Między kinem a reklamą. Semantyczne przestrzenie zwiastuna filmowego

Abstrakt

Trailers are the theatre of the good things coming soon. Since the status of the trailer in the media and cultural space is constantly changing, the question can be asked: What is a trailer in the era of media convergence? It seems to exist somewhere between cinema and advertising, in a wide range of art and commerce, but in a situation where fan trailers and parody trailers are becoming more and more sophisticated and imitative of the real thing, even these criteria are losing their usefulness, and all the more so if you point out advertisements that, conversely, pretend to be film trailers.

The first part of the article will determine how important the trailers are in the marketing strategy of a film. The production of trailers is an important segment of the advertising industry. It is crucial to construct the trailer in such a way as to attract the audience’s attention and convince them that the film being advertised is the one they should see. To achieve this, the creators of trailers use similar strategies, conventions and tools. This article will set out to present views of the leading trailer makers: Andrew J. Kuehn, Shaun Farrington, Mark Woollen and Anthony Sloman. In the latter part of the text, the issues of the film trailer will be placed in the broader context of the cultural space in which it exists and functions. The main areas of research on trailers will be presented (featuring Lisa Kernan, Keith M. Johnston, Jonathan Gray, Daniel Hesford, Barbara Klinger, Kathleen Williams, among others), consistently leading to reflection on the paratextual nature of the trailers, embedded in contemporary theoretical discourse and in the screen practices themselves.