Talking about Suffragette PDF

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Based on the film Sufragette...

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Dakota Carnes ENL 272-01 21 April 2019 Suffragette  Trailer/Film Comparison Trailers help to set up the visual basis for what a film will entail. Though characters may not be named, they are shown in action. The stylistic choices, as well as the cinematography of the film, are on display, allowing the audience to build their intrigue and grow a larger understanding of the plot and storyline. With the way a certain trailer is set up, it introduces the audience to the vibe of the film, whether it is a thriller or a romantic comedy, action or fantasy, horror or documentary. Trailers give the audience the first look at the film in action. Sometimes, the trailers are spot on, showcasing the perfect parts of the film without giving too much away, leaving the audience wanting more. Other times, the trailer falls flat, either giving away too much of the plot or showcasing scenes that aren't necessary to the film. Suffragette, d  irected by Sarah Gavron, falls into the category of accurate trailers that builds interest rather than destroys it. Based on the article, “Dissecting a Trailer: The Parts of the Film that Make the Cut,” written by Shan Carter and others, the trailer for Suffragette  seems to follow more of a thriller style than anything else. The example the article gives is Argo , directed by Ben Affleck, showcasing the way “thrillers have a very fast cutting style.” The same goes for Suffragette , with fast cuts and largely chronological order. The trailer didn’t play scenes that weren’t in the film, and it was accurate in the information that it did give out. For example, the scene in Suffragette where Carey Mulligan’s character Maud is being interrogated by the detective for the last time, both the film (1:16:13) and the trailer (1:48) have it towards the end. It ramps up emotions about the way Maud feels about the movement that wasn’t originally expressed at the start of the film. Also, the scene in both the film and the trailer fits with a thriller vibe, even though that is not what the film is marketed towards. The scene in question is when Maud is walking back from

work with the package, and she gets caught in a protest involving window breaking. It starts as a calm and quiet scene but quickly gets the heart pumping in anticipation and shock. The film focuses more on the building the anticipation of the scene, showing the uneasy women with the baby carriage full of rocks (3:43), the trailer builds up the intensity with the music and the volume of the glass breaking, and as soon as she is safe, it goes silent (0:15). The trailer showcases the main points of the film without giving too much of it away, and all of the scenes shown never steer away from the plot. Suffragette  is a film that is very well balanced. The calm scenes happen after violent ones, Carey Mulligan’s character Maud is both strong and vulnerable, there are both peaceful and aggressive protests depicted. Women both help each other and shame each other. The trailer is also very well balanced. There is intensity and violence, but not without interludes of calm and peaceful. The trailer showcases this through both the scenes it plays, but also the music. Towards the beginning of the trailer, in the protest scene mentioned above, the music is loud and keeps getting louder, coinciding with the mood change from calm to aggressive (0:15). But, as the trailer continues, the music changes to a slow, melodic song (1:37), allowing the dexterity of the film to show through the trailer. Many film trailers have fallen short on being able to convey the film it’s showcasing properly. Whether there are too many scenes in the trailer that aren’t in the final film, or the trailer markets the movie as a completely different genre altogether, there are many ways a trailer can go south. But there are also many ways a trailer can work as an advantage to the film. For Suffragette, t he trailer was an accurate representation of the movie, giving the audience a taste of what was to come. While it seemed to be marketing the film as a thriller rather than a historical drama, there were many scenes in the movie that can fit within both

genres. Each clip was well placed, mainly chronologically with a few scenes being switched around, but as a whole, the trailer enhanced the film rather than hurt it.

Works Cited Carter, Shan, et al. "Dissecting a Trailer: The Parts of the Film that Make the Cut." The New York Times, 19 Feb. 2013, a  rchive.nytimes.com/www.nytimes.com/ interactive/2013/02/19/movies/awardsseason/oscar-trailers.html Suffragette. D  irected by Sarah Gavron, performances by Carey Mulligan, Meryl Streep, and Helena Bonham Carter, Focus Features, 2015. Gavron, Sarah. “Suffragette Offical Trailer #1 (2015) - Carey Mulligan, Meryl Streep, Drama HD,” YouTube, June 3, 2015. https://www.youtube.com/watch?v=056FI2Pq9RY...