Conventions of a film trailer

Here is a link to my prezi on film trailer conventions:

Trailer influence - I'm Not There

I'm Not There

Genre: Biographical / music

Narrative: Several different actors portray Bob Dylan at different stages of his personal life and career.

Unique selling point: I love the combination of black and white and colour. I think it makes a very unusual and striking juxtaposition, and allows two different moods to be portrayed within one film. I also like the way the film is put together; the different actors allow there to be separate narratives rather than one meta-narrative. Certain parts of the film are quite dreamlike, another aspect which I think is very unusual and intruiging, e.g. where Dylan is floating, tied to a rope, at 1.36.

Target audience: 15s and over

Music: Begins with 'Cold Irons Bound' before going into 'Like a Rolling Stone', both by Bob Dylan. 

Shot types / camera angles: One particular shot I like is of a bird eye view of Blanchett sat on the bed, surrounded by magazines (0.16). Another is the opening image; a silhouette of Dylan's profile with his famous curly hair. I also like the quick shots of Dylan's characters (0.33) - the shots are less than a second long to look like camera flashes. 

Pace: Begins slowly and slightly sinister, building up a basic theme with a voiceover before moving on to become jovial and more colourful - the pace becomes faster.

Dialogue: There is one line from each of Dylan's characters throughout the trailer; they are seemingly random lines with no particular significance. I like this as it is poetic and ambiguous rather than informing the audience of the literal storyline like a conventional trailer would.

Voiceover: The voiceover at the start does a similar thing. It is ambiguous and speaks of freedom and change (of character, mood etc). This merely hints at the themes throughout the film, and does not give the audience a clear understanding of the narrative. Again, I love this as it leaves the trailer to the viewer's own imagination and interpretation. It is creative, poetic and slightly abstract.

Special effects: The giraffe (1.22) is probably CGI, and the shot of Blanchett tied to the rope (1.36).

Credits and inter-titles: They have been put on a pale brown background with an picture outline of each actor. I don't like this, as I think it is slightly corny and doesn't match the ambiguity of the rest of the trailer. 

Trailer influence - Birdman

Birdman

Genre: Drama 

Narrative: Former superstar Riggan Thomson (Michael Keaton) is performing in an ambitious Broadway production which he hopes will regain the success of his career. It's risky, but he wants to take the gamble. Meanwhile, he is dealing with his girlfriend, daughter and ex-wife.

Unique selling point: The film is one long shot (with perhaps one single cut). This makes the film so immersive for the viewer, as this heavily increases the verisimilitude - this is because, every time a cut (in editing) is used, it reminds the viewer that what they are watching is fake. Therefore, the way the film has been shot also heightens the emotions and emotional reactions of the viewer to the events within the film, as they feel so real.  

Target audience: 15s and over

Music: A version of 'Crazy' by Gnarls Barkley has been used, which is a soul track. I have no particular preference to this choice; it does not take anything away from the visuals but I do not think it enhances them either. I think a techno/rock song would have worked better.

Shot types / camera angles: The camera is very often mobile, and follows the actor on screen. I like this as it takes the viewer on a journey, and makes them feel as if they are almost within the scene. I really like the centre framed shot of Thomson floating whilst meditating in his room (1.12). The weirdness of this shot is enhanced due to the high verisimilitude.

Pace: Begins slow with one continuous shot, before speeding up into a montage in order to give a feel for the whole film.

Dialogue: There is no dialogue, the majority of the shots have been muted for the trailer. (Except the short clip at the end, which has been added for humour).

Voiceover: The voice of Thomson has been used as a voiceover.

Special effects: He appears to have 'supernatural' powers, including telekinesis. SFX have been used for these shots (e.g. moving the vase and the poster with his eyes), as well as when he is floating. CGI has been used in the shots of him with wings, and when he sets off an explosion. Green screen has been used when he jumps off the roof of the building.

Credits and inter-titles: These minimalistic credits are one of my favourite parts of the trailer - I think they look more like graphic design than simply names on the screen - the font that has been used is simple, bold and widely spaced. There is a combination of both capital letters and lower case, and they are white and red against black. 

Trailer influence - Trainspotting 2

T2

Genre: Comedy

Narrative: 20 years after their drug deal, Mark Renton (McGregor) returns to Edinburgh. There he meets up with his old friends Spud, Sick Boy and Begbie. A story of sorrow, joy, vengeance, regret and self-destruction.

Unique selling point: The third part of the trailer (after 1.07) is very poignant due to the soundtrack and references to the first film (Trainspotting). I like this as it is uplifting but slightly melancholy at the same time. 

Target audience: over 18s

Music: 'Born Slippy' by Underworld is used at the start; this techno track also references the original film. 'Silk' by Wolf Alice is used in the second half of the trailer, this rock track bringing the more modern, up to date elements to the film. I think this song is quite reflective, which I think works well due to the issues that the characters face within the film. The visuals have been editing to match the track perfectly, which makes the trailer even more effective. 

Shot types/camera angles: The most interesting shots are when the camera moves with the person, e.g. the camera moves with the microphone at 1.20, and moves with the tram at 0.16. I also like the shots with florescent lights, e.g. the blue of the fridge and the club, and the green of the pub.

Pace: Begins slow with hardly any soundtrack. It then picks up, and unusually the middle part of the trailer is the fastest. (Includes references to the old film, i.e. an adapted 'choose life' speech). The pace then slows slightly when the mood lifts, indicating that this film has a positive spin.

Dialogue: There is speech from Sick Boy at the start which sets up the narrative - it is 20 years and Mark has returned to them - this is all that is really needed, so the visuals and soundtrack are then the focal point. There is a little more but is not too important.

Voiceover: An adapted version of the famous 'Choose Life' speech has been used (voiced by McGregor). This works very well as it is referencing the previous film, but has been changed to fit the present day. The pace and editing of the visuals matches the speed of his voice, which also works well. When the mood changes, McGregor's voice continues to be used as voiceover.

Special effects: The best moment in the trailer - when Spud falls from the roof of a tower block (1.06) - is CGI. It is unexpected and bizarre rather than dramatic, and is utterly memorable.

Credits and inter-titles: The only credits that are given are Sony (the company) and Danny Boyle's (the director). They are shown in a style which (I think) is meant to look like a passing train. This is clever, witty and subtle as the film is called 'Trainspotting'. 

Trailer influence - Pulp Fiction

Pulp Fiction

Genre: Drama

Narrative: Hitmen Vincent Vega (Travolta) and Jules Winnfield's (L. Jackson) stories are interwoven with those of their boss, his wife, a struggling boxer, master fixer and a nervous pair of armed robbers.

Unique selling point: Even though it is a crime drama, there is humour within the trailer. I like this as it is still stylish and 'action-packed', but the humour brings a very engaging element to the trailer.

Target audience: Over 18s

Music: The song 'Misirlou' by Dick Dale is the main song that has been used. Classed as 'surf rock', this song works with both the action and the humour within the trailer. It is upbeat but still manages to make the trailer stylish. 'Jungle Boogie' by Kool and the Gang and 'Girl, You'll Be a Woman Soon' by Neil Diamond have also been used.

Shot types/camera angles: A short montage is used near the start of the trailer - I like this as it is more artistic than conventional. I also like the shots taken from below e.g. Vega at 0.47, and Vega and Winnfield at 1.13.

Pace: The pace is quickest at the start and then slows down - this is very unusual for a trailer, but I think it works as it instantly draws the audience in. 

Dialogue: The voices from the characters (mainly Vega) are used throughout to help build the narrative.

Voiceover: An external voice ('voice in the sky') has been used at the end of the trailer. I personally think this is very corny, but it works for this trailer as it is a cult classic.

Special effects: Green screen was most probably used for the car scenes.

Credits and inter-titles: Words have been inserted throughout the trailer (e.g. 'Loyalty' and 'Betrayal') in order to build the narrative. I think this is very corny and does not help to tell the storyline as well as stopping the trailer flowing smoothly. 

Trailer influence - Black Mass

Black Mass

Genre: Crime / drama

Narrative: While his brother Bill remains a powerful leader in Massachusetts, James 'Whitney' Bulgar (Johnny Depp) continues to pursue a life of crime in 1970s Boston. As the unholy alliance between him and an FBI agent spirals out of control, Bulgar increases his power and evades capture to become one of the most dangerous gangsters in U.S. history.

Unique selling point: I love the set-up of this trailer; they begin at a dinner table, with Depp speaking about something mundane and insignificant (wanting the family secret for the roast beef). However, Depp is referencing to loyalty and the importance of secrecy when being involved in crime - this is of course very threatening and dark. The sudden mood change and the crosscutting between the dinner table and dramatic shots of the film is cleverly done, and I think the juxtaposition between the two is very disturbing and gripping.

Target audience: 15s and over

Music: A classical thriller / horror film soundtrack has been used, with strings building tension and the track to a crescendo. Drums are also used to grip the audience as well as fitting with the visuals. This works well as it works in harmony with the trailer (it is not too subtle or distracting).

Shot types/camera angles: Over the shoulder shots are used at the dinner table scene which I like as the conversation feels more personal and immersive. Close ups are used in order to express character's emotions which is good for building intimacy (especially in this trailer due to the dark themes.) One of my favourite shots is of Depp at 1.43 - he is stood above the camera, pointing a gun with the sun flaring behind him.

Pace: The mood is relaxed at the dinner table scene (slow pace), until it suddenly switches within a second at 0.50. This is my favourite moment in the trailer as the tension is built in an instant. The pace quickens with the crosscutting, soundtrack and change of tone.

Dialogue: There is a conversation between Depp and Harbour at the table which sets up the trailer. The narrative, however, is told by Depp through his 'speech' he gives to Harbour.

Voiceover: Depp's voice is used as a type of voiceover, but this conversation is within the actual film.

Special effects: No visible effects used.

Credits and inter-titles: These titles work perfectly with the soundtrack; they are shown on screen (on a separate black screen rather than on top of the visuals) in time with the drum beats. 

Trailer influence - Under The Skin

Under The Skin

Genre: Fantasy / science fiction

Narrative: Disguised as a human, an extraterrestrial (Scarlett Johansson) drives around Scotland and lures unsuspecting men into her van.

Unique selling point: I love how casual the trailer seems in terms of music and drama; the subject matter is obviously dark and twisted, but it is underplayed which makes the trailer even more creepy, effective and intruiging. The combination of beautifully composed shots and the peculiar soundtrack evokes eerie, uncomfortable feelings from the viewer. However, because it is so ambiguous, the viewer has to piece some of it together themselves, which is what I think is so interesting and unconventional about this trailer. 

Target audience: 15s and over

Music: Soundtrack by Mica Levi has been used, including the tracks 'Love' and 'Drift' amongst others. This experimental (pop) music enhances the eeriness, uncanny and sinister themes of the trailer.

Shot types / camera angles: I really like the centre framed shots with the graphic matches, e.g. the coffee cup and the eye at 0:19 and the eye and the beam of light at 1:44. This is because they are clean cut, clever and stylish. I also like the odd angles which Johansson's face has been shot at (e.g. from below at 0:26), as this changes the idea of beauty, as these angles are not the most flattering. 

Pace: The pace begins slowly and picks up near the end - this is mainly to do with the soundtrack building and quickening. 

Dialogue: There is minimal dialogue, which adds to the ambiguity and simplistic beauty of the trailer. I really like this style as it verges towards a short film montage rather than a trailer - this creativity is very inspiring. The only voices are seemingly random snippets of Johansson and one line from a man. The absence of a voice to shape the narrative enhances the peculiarity and unconventional style of this trailer.

Voiceover: There is no voiceover.

Special effects: CGI and green screens have been used for the white and black rooms (with the woman at the start and the man swimming in what looks like thick oil.)

Credits and inter titles: The first title (excluding the idents) is seen at 0:57, which is a summary from a film review from LA Weekly. Five of these have been used, and this is what helps the audience to piece the themes and basic narrative together rather than the use of voiceover and/or dialogue. Again, however, this takes a lot of the viewer's own interpretation.

Trailer influence - The Runaways

The Runaways

Genre: Drama

Narrative: Based on the true story of Joan Jett (Kristen Stewart) and Cherie Curry (Dakota Fanning) forming the band 'The Runaways' in 1970s Southern California. 

Unique selling point: The rock and roll music (by The Runaways) used as the soundtrack rolls the trailer forward in a fun and upbeat way. As there is a lot of performing throughout the film, a lot of coloured lights are used, too.

Target audience: 15s and over

Music: A variety of songs by The Runaways have been used; California Paradise, Dead End Justice, Crimson and Clover, and Cherry Bomb. This mix of rock and roll music by the band themselves gives the trailer a raw, homemade feel which reflects themes of the film. 

Shot types / camera angles: My favourite shots are of the girls on stage due to the dramatic coloured lighting, but I also love all the close ups - this is because you are able to see their bright make up and their haircuts, outfits etc, making the 70s style of the trailer clear. I especially like the opening shot of Joan running down the street at 0:12, as well as Cherie painting on a Bowie lightning bolt in the mirror at 0:10. I think the use of mirrors is quite sophisticated, which is why this is such a strong opening shot.

Pace: The pace remains the same throughout.

Dialogue: Voices from the characters are used throughout the trailer to shape the basic narrative. This works together with the voiceover.

Voiceover: The voice of Cherie is used, as she is the central character who's personal story is followed throughout the film. She speaks to the audience and tells us what the film is about.

Special effects: No obvious effects used.

Credits and inter titles: I really like the ident used at the beginning; the colours are punchy, and it is simple and fast - this also goes with the rest of the trailers visuals. The rest of the credits also match (black and red), as well as reflecting the gritty, rock and roll style of the trailer.

Trailer influence - The Shining

The Shining

Genre: Horror / psychological thriller

Narrative: Jack Torrance (Jack Nicholson) becomes the caretaker of the Overlook Hotel throughout the winter. He is there with his wife and son, Danny. Danny is plagued by psychic premonitions, which get progressively worse. Jack begins to discover the hotel's dark secrets and begins to unravel and become homicidal.

Unique selling point: This film is a classic, and so I think the symbolism in this trailer is what is most powerful; they did not have many special effects or fancy cameras, locations etc. to work with, so instead Kubrick used symbolism, ambiguity and subtlety to build terror. This is very effective, as there is something fundamentally chilling about the simplicity of the horror - it delves deep into primal fear and superstition.

Target audience: over 18s

Music: As this trailer is a fan made modern re-cut, the soundtrack is classic 'horror movie' style music; electronic,  with tense build up and deep bass which drives the fear forward. This works well as, compared to the original trailer, sets the pace and enhances the terror.

Shot types / camera angles: My favourite shots are from above, e.g. when Jack is chasing Wendy up the stairs at 1:34, and shots from below, e.g. Jack slamming the door at 1:32. Apart from these, standard wide angle and close up shots are used, but the editing has been done so well that they all appear stylish. This is another advantage of this modern re-cut; more shots have been used, but the clips are much shorter (less than a second in length at times), compared to old trailers which used fewer, longer clips. The quick montage increases the tension while also not giving too much away about the full narrative and 'spoilers'.

Pace: The soundtrack helps set the pace - begins relatively slow and gradually builds to a crescendo at the end. The pace is much faster than the original trailer would have been, which is what I enjoy as I think a fast pace is a lot more engaging for the audience.

Dialogue: Dialogue from the characters in the film has been used to shape the storyline in the trailer. It crosses over to voiceover and is used over the top of silent visuals as well. 

Voiceover: Heavily interwoven with the dialogue. 

Special effects: As I have mentioned above, hardly any have been used - perhaps only for the blood flooding out of the elevator at 1:25.

Credits and inter-titles: The titles have been put in white against a black screen, again in time with the music. I like the simplicity and clarity of this style. 

Trailer influence - Only God Forgives

Only God Forgives

Genre: Drama / Psychological thriller

Narrative: In Bangkok, a drug dealer's (Ryan Gosling) mother sends him on a mission to kill whoever is responsible for his older brother's death.

Unique selling point: I love the use of colour and neon lights throughout this trailer. It not only looks beautiful, but it makes the characters look eerie.

Target audience: over 18s

Music: '2020' by Suuns has been used, which is punk / psychedelia genre. This soundtrack works very well with the trailer as the distorted sound of the guitar works in harmony with the dark themes and the eerie lights. It is punky enough to drive the action forwards, but is ambiguous enough (due to the lack of many vocals) to keep the mystery and therefore keep the audience's interest as well.

Shot types / camera angles:  My favourite shots are the wide angles of corridors and doorways, which are full of coloured light and architectural angles. The centre framed portraiture shots are also very enticing, as they are close framed and again the use of colour has obviously been focused on.

Pace: The pace begins steadily, with only drums driving it forward - it then picks up slightly when the guitar is first heard, and then even further in the final third of the trailer when both the guitar and image montage are working together to pick up the pace.

Dialogue: There is no pure dialogue until Gosling speaks at 0:46. The only other piece of dialogue is the famous line, 'wanna fight?', right at the very end of the trailer. 

Voiceover: The mother's (Kristen Scott Thomas) voice is used as the voiceover - this crosses over to dialogue for a second at 0:33 but apart from this her voice is external. However, her speech has been taken from within the film - she is talking to her son, not the audience. The voiceover helps the audience to shape the narrative, as without it there would be (almost) only seemingly random visuals.

Special effects: No obvious CGI, but there was most likely some used for the stunts (e.g. gunfire and smashing glass etc)

Credits and inter-titles: The titles go perfectly with the neon lights of Bangkok, as they look like neon signs. (The red against black). This way, they seem interwoven with the style of the film instead of looking like they have been added in afterwards. Even the white titles placed over the visuals work well, as a good font - 'Helium Extra Bold' - has been chosen.

Trailer influence - Legend

Legend

Genre: Crime / Drama

Narrative: About the Kray twins and the underworld of 1960's London, using violence to control and get what they want. With a police detective on their heels, the brothers continue their rise to power and tabloid notoriety.

Unique selling point: The trailer goes extremely well with the music, making it appear suave, seamless and stylish. 

Target audience: over 18s

Music: 'I'm So Sorry' by Imagine Dragons is used, which works perfectly as the drums and guitar drive the action forwards as well as heightening the dramatic tension. It has a beat which allows shots to be put together in time with the soundtrack clearly - this makes the trailer easily watchable and memorable. 

Shot types / camera angles: A combination of standard wide angle and close up shots. It is the way they have been put together which is stylish and interesting.

Pace: A steady pace throughout, speeding up slightly at the end but the soundtrack keeps the action constant from beginning to end. The pace lulls slightly when there is dialogue.

Dialogue: From a variety of characters, mainly the Kray twins but from minor characters too. This helps link the voiceover to the trailer.

Voiceover: Frances Shea, played by Emily Browning, speaks to the audience through the use of voiceover. She clearly sets up the narrative of the trailer and partially explains the moving images throughout. This is also helped by the dialogue in the trailer.

Special effects: Split screen has of course been used throughout the film, as Tom Hardy plays both of the Kray twins. Apart from this, no obvious CGI has been used. 

Credits and inter-titles: This, along with the use of a rock song for the soundtrack, is why I enjoyed this trailer so much. The titles are 'slammed' onto the screen in time with the music, making them imposing and significant. This helps to increase the overall drama and tension within the trailer.

Trailer influence - Melancholia

Melancholia

Genre: Science fiction/drama

Narrative: The film is split into two parts. The first is Dunst's character's wedding night, and the second is the way in which her and her sister deal with doomsday as a planet hurls towards the Earth.

Unique selling point: The interesting juxtaposition of two completely different narratives. It is the peculiarity of this that makes it so intriguing and memorable. Dunst's character also gives an intense, accurate insight into depression, which I think is very compelling to watch - the acting and the portrayal of the human psyche evokes feeling from the viewer instead of the visuals. The isolation of the characters (in their country manor house) also makes this trailer different from others; there is only one location throughout. Adding to this, I like this trailer as the notion of doomsday is completely underplayed, which is curiously disturbing. 

Target audience: 15 and over

Music: Classical music (predominately strings) is played in the second half of the trailer, however there is no soundtrack at all during the first half. The classical music works well as I think it ties in with the naturalistic, primitive themes of the film in an elegant and classy way. It also enhances the disturbing tranquility of the trailer.

Shot types/camera angles: Wide shots and action shots are used throughout.

Pace: There is a steady, slow pace throughout which I think reflects Dunst's characters depression as well as matching the classical soundtrack. The slow pace also works due to the underplayed notion of doomsday. 

Dialogue: The voiceover and the dialogue are heavily interlinked, however the voices in the trailer are mainly used as voiceover.

Voiceover:  There is dialogue throughout from a variety of the characters; snippets of conversation from the film has been put together to create an ambiguous narrative. This adds to the oddness of the juxtaposition in the film and keeps the audience guessing.

Special effects: The images of the planets (both aerial shots and shots from the earth with the planet pictured in the sky) are CGI, as well as small details such as when one of the women is falling into the grass (1:19) and the electricity (1:33).

Credits and inter-titles: The only credit is the producers followed by the director's (Lars Von Trier) at the very start. There is then no titles at all until the film title right at the end, followed by a still shot of all the credits after the trailer has finished.

Trailer influence - Enter The Void

Enter The Void

Genre: Fantasy/drama

Narrative: Set in Tokyo. A psychedelic tour of life after death from the POV of the main character Oscar, a drug dealer and Oscar's sister Linda. After Oscar is killed in a drug deal gone wrong, his spirit journeys from the past, present and future.

Unique selling point: The beautiful shots of the coloured lights of Tokyo, as well as the camerawork; the shots are very personal. E.g. Oscar wipes his face in front of the bathroom mirror, and the viewer sees his hands cover the camera as if it were his eyes. (0:38 in the trailer).

Target audience: over 18s

Music: The trailer begins with light chime music, which sounds like a baby's lullaby/child's toy. There is then an absence of soundtrack until Oscar is shot - the vibe then completely changes and techno (electronica), acid house music is played. (The song used is 'Freak' by LFO.) The editing then speeds up to match this new beat along with the intensity of the colours (strobe style flashing is used). This song by LFO works extremely well as it enhances the visuals of the trailer.

Shot types/camera angles: A lot of close ups are used, as a lot of the settings are in small rooms and underground places. This emphasises the intensity of the trailer as well as bringing the audience closer to the characters. There are also angles from above (birds eye view) and shots of the backs of the character's heads. I like these as the viewer is focused on the colours in the trailer rather than the people's faces. Many different shots are used, which reflects the chaotic and drug fuelled themes of the film.

Pace: It begins slow and mellow, with Linda and Oscar talking as a voice over. After the shooting, the pace speeds up with the new music and then continues to increase until the trailer is so fast paced that the images are simply a stream of flashing images.

Dialogue: There is dialogue up until 1:00 (the shooting). The dialogue sets up the basic idea of the storyline to the audience so they are then able to enjoy the aesthetics of the montage in the second half of the trailer.

Voiceover: The dialogue and voiceover cross over, as there are shots of the characters speaking as well as these voices being used on top of 'silent' shots. There is no external voice or a character speaking to the audience - it is all internal.

Special effects: There are no visible special effects used - the coloured lights make the trailer look impressive.

Credits and inter titles: I really like these as they enhance the psychedelic, 'trippy' feel to the trailer. 

Trailer influence - The Neon Demon

The Neon Demon

Genre: Drama/thriller

Narrative: Jesse moves to LA on her 16th birthday to launch a career as a model. She then faces the wrath of the other models who envy her youthful and innocent beauty, which forces her to toughen up.

Unique selling point: Certain scenes use shots which toe the line between reality and fantasy, e.g. when Jesse is being photographed and is seemingly standing in a void (0:25 in trailer). Another example is when she is walking in a dark room with lights behind her - there is no context to this scene; it is purely used for the aesthetics (0:34 in trailer). 

Target audience: over 18s

Music: 'Becoming' by Cliff Martinez is used - this is ambient, soundtrack music so it works well for background sound which does not take over the voiceover and the visuals of the trailer. It is subtle but loud enough to be effective.

Shot types/camera angles: A lot of wide shots are used which show the importance of the composition and space within a shot. The shots in this trailer are very crisp and clean cut, which reflects the beauty of the models in the film.

Pace: The trailer begins slow before speeding up in the last third - however, the soundtrack remains the same throughout, so the pace is quite steady throughout the whole trailer.

Dialogue: Speech from the modelling agent is used to set up the basis of the trailer (the fact that Jesse wants to model). Voices from Jesse and a model is then used around half way to set up the darker side of the story (the jealousy.)

Voiceover: The dialogue and voice over cross over, as the internal voices are used over the top of a montage of shots as well as showing glimpses of the actual conversation. There is no external voice.

Special effects: The wide shot that I mentioned above seems to have used special effects in order to make the white screen look like a void.

Credits and inter titles: I do not like the titles in this trailer - the colours, aesthetics (glitter/sequins) and font do not match the slick, crisp style of the rest of the trailer. They distract from the simplistic beauty and give the wrong idea of the themes of the film.

Magazine review analysis - Little White Lies

Here is a link to my PowerPoint on Little White Lies:

https://www.slideshare.net/mickgoogan/little-white-lies-annotation-79349286

Magazine cover analysis - Empire

Institutional analysis - Sight And Sound

Here is a link to my Prezi on the institutional analysis of Sight And Sound magazine.