1. Ellie Hamilton

2. Contents
 Intertext Research 1 – The Grudge Pages 3-9
 Intertext Research 2 – Paranormal Activity Pages 10-16
 Intertext Research 3 – Cloverfield Pages 17-23
 Intertext Research 4 – Black Swan Pages 24-30

3. Intertext Research

4. Intertext Research 1 – The Grudge
About
“Karen Davis is an American Nurse
moves to Tokyo and encounter a
supernatural spirit who is vengeful and
often possesses its victims. A series of
horrifying and mysterious deaths start to
occur, with the spirit passing its curse
onto each victim. Karen must find away to
break the spell, before she becomes its
next victim.”
Trailer:
http://www.youtube.com/watch?v=bj88_yq
lFMA

5. Intertext Research 1 – The Grudge
Institution
 Produced by Columbia Pictures and
Ghost House Pictures
 Released 24th October 2004
 Estimated budget of $10,000,000
 Grossed over $180,000,000
 Average review of 3/5 – “Throughout the
entire film a feeling of complete unease
gripped hold of me”

6. Intertext Research 1 – The Grudge
Visual Codes
This is the first intertext that I have looked at, it is the trailer for the
movie The Grudge. The colours used are very dark, lots of black
and pale blues, greys and white which contrast therefore binary
oppositions theory can be applied. The dark colours connote fear
and danger thus the audience immediately understand that it is
scary, which is very conventional.
The dress codes for the trailer are casual, Karen is wearing a
jumper or hoody and you don‟t see her trousers. This gives the
audience the impression that she is just going about her everyday
life and so it is a surprise when very abnormal things begin to
happen.
The setting is predominantly the house that she is investigating, that
the previous deaths happened in and where the spirit of Kayako is.
The house becomes associated to death and fear for the audience
and they expect bad things to happen when she goes there.

7. Intertext Research 1 – The Grudge
Audio Codes
Audio is very important, it is used to build tension. It uses non-
diagetic sounds such as a cat meowing, which has the effect of
fear on the audience as the connotations of cats are bad luck
and black magic, they are also very iconographic. The fact that it
is non-diagetic because the boy makes the very realistic meow
sound is very effective in scaring the audience. The trailer uses a
mix between soundtrack and voice-over which is also effective in
building tension and making the audience feel involved in the
trailer, it sounds like the narrator whispering in their ear, this has
the effect of fear on the audience, which is very conventional.

8. Intertext Research 1 – The Grudge
Technical Codes
There is a range of camera angles used, the particularly
effective ones are the low angle shot and the extreme
close-up of an eye showing a reflection of what is
happening, this gives the idea of seeing through the
eyes of the character and is an interesting and unusual
shot. It also begins with a very conventional establishing
shot that shows the setting, Tokyo. The shots are edited
together mostly with fast cuts between the narrative
shots and then fades are used when it goes to
information/text shots. This builds tension but also gives
the audience a sense of confusion and panic. The trailer
is fairly effective in terms of scaring the audience but
also getting the audiences' interest.
Establishing Extreme close-
shot, very up of eye but
conventional with long shot in
reflection

9. Intertext Research 1 – The Grudge
Action Codes
The action codes for the trailer are often quite
quick, sharp, sudden movements. This is
because it along with the audio is very
effective in making the audience jump, and
scaring them. There is also the movement of
the background behind the text, it waves
diagonally across the screen and looks like
hair blowing in the wind which is quite
iconographic of the film because of the girl
with long, dark, straggly hair.

10. Intertext Research 1 – The Grudge
Narrative Codes
The trailer follows a fairly linear narrative but with quick
flashbacks to the past when the original family lived there. It
follows Propp‟s theory quite clearly, Karen Davis is the
hero, Doug is the princess and Kayako is the villain. There
are the rest of Propp‟s characters in the film but those are the
ones that you see in the trailer. They are very often seen as
the most important characters and so it is very conventional
that you see them in the trailer.
The trailer follows Todorov‟s theory but also the conventions
of the genre because it shows the equilibrium briefly at the
beginning, then it shows the disruption and the recognition.
This is fairly representative of the film but without giving too
much away, although the film does spend a while on the
attempt to repair. It is conventional for films in this genre to
follow Todorov‟s theory even if it has been manipulated.

11. Intertext Research 2 – Paranormal
Activity
About
“After a young, middle class
couple moves into a suburban
house, they become increasingly
disturbed by a presence that may
or may not be somehow demonic
but is certainly most active in the
middle of the night. Especially
when they sleep.”
Trailer:
http://www.youtube.com/watch?v=
F_UxLEqd074

12. Intertext Research 2 – Paranormal
Activity
Institution
 Produced by Blumhouse Productions
 UK released date 25th November 2009
 Estimated budget of $15,000
 Grossed almost $200,000,000
 Average review of 4/5 – “Both hair-
raising and chilling, this suburban drama
skips genre clichés, to come up with a
claustrophobic classic”

13. Intertext Research 2 – Paranormal
Activity
Visual Codes
The dress codes are very much everyday, casual clothes. This is
because the people they are filming are supposed to be average people
just going to the cinema. The people in the film are also dressed in
casual clothes such as jeans and t-shirts, this is conventional of
thriller/horror movies, this is because it allows to audience to identify
with the characters, thus making it scarier and so uses and
gratifications theory can be applied.
The lighting for the film looks natural, like the lighting that would exist in
the setting of a house because again it allows the audience to identify
with the characters but the lighting in the cinema is dark because it is
meant to look like a real cinema. The colours used are quite contrasting
and so you can apply binary oppositions, it has the effect of fear on the
audience because the lack of colour connotes fear and darkness.
The setting is also very conventional as thriller/horror movies are often
based around one particular location or character. But showing the
location of the cinema and people reactions is very unconventional. It
creates a lot of interest and so it required them to spend less on
marketing/advertising.

14. Intertext Research 2 – Paranormal
Activity
Audio Codes
The film uses mostly voice-overs that are diagetic but
not always synchronous. This is a direct mode of
address and the audience feel more involved in the
trailer and therefore the film seem scarier.
It also uses sound effects that are diagetic such as
doors slamming or when the boyfriend is thrown into
the camera, this makes it seem more real and
therefore scarier also. It also uses some soundtrack
in the background, such as drum beats. These are
used to build tension in the trailer.

15. Intertext Research 2 – Paranormal
Activity
Technical Codes
The film looks to have low production values the
audience so identify with the characters and so they feel
involved in the movie and trailer and like it could be
them. The trailer looks like someone taking a camera
into the cinema and recording. The idea behind the
camera angles/shots and the editing is that it makes the
film seem much more realistic, therefore making the
story more believable and scary to the audience.
The trailer uses lots of medium close-ups and zooming
shots, but the camera is not held steady it looks like an
amateur holding the camera because it feels more real.
Shot showing Explains to the
Micah holding the audience that
main camera used they are filming
for filming themselves

16. Intertext Research 2 – Paranormal
Activity
Action Codes
The film also uses quite a lot of
sharp, sudden movements match the
audio and use of editing, such as cuts. The
trailer ends quite suddenly with Micah
being thrown at the camera and so this has
the effect of fear on the audience. Sudden
movements, particularly if they start from
nowhere, can be very effective in making
the audience jump.

17. Intertext Research 2 – Paranormal
Activity
Narrative Codes
The trailer is unconventional because it is much more about
people's reactions to the movie than the movie itself it shows
quite a small amount of the movie, so it creates a lot of
enigma.
The trailer follows a fairly linear narrative, it also follows
Propp‟s theory quite clearly, Katie is the hero, Micah is the
princess/helper and the psychic is the mentor.
The trailer follows Todorov‟s theory but is quite
unconventional because it doesn‟t just use clips from the film.
It shows the equilibrium of the people going to see the film
but also in the film itself. And it then show the disruption and
the recognition of the disruption which is when they start to
think something it in the house and when the people in the
cinema start to get scared. And then the attempt to repair
which is when they are talking to the psychic.

18. Intertext Research 3 – Cloverfield
About
“Cloverfield follows five New Yorkers
from the perspective of a hand-held
video camera. The movie starts as a
monster of unknown origin destroys a
building. As the characters go to
investigate, parts of the building and the
head of the Statue of Liberty comes
raining down. The movie follows their
adventure trying to escape and save a
friend, a love interest of the main
character.”
Trailer:
http://www.youtube.com/watch?v=IvNkG
m8mxiM

19. Intertext Research 3 – Cloverfield
Institution
 Produced by Paramount Pictures
 UK release date 1st February 2008
 Estimated budget $25,000,000
 Grossed over $170,000,000
 Average review 4/5 – “A dazzling
experiment that paid off immensely, this
is cinematic pleasure at its purest.”

20. Intertext Research 3 – Cloverfield
Visual Codes
The trailer is quite dark and fairly dimly lit it looks realistic like
it is set in an apartment at night and like it is filmed with just
and hand-held. This makes it more relatable for the target
audience so uses and gratifications theory can be
applied, and thus it is scarier and more appealing.
It is set in an apartment mostly. This is important to the
narrative but also it is again relatable for the target
audience, it looks like an average, everyday setting, it is just
people living their normal lives which makes it scarier
because the audience can identify with the characters. So
again it follows uses and gratifications theory.
The dress codes fit in with the other visual codes and are
very conventional, they are dressed in clothes appropriate for
the setting and narrative such as going-out dresses and a
shirt and jeans.

21. Intertext Research 3 – Cloverfield
Audio Codes
The trailer uses diagetic sound of people talking
and music, it doesn‟t use a soundtrack. This
makes it seem much more realistic and scary. It
is mostly people speaking or screaming which
along with the direct modes of address makes the
audience feel more involved in the scene. This is
quite unconventional, to use entirely diagetic and
pretty much entirely synchronous audio
throughout the entire trailer. It comes as a shock
to the audience and makes the whole trailer
seem much more realistic and scary.

22. Intertext Research 3 – Cloverfield
Technical Codes
The trailer uses a lot of medium close-ups which is very conventional
but again makes it look more amateur. It also uses some panning shots
but they are not steady shots, they are a bit shaky, this makes the film
look like it has low production value and makes the audience feel more
involved in the film and allows them to identify with the characters.
The trailer uses entirely cuts, this is so that it looks more amateur but
also so that it doesn‟t detract from more important things in the shots.
Some of the editing uses cuts but with brief gaps in between the shots.
This builds tension and confusion because the camera jumps about and
so the audience don‟t understand what is going on, which makes it
scarier.
The shot goes
from straight
to looking up
and on its side
which is very
confusing

23. Intertext Research 3 – Cloverfield
Action Codes
When the rocks start flying at the characters
from the sky they all start to run across the
roof and down the stairs, this shows their
urgency and so the audience understands
that they must be afraid. They are also
running frantically which suggests
urgency, this fear is passed onto the
audience. Then in the street lots of people are
running across the shot, this adds to the idea
of panic which is mimicked by the audience.

24. Intertext Research 3 – Cloverfield
Narrative Codes
The trailer follows an almost entirely linear narrative to the point
where it just shows pretty much one scene of the film. All apart from
the very end after its shown a small part of the credits it cuts back
to obviously before the party because one of the guests says
“Tonight‟s gunna be the best night ever.”. As the audience you know
this isn't true because you‟ve already seen what is going to happen
and so it is scarier for the audience because they can identify with
the character, they can imagine it happening to them.
The trailer seems to follow at least part of Propp‟s theory which is
very conventional, the hero is Rob and the princess is Beth and
then there are a number of characters who play the role of helper:
Hud, Jason, Lily and Marlena. It is fairly unconventional for a film in
this genre to have quite so many important characters, they
generally have fewer main characters, but this just makes it more
interesting for the audience.
Todorov‟s theory can also be applied to the trailer, it shows the
equilibrium, the disruption and the recognition. These are when
everyone is at the party and they are all happy and having fun; then
when they feel the earthquakes and they go onto the roof and see
the disaster in the city; and finally when they all start to panic and
run out into the street.

25. Intertext Research 4 – Black Swan
About:
A ballet dancer wins the lead in
"Swan Lake" and is perfect for
the role of the delicate White
Swan - Princess Odette - but
slowly loses her mind as she
becomes more and more like
Odile, the Black Swan.
Trailer:
http://www.youtube.com/watch?
v=5jaI1XOB-bs

26. Intertext Research 4 – Black Swan
Institution
 Produced by Fox Searchlight Pictures
 UK release date 21st January 2010
 Estimated budget $13,000,000
 Grossed over $100,000,000
 Average review 4/5 – “This is a very
strange film. In a way, it seems like
nothing we've seen before.”

27. Intertext Research 4 – Black Swan
Visual Codes
The trailer is quite well lit and bright but uses a lot of dark colours such as black
and grey these connote evil and darkness. But then it uses soft, pale colours
iconographic of ballet such as pale pink and white, these colours connote good
and purity. It follows the theory of binary oppositions as there is lots of conflict
visual and conceptual and the conceptual conflicts are represented a lot through
colour. The contrast of white and pale pink with black is fairly unconventional
and comes as quite a shock to the audience as usually darker colours are used.
The connotations of the colours used are very important and they become easily
recognised by the audience as representing good and evil.
The dress codes are in line with the colours used they are mostly dressed in
pale pink/white and black. Nina is shown in the beginning of the trailer in pale
pink/white but as the trailer goes on she is shown in increasing amounts of black
and Lily is shown in black, these colours correspond with the audience‟s feeling
towards the characters based on the connotations of the different colours.
The trailer is set mostly in the ballet studio, it is not only because of its
importance as part of the narrative but also because of the various connotations
of it and how it is so iconographic. Ballet and ballet studio‟s represent
tradition, femininity but also purity as it is widely considered to be one of the
purest art forms and so the contrast between that and the evil surrounding
it, makes it fascinating and terrifying for the audience.

28. Intertext Research 4 – Black Swan
Audio Codes
The trailer uses a mix between a soundtrack and voice
over, which is sometimes diagetic and sometimes non-
diagetic. The sound track uses a variety of instruments
but one that stands out particularly is a violin, it creates
very pure notes but with a quite sinister edge to them. It
is very effective in creating fear in the audience.
The soundtrack is also used to build tension very
effectively, by fading in and out. It also uses sounds that
sound a bit like a gust of wind but in a context in which
they don‟t fit this can be very scary and suggests the
idea of spirits moving around. And it uses lots of people
whispering over the top of each other to create a
sinister effect, this makes it very scary for the audience.

29. Intertext Research 4 – Black Swan
Technical Codes
The trailer uses a variety of very interesting shots very
effectively. There is an extreme close-up of her ballet shoes, this
is effective because they are so important, so iconographic.
Another extremely effective shot/use of special effects is the one
where she is looking away from the mirror behind her and her
reflection turns around. This is not only scary, but further
suggests the idea of madness.
The shots are edited together using mostly cuts but with some
fades, this builds tension and is very conventional of films in this
genre.
Extreme close-up
of iconic ballet
shoes

30. Intertext Research 4 – Black Swan
Action Codes
At the beginning of the trailer the
movements are all very soft and graceful
but as it goes on and Nina goes
increasingly mad, her movements become
faster and more panicked, she begins to
run at various points and the feeling of out-
of control is passed on to the audience
making the trailer scarier.

31. Intertext Research 4 – Black Swan
Narrative Codes
The trailer follows Propp‟s theory to an extent, but it has been
manipulated and it is very complicated because the
characters seem to change rolls within the film Nina begins
as very much the hero but as it progresses she becomes the
villain and Lily goes from being the helper, to the villain, to
the hero. Then Thomas is the mentor and then the princess
and her mother is the dispatcher. And so the lines between
the character roles are very blurred. It is conventional for a
psychological thriller to do this, but perhaps not to the
extreme that it is done in this film.
Todorov‟s theory can also be applied, it shows the
equilibrium, when Nina has got the part of Odette and she is
happy; then the disruption is when Lily comes along and
things start going wrong and Lily becomes Nina‟s alternate;
the recognition is when she start to realise she is going
slightly mad.

32. Censorship/Certification

33. Censorship Issues – 15
From BBFC Website:
http://www.bbfc.co.uk/classification/guidelines/15-2/
Suitable only for 15 years and over
No one younger than 15 may see a „15‟ film in a cinema. No one younger than 15 may rent or buy a „15‟
rated video work.
Discrimination
The work as a whole must not endorse discriminatory language or behaviour.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse
of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to
be acceptable
Horror
Strong threat and menace are permitted unless sadistic or sexualised.
Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which
could be copied. Easily accessible weapons should not be glamorised.
Language
There may be frequent use of strong language (for example, „fuck‟). The strongest terms (for
example, „cunt‟) may be acceptable if justified by the context. Aggressive or repeated use of the strongest
language is unlikely to be acceptable.
Theme
No theme is prohibited, provided the treatment is appropriate for 15 year olds.
Violence
Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are
unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may
be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and
have a strong contextual justification.

34. Censorship Issues – 18
From BBFC Website:
http://www.bbfc.co.uk/classification/guidelines/18-2/
Suitable only for adults
No-one younger than 18 may see an „18‟ film in a cinema. No-one younger than 18 may rent or buy an „18‟
rated video.
In line with the consistent findings of the BBFC‟s public consultations and The Human Rights Act 1998, at
„18‟ the BBFC‟s guideline concerns will not normally override the principle that adults should be free to
choose their own entertainment. Exceptions are most likely in the following areas:
 where the material is in breach of the criminal law, or has been created through the commission of a
criminal offence
 where material or treatment appears to the BBFC to risk harm to individuals or, through their
behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal
drug use, which may cause harm to public health or morals. This may include portrayals of sexual or
sexualised violence which might, for example, eroticise or endorse sexual assault
 where there are more explicit images of sexual activity which cannot be justified by context. Such
images may be appropriate in „R18‟ works, and in „sex works‟ (see below) would normally be confined
to that category.
 In the case of video works (including video games), which may be more accessible to younger
viewers, intervention may be more frequent than
Sex education at ‘18’
Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex
and health, explicit images of sexual activity may be permitted.
Sex works at ‘18’
Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only
material which may be simulated are generally passed „18‟. Sex works containing clear images of real
sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will
be confined to the „R18‟ category. Material which is unacceptable in a sex work at „R18‟ is also
unacceptable in a sex work at „18‟.

35. Censorship Issues
What I have learnt from this:
 That censorship for films is very important
because it effects who can watch the film and
therefore who the target audience is.
 I haven‟t learnt the difference between „15‟ rated
films and „18‟ rated films. „15‟ rated films can
contain violence, horror or sexual content but it
cannot be too explicit or be shown for too long.
Whereas „18‟ rated films can show almost anything
but if they are extremely sexually explicit they are
classified as „18R‟.
 I have decided that my film will be rated „15‟, this is
because it will include a certain level of horror and
violence but not too much that would make it an
18 because this could seriously effect my choice of
target audience.

36. Target Audience

37. Questionnaire

38. Questionnaire
Questionnaire links:
 http://www.survey.com/cgi-
bin/pollxt.pl?poll=PM2U1AR9V6Y8
 http://www.survey.com/cgi-
bin/pollxt.pl?poll=PM2U1AR9V6R8
 http://www.survey.com/cgi-
bin/pollxt.pl?poll=PM2U1AR9V0M8

39. Questionnaire The results from this question
shows that almost two thirds of
the people who answered my
questions were female so this will
slightly skew my results but nit by
enough that it will have much of
an effect. Also my target
audience will be males and
female so I know that I have
collected results from both.
The results from this question
show that the majority of the
people who answered my
questions were 15-18 this is
good because this is the majority
of my target audience and so I
know that the results I collect will
be helpful and useful.

40. Questionnaire
This tells me that the people who
answered my questions were all in
demographic E which fits with my
target audience and so I am further
sure that the answers I get will be
applicable to my target audience. It
also just adds to my knowledge of
my target audience and my target
audience profile.
These answers tell me more about my target
audience, it tells me about their media usage which
can come under the interests heading. But also it gives
me an idea about how I would go about doing the
marketing and advertising for my film.
Internet, music, TV and film all have high percentages
this is good because I could advertise my film on the
TV and via the internet but it also tells me that a lot of
my target audience watch films fairly regularly.

41. These answers tell me that all of
Questionnaire my target audience watch at least
some films, with the most common
answers being 3-4 and 5-6 times a
month. This means that I don‟t have
to get them interested in film
altogether but that I do need to do
something that would stand out and
make them choose my film/trailer
over another one.
The answers that I got from this
question tell me that my target
audience watch quite a lot of TV.
Again this provides me with more
information about their interests
but also this could be used when
planning a marketing/advertising
campaign.

42. Questionnaire
This gives me a further
idea about the
interests of my target
audience, I know that
they have a wide
range of film interests
and that they watch a
range of genres almost
half like horrors and
thrillers but The answers that I got from
interestingly more than this question are very
half like crime/mystery helpful. They tell me that a
so I think that we will small proportion of my target
think about audience don‟t like horrors
incorporating this into or thrillers but that most do.
our storyline. Perhaps Also that there is a slight
through an sway towards thrillers over
investigation of some horrors and so I think that
sort. we will go for a thriller trailer
rather than a horror one.

43. These answers tell me that The Grudge
Questionnaire and Paranormal Activity appear often as
people‟s favourites. This is very good
news because they were both film trailers
that I analysed and so hopefully I have
worked out what made them people‟s
favourites in my analysis and can
hopefully bring these things across into
my film trailer.
This again adds to my target
audience profile, my knowledge of
my audience and their interests.

44. These answers have given me things to think
about for my trailer lots of people liked how
Questionnaire they are scary and so I want to make my
trailer as scary as possible. Some people also
disliked when they looked unrealistic, so this is
another reason why I will do a thriller instead
of a horror because a horror would require
more gore, blood and guts, which would be
difficult to make realistic and so I will avoid this
with a thriller. Also a thriller gives more
opportunity to do things jumping out, which a
couple of people also talked about.
The people that gave answers to this
question said that they liked hand-
held camera work and the
tense, effective use of music. These
are both things I will think about
carefully for my trailer.

45. Questionnaire
The answers that I got from this
question are extremely helpful
because before this I hadn‟t thought
much about characters. Most
people liked teenagers in
horrors/thrillers, I think that this is
because they can identify with the
characters. This is also good news
for me because realistically they
are by far the easiest actors for us
to get hold of to use in our trailer.
They also equally like male and
female characters so we will
probably include both. But
interestingly the characters they
want to see the most is bad
characters, this we will think about
a lot when further planning our
storyline.

46. Questionnaire
These two questions were linked and they
were two of the most important questions.
The really interesting thing is that everybody
preferred the second idea of a movie filmed
from the killers point of view. They said that
they preferred it because it was more
interesting and unusual. They thought that it
had more potential and that we could use it
to get some good camera shots and angle
such as point of view shots, like suggested in
the first question. We will definitely use this
to decide on our storyline and we will go with
the second idea based on the results from
the questionnaire. The second idea got very
positive reviews and because the people
who answered my questionnaire were in the
target audience, the trailer is very likely to
appeal to the target audience.

47. Questionnaire
What I have learned from my questionnaire results:
 I got answers from people that I know are in my target audience
based on gender, age and occupation.
 I got background information on my target audience based on
types of media they use, genres of films they watch, how much
TV and film they watch and what their favourite films are.
 I also collected information that I will use more specifically for
the genre of my trailer, the characters that I will use, the
influences and intertexts my trailer will have, the effects etc that
I will try and include and the storyline itself.
 I have found out which of the ideas that I was considering the
target audience preferred and why they preferred it. I also
received a small amount of constructive criticism, but overall
very positive reviews for the second idea that I proposed.
 From this feedback I have decided that the basic storyline for
my trailer is going to be “A movie filmed entirely from the
killer‟s/murderer‟s point of view, where you see everything the
way they do.

48. Target Audience Theories and
Profile

49. Audience theories applied to my text
 Hypodermic Syringe Model
I will be injecting the idea of fear, thrill and excitement
into my audience through my trailer.
 Uses and Gratifications Theory
Because the results of my questionnaire showed that
most of my target audience want to see teenagers
as characters in my trailer at least some of my
characters will be teenagers. The reason that they
wanted to see teenagers is because they can
identify with them. The trailer will also be used for
entertainment and social interaction and
integration.

50. Audience theories applied to my text
 Polysemic Readings
-Preferred Reading: That the audience will
find the trailer scary, exciting and
interesting and that it would make them
want to watch the whole movie.
-Oppositional Reading: That the audience
will find it boring, unrealistic or too scary,
and that it does not make them want to
watch the whole movie.

51. Audience theories applied to my text
 Two-Step Flow Theory
The audience will be filtered information from
opinion leaders such as friends and family
that they look up to, respect and trust the
opinion of. However, other opinion leaders
could also be film critics or anyone‟s
opinion that the audience trust not
necessarily someone they know. But the
hope in these situations is that the opinion
leaders like it, otherwise they could lead
other people who might like it to dislike it.

52. Target audience Profile
 Age:15-21
 Gender: Male & Female
 Occupation: Student and/or weekend/part-time job
 Income: Low, maximum monthly income of £200
 Education: At least GCSE‟s but most likely A Levels also if not
Higher Education also
 Demographics: E – Unemployed, Students, Casual workers
 Psychographics: Most likely to be mainstreamers or explorers
 Media Consumption: High – 5-8 hours of TV watched a week, 3-6
films watched a month
 Hobbies & interests: A wide range of media interests but particularly
internet, music and TV; other interest can include magazines and
video games; also a wide range of film genres watched, particularly
comedies
 Nationality: Can be any but most likely to be western;
British, American, etc