Issue 19
Vanishing Points

Approach to the Definition of Hosted Trailer Through the Work of Cecil B. DeMille, Alfred Hitchcock and William Castle

PDF (Español (España))
  • Javier Lozano Delmar
Javier Lozano Delmar
Universidad Loyola Andalucía
Bio
DOI: https://doi.org/10.63700/272

Published 2015-01-01

Keywords

  • Trailer,
  • cinema advertising,
  • promotion,
  • Cecil B. DeMille,
  • Alfred Hitchcock,
  • William Castle.
    • ...More
    Less

How to Cite

Lozano Delmar, J. (2015). Approach to the Definition of Hosted Trailer Through the Work of Cecil B. DeMille, Alfred Hitchcock and William Castle. L’Atalante. Journal of Film Studies, (19), 125–132. https://doi.org/10.63700/272

Copyright (c) 2015 L'Atalante. Journal of film studies

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Abstract

The object of study of this text is the film trailer and, specifically, a subtype
known as hosted trailer. The content of these works is characterized by combining the use of images from the film with others filmed specifically for the trailer in which a testimonial figure belonging to the technical or artistic cast of the film speaks directly to the viewer with the purpose of presenting and advertising the film. The purpose of the paper is twofold: on one hand, to analyze the composition and structure of the first hosted trailers, which begin to appear during the era of classical Hollywood cinema as an alternative to conventional trailers that promoted the film by showing fragments of it; on the other, to cover a significant part of the hitherto unexplored history of trailer, reflecting on its promotional discourse and setting a benchmark for future research. To conduct the study, hosted trailers by three pioneer directors are discussed in the realization of these parts : Cecil B. DeMille , Alfred Hitchcock and William Castle.

 

PDF (Español (España))

Downloads

Download data is not yet available.

References

  1. Bordwell, David (1995). El significado del filme: inferencia y retórica en la interpretación cinematográfica. Barcelona: Paidós.
  2. Casetti, Francesco (1994). Modelos comunicativos de la publicidad. Questiones publicitarias: revista internacional de comunicación y publicidad, 2, 22-33.
  3. Debruge, Peter (2000). A Brief History of the Trailer. Recuperado de http://www.movietrailertrash.com/views/history.html [25/02/2013].
  4. Dusi, Nicola (2005). Le forme del trailer come manipolazione intrasemiotica. En I. Pezzini (ed.), Trailer, spot, clip, siti, banner: le forme brevi della comunicazione audiovisiva (pp. 31-66). Roma: Meltemi.
  5. Gilbey, Ryan (2006). Trailer Trash. New Statesman, 19, 902.
  6. Goodwin, Michael (1981). The lost film of Alfred Hitchcock. New West, abril, 84-87.
  7. Haralovich, Mary Beth; Klaprat, Cathy Root (1982). Marked Woman and Jezebel: The Spectator in the Trailer. Enclitic, otoño-primavera, 66-74.
  8. Hediger, Vinzenz (2002). L'image de l’auteur dans la publicité: À propos des stratégies auto-promotionnelles de Cecil B. DeMille et Alfred Hitchcock. En J. P. Esquenazi (coord.), Politique des auteurs et théories du cinema (pp. 39-66). París: L’Harmattan.
  9. Johnston, Keith (2009). Coming Soon. Film Trailers and the Selling of Hollywood Technology. Carolina del Norte: McFarland.
  10. Kernan, Lisa (2004). Coming Attractions: Reading American Movie Trailers. Austin: University of Texas Press.
  11. Kerzonkuf, Alain; Bokor, Nándor (2009). Alfred Hitchcock’s
  12. Trailers. Part II. Senses of Cinema,51. Recuperado de http://sensesofcinema.com/2005/feature-articles/hitchcocks_trailers_part2/ [25/02/2013].
  13. Klady, L. (1994). Truth About Trailers: They Work. Variety Weekly, semana del 28 de noviembre al 4 de diciembre, 13 y 24.
  14. Maier, Daniela (2009). Visual Evaluation in Film Trailers. Visual Communication, 8, 2, 159-180.
  15. McGee, Mark Thomas (2001). Beyond Ballyhoo: Motion Picture Promotion and Gimmicks. Carolina del Norte: McFarland.
  16. Pailliez, Rodolphe (1977). Le film-annonce. La revue du cinéma. Image et son, 315, 83-92.
  17. Pezzini, Isabella (2005). Forme brevi, a intelligenza del resto. En I. Pezzini (ed.), Trailer, spot, clip, siti, banner: le forme brevi della comunicazione audiovisiva (pp. 9-29). Roma: Meltemi.
  18. Robnik, Drehli (2005). Mass Memories of Movies. Cinephilia as Norm and Narrative in Blockbuster Culture. En M. Valck (ed.), Cinephilia: Movies, Love and Memory (pp. 55-64). Amsterdam: Amsterdam University Press.
  19. Sánchez Noriega, José Luis (2003). Historia del cine. Teoría y géneros cinematográficos, fotografía y televisión. Madrid: Alianza Editorial.
  20. Stevens, Brad (2000). In Praise of Trailers. Senses of cinema, 9. Recuperado de http://www.sensesofcinema.com/2000/feature-articles/trailers/ [25/02/2013].
  21. Wells, J. (1993). Thrills! Chills! Laffs! And These Are Just the Previews! Los Angeles Times Calendar, 16 de mayo, 22-23.