Lindsay Lohan Goes Crazy

For my video project, I choose to take the happy go lucky movie, The Parent Trap (Nancy Meyers, 1998), and turn it into a horror film about a girl that goes to camp to have a summer from hell after meeting her evil twin, The Twin Trap. I choose this movie because people associate it with a light and joyful movie and I thought it would be interesting to completely juxtapose the genre into the opposite – a purely horror movie. From Thomas Sobchack’s article, she discusses genres and why they exist. There was one quote that stood out to me: “They are made in imitation not of life but of other films [1].” This quote made me reevaluate and questions the movie industry as a whole. Has any movie I ever seen truly original? Or are all modern day movies just reincarnations of previous ideas made with better effects, new actors, and in line with the current culture? This thinking made me think critically about the production of my movie trailer. It did not take much conscious thought to know that I was modeling this trailer after past horror trailers and following the norms expected out of this genre’s movie trailers.

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A clip from one of the shots in my trailer!

I started of the movie trailer with a montage sequence. I linked a handful of different establishing shots of the camp that the movie takes place in. Bernard Dick describes a montage sequence as “the shots are arranged so that they follow each other in rapid succession [2].” This is a critical to my trailer because without, the setting would be ambiguous and undefined. After viewing the montage sequence at the beginning, the viewers know that the movie is taking place in a summer camp.

There were many other intentional aspects of my trailers mirroring scary movie trailers edited to assist in convincing the viewers that this was no longer The Parent Trap but its evil twin (see what I did there?), The Twin Trap. I used fading out transitions with the intention of them serving as a transition between different parts in time 2. In the trailer, the fading out transition moves the story from Nicky being dropped off at camp to the main storyline.

One final aspect of editing I will discuss is the long shot transitions between clips. While researching horror movie trailers, and movie trailers in general, I noticed that a lot of trailers use long shot transitions to build drama and anticipation. I did this in a lot in my trailer to cause that wanted drama of clips that would be previously remembered as happy. This also creates emphasis on the shots selected, rather than overwhelming the viewer with a lot of visual content.

In my trailer, I attempted to use symbolism behind my shots. Marcel Danesi observes symbolism not only in just words, but also in objects, sounds, and many other things [3]. Going back to the montage sequence previously discussed, I choose shots that would symbolize camp, such as, the lake with canoes and a mess hall. Not until the third shot, the word “camp” is included. But from the first shot, it can be inferred that the setting at camp. Another use of symbolism was with sound. At the very end of my trailer, there’s a bloody cry “Nicky” yelled out. We conclude from the inflection in her voice, that this yell symbolizes somebody in.

What I struggled with the most and still struggled with was my attention to detail. I feel like I could of edited the video for a couple more hours, even a couple more days. That’s what happens when I make and edit videos, I get trapped in the editing process and end up over editing it. The point I called it done was when I had someone else watch the film and let me know if there was anything very wrong with the video.


[1] Sobchack, Thomas. “Genre Film: A Classical Experience.” (n.d.): 196-204. TLearn. University of Utah. Web. 21 Nov. 2013.

[2] Dick, Bernard F. Anatomy of Film. New York: St. Martin’s Press, 1978. 51-98. Web.

[3] Danesi, M. (2004). Messages, signs, and meanings: A basic textbook in semiotics and communication. Studies in linguistic and cultural anthropology, v. 1. Toronto: Canadian Scholars’ Press.

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