighting and the presence of an
obscured monster that is completely contradicted by the two characters who through their
friendship display comedy and irony, completing the representation of the films themes,
perfectly within the repetitions and differences theory.