The BBC3 controller, Danny Cohen, has bought the antipodean mockumentary series Summer Heights High from the Australian broadcaster ABC.
The BBC digital channel will show the eight-part series, a darkly comic parody of Australian school life, shot in the style of a documentary and created by the comedian Chris Lilley, later this year.
In the series Lilley plays all three main characters, including a camp drama teacher called Mr G, who is known for writing musicals for his students including one called Tsunamarama, based on the events of the 2004 tsunami disaster, set to the music of Bananarama.
Lilley also plays Ja'mie King, a pampered and manipulative 16-year-old female student transferred from a private school.
He also plays the rebellious 13-year-old Pacific Islander student Jonah Takalua, who is known for scrawling his graffiti tag "dicktation" around Summer Heights High, and for phrases such as "I'm not dumb, I'm just choosing not to be smart at the moment".
The supporting cast includes David Lennie as the social officer Doug Peterson, and Kristy Barnes-Cullen as the English teacher Sarah Wheatley.
Summer Heights High has already been bought by the US cable network HBO and attracted the support of the influential showbiz blogger Perez Hilton, who recently called it one of his "favourite shows on the planet". The Australian show will be broadcast in the US later this year.
When it debuted on ABC in September last year, the series, which is shot in Melbourne, also performed well, peaking at 1.6 million viewers and averaging about 1.2 million, an overall share of around 20%.
Lucy Lumsden, the BBC's controller of comedy commissioning, said: "Summer Heights High is a fantastic addition to the BBC3 comedy lineup for 2008 - with a truly brilliant central performance from Chris Lilley."
THIS ARTICLE IS IMPORTANT AS IT LOOKS AT DIFFERENT TYPES OF PROGRAMMES IN AUSTRAILIA WHICH THE BBC IS AIMING TO INVEST IN. THIS ARTICLE ALSO INCLUDES INSTITUTIONS SUCH AS ABC AND HBO WHICH YOU CAN INCLUDE IN YOUR ISSUES AND DEBATES MODULE
Monday 31 March 2008
Tuesday 25 March 2008
media guardian story
The BBC has said sorry to viewers who complained about the Easter holiday episodes of EastEnders in which philanderer Max Branning was buried alive.
However, the BBC staunchly defended the storyline and said it had taken "great care" to flag up the nature of the scenes in the advance publicity and pre-programme announcements.
The BBC stopped short of a full apology, but said sorry to viewers who "did not enjoy" the EastEnders episodes featuring the buried-alive storyline on Good Friday and Easter Monday.
Friday's scene, in which character Branning was put unconscious into a coffin by his wife Tanya and her lover, prompted 167 complaints.
Viewers complained that the scene, broadcast just before 8.30pm on BBC1, should not have been shown before the 9pm watershed.
Complainants also said it was inappropriate for a soap which is watched by a family audience.
The BBC, in a statement on its complaints website today, said it had taken "great care to signal the nature of the content to the audience through pre-programme announcements, billings and programme publicity in order to prepare viewers for what to expect".
"Whilst we appreciate that these episodes were dramatic, they were carefully filmed and edited in order that Max's ordeal was in the main implicit, rather than explicit, whilst still retaining their powerfulness. It's also important to note that Max made it out alive after Tanya realised she couldn't go through with her plan to leave him for dead," the BBC added.
"The burial is in no way glamorised or glorified, rather we see that when pushed to the edge, Tanya's behaviour becomes out of character, and indeed that it's Tanya herself who ultimately suffers because of her actions. Once again we are sorry that you did not enjoy these episodes."
Friday's controversial episode featured Tanya, played by Jo Joyner, spiking Max's drink before driving him into Epping Forest with her lover, Sean Slater. Max, played by Jake Wood, was then buried alive in a coffin before later regaining consciousness.
In its response to last Friday's episode, the BBC said: "Regular viewers will be aware that for some weeks now Tanya has been plotting her revenge against Max for his affair with Stacey, whilst at the same time lulling Max into a false sense of security, and convincing him that she has put the affair behind them.
"We believe the audience will have been expecting the culmination of these past few weeks to bring something particularly dramatic. Having been outsmarted by Max when she tried to deal with his adultery through the divorce courts, Tanya feels she has no option but to exact her own revenge.
"Given the story so far, Tanya's mode of revenge is entirely apposite; in an episode which transmitted last year, we saw Max confide in Tanya that when he was a child Jim had punished him for hanging around with some boys he disapproved of by shutting him alive in a coffin. It's an experience that clearly scarred him, and therefore - in Tanya's mind - an ideal way to wreak revenge on her husband."
But one viewer said: "I know Max did a lot of horrible things, but that as a story line of getting buried alive was very inappropriate for a soap."
Guardian TV critic Nancy Banks-Smith, in her review of the following episode, broadcast on Monday, commented: "Complaints to the BBC seem to be along the lines of it's-not-very-nice-to-bury-someone-alive-before-the-watershed-is-it? Personally, I think the director general should be walking to Canterbury with dried peas in his shoes."
EastEnders was censured by Ofcom last month for an episode showing a gang attack the Queen Vic pub in which one of the characters went into premature labour.
The media regulator said the soap had shown "sustained violence, intimidation and menace" inappropriate for a pre-watershed audience in the scene.
THIS ARTICLE IS ABOUT VARIOUS VIEWERS MAKING COMPLAINTS ABOUT THE EASTENDERS STORYLINE ABOUT MAX BEING BURIED ALIVE. BBC MADE APOLOGIES HOWEVER THEY DONT SEEM VERY APOLOGECTIC AS THE ONLY THING THEY SAY IS THAT WE ARE SORRY VIEWERS DID NOT ENJOY THE EPISODE. IN MY OPINION IT IS NOT ABOUT ENJOYMENT AS THIS PROGRAMME IS VIEWED BY YOUNG CHILDREN AND FOR THEM TO SEE THAT IT IS DIFFICULT. BUT IS THE ONLY APOLOGY ALONG THE LINES OF WE SHOULD HAVE SHOWN MAX BEING BURIED ABOUT 9PM A BIT OF A JOKE DONT U THINK ARE THE BBC TAKING THIS PROBLEM SERIOUSLY ENOUGH????
However, the BBC staunchly defended the storyline and said it had taken "great care" to flag up the nature of the scenes in the advance publicity and pre-programme announcements.
The BBC stopped short of a full apology, but said sorry to viewers who "did not enjoy" the EastEnders episodes featuring the buried-alive storyline on Good Friday and Easter Monday.
Friday's scene, in which character Branning was put unconscious into a coffin by his wife Tanya and her lover, prompted 167 complaints.
Viewers complained that the scene, broadcast just before 8.30pm on BBC1, should not have been shown before the 9pm watershed.
Complainants also said it was inappropriate for a soap which is watched by a family audience.
The BBC, in a statement on its complaints website today, said it had taken "great care to signal the nature of the content to the audience through pre-programme announcements, billings and programme publicity in order to prepare viewers for what to expect".
"Whilst we appreciate that these episodes were dramatic, they were carefully filmed and edited in order that Max's ordeal was in the main implicit, rather than explicit, whilst still retaining their powerfulness. It's also important to note that Max made it out alive after Tanya realised she couldn't go through with her plan to leave him for dead," the BBC added.
"The burial is in no way glamorised or glorified, rather we see that when pushed to the edge, Tanya's behaviour becomes out of character, and indeed that it's Tanya herself who ultimately suffers because of her actions. Once again we are sorry that you did not enjoy these episodes."
Friday's controversial episode featured Tanya, played by Jo Joyner, spiking Max's drink before driving him into Epping Forest with her lover, Sean Slater. Max, played by Jake Wood, was then buried alive in a coffin before later regaining consciousness.
In its response to last Friday's episode, the BBC said: "Regular viewers will be aware that for some weeks now Tanya has been plotting her revenge against Max for his affair with Stacey, whilst at the same time lulling Max into a false sense of security, and convincing him that she has put the affair behind them.
"We believe the audience will have been expecting the culmination of these past few weeks to bring something particularly dramatic. Having been outsmarted by Max when she tried to deal with his adultery through the divorce courts, Tanya feels she has no option but to exact her own revenge.
"Given the story so far, Tanya's mode of revenge is entirely apposite; in an episode which transmitted last year, we saw Max confide in Tanya that when he was a child Jim had punished him for hanging around with some boys he disapproved of by shutting him alive in a coffin. It's an experience that clearly scarred him, and therefore - in Tanya's mind - an ideal way to wreak revenge on her husband."
But one viewer said: "I know Max did a lot of horrible things, but that as a story line of getting buried alive was very inappropriate for a soap."
Guardian TV critic Nancy Banks-Smith, in her review of the following episode, broadcast on Monday, commented: "Complaints to the BBC seem to be along the lines of it's-not-very-nice-to-bury-someone-alive-before-the-watershed-is-it? Personally, I think the director general should be walking to Canterbury with dried peas in his shoes."
EastEnders was censured by Ofcom last month for an episode showing a gang attack the Queen Vic pub in which one of the characters went into premature labour.
The media regulator said the soap had shown "sustained violence, intimidation and menace" inappropriate for a pre-watershed audience in the scene.
THIS ARTICLE IS ABOUT VARIOUS VIEWERS MAKING COMPLAINTS ABOUT THE EASTENDERS STORYLINE ABOUT MAX BEING BURIED ALIVE. BBC MADE APOLOGIES HOWEVER THEY DONT SEEM VERY APOLOGECTIC AS THE ONLY THING THEY SAY IS THAT WE ARE SORRY VIEWERS DID NOT ENJOY THE EPISODE. IN MY OPINION IT IS NOT ABOUT ENJOYMENT AS THIS PROGRAMME IS VIEWED BY YOUNG CHILDREN AND FOR THEM TO SEE THAT IT IS DIFFICULT. BUT IS THE ONLY APOLOGY ALONG THE LINES OF WE SHOULD HAVE SHOWN MAX BEING BURIED ABOUT 9PM A BIT OF A JOKE DONT U THINK ARE THE BBC TAKING THIS PROBLEM SERIOUSLY ENOUGH????
Tuesday 18 March 2008
media guardian story
The BBC is in discussions with Sir Alan Sugar about creating a teen version of hit business reality show The Apprentice.
Sugar, speaking at the launch of the fourth series of The Apprentice today, said he wanted to make a programme for young people as they were some of the show's biggest fans.
The Amstrad entrepreneur added that he had spoken to the BBC about the junior Apprentice concept and said he would even be prepared to tone down his aggressive approach to candidates, even omitting firing someone at the end.
"I have put the idea forward for a special for teenagers," Sugar added. "I have even gone to the extent of saying you don't need to fire the person. God knows what people would be calling me for firing an 11-year-old child.
"But it would be about the winning team, with the rest of the team fighting for who would win it."
A BBC spokeswoman confirmed the idea was under discussion, but said it was too early to give any details.
The BBC said the fourth series of The Apprentice, which begins a 12-week run on BBC1 next Wednesday, March 26, was the biggest ever with 20,000 people applying to take part.
Format tweaks for the fourth series include the first international challenge for the 16 wannabe entrepreneurs with a buying trip to Morocco.
"We have given the candidates a few twists and turns to keep them on their toes," BBC controller of entertainment commissioning Elaine Bedell said.
This year's list of candidates has already aroused controversy, with one revealed to be a BBC part time sports reporter.
Four special programmes will also air alongside the main Apprentice series, including a candidate profile show; Why I Fired Them, which will look back on previous candidates who were on the receiving end of Sugar's wrath; The Apprentice: Worst Decisions Ever, featuring candidate cock-ups; and The Apprentice: Motor Mouths, looking back at the best stand-offs.
Adrian Chiles will also return of the BBC2 spin-off, The Apprentice: You're Fired!.
A senior production source said Sugar was expected to return for a fifth series of the main show next year, although the tycoon said he had not yet signed on the dotted line.
Sugar said: "We are in positive discussions about a fifth series."
THIS ARTICLE IS ABOUT A JUNIOR APPRENTICE WHICH IS THINKING OF STARTING UP AS SIR ALAN THINKS THAT IT WILL BE A GOOD IDEA, ESP. AS MAJORITIY OF THE EXISTING AUDIENCE FOR APPRENTICE IS YOUNGSTERS. THIS IS IMPORTANT AS IT ENCOURAGES YOUNG PEOPLE TO WATCH PROGRAMMES, AND ADMIRE SOME OF THE ROLES ON THE PROGRAMME.
Sugar, speaking at the launch of the fourth series of The Apprentice today, said he wanted to make a programme for young people as they were some of the show's biggest fans.
The Amstrad entrepreneur added that he had spoken to the BBC about the junior Apprentice concept and said he would even be prepared to tone down his aggressive approach to candidates, even omitting firing someone at the end.
"I have put the idea forward for a special for teenagers," Sugar added. "I have even gone to the extent of saying you don't need to fire the person. God knows what people would be calling me for firing an 11-year-old child.
"But it would be about the winning team, with the rest of the team fighting for who would win it."
A BBC spokeswoman confirmed the idea was under discussion, but said it was too early to give any details.
The BBC said the fourth series of The Apprentice, which begins a 12-week run on BBC1 next Wednesday, March 26, was the biggest ever with 20,000 people applying to take part.
Format tweaks for the fourth series include the first international challenge for the 16 wannabe entrepreneurs with a buying trip to Morocco.
"We have given the candidates a few twists and turns to keep them on their toes," BBC controller of entertainment commissioning Elaine Bedell said.
This year's list of candidates has already aroused controversy, with one revealed to be a BBC part time sports reporter.
Four special programmes will also air alongside the main Apprentice series, including a candidate profile show; Why I Fired Them, which will look back on previous candidates who were on the receiving end of Sugar's wrath; The Apprentice: Worst Decisions Ever, featuring candidate cock-ups; and The Apprentice: Motor Mouths, looking back at the best stand-offs.
Adrian Chiles will also return of the BBC2 spin-off, The Apprentice: You're Fired!.
A senior production source said Sugar was expected to return for a fifth series of the main show next year, although the tycoon said he had not yet signed on the dotted line.
Sugar said: "We are in positive discussions about a fifth series."
THIS ARTICLE IS ABOUT A JUNIOR APPRENTICE WHICH IS THINKING OF STARTING UP AS SIR ALAN THINKS THAT IT WILL BE A GOOD IDEA, ESP. AS MAJORITIY OF THE EXISTING AUDIENCE FOR APPRENTICE IS YOUNGSTERS. THIS IS IMPORTANT AS IT ENCOURAGES YOUNG PEOPLE TO WATCH PROGRAMMES, AND ADMIRE SOME OF THE ROLES ON THE PROGRAMME.
Tuesday 11 March 2008
media guardian story
The parents of Madeleine McCann are in discussions with ITV about appearing in a documentary about missing children.
MediaGuardian.co.uk has learnt that discussions have been held between representatives of Kate and Gerry McCann and the commercial broadcaster about a long-form documentary.
It is thought that while the film would feature the McCann's own experience, it would have a greater focus on how different countries treat missing children. The documentary would examine initiatives such as Project Amber in the US, which sees alerts posted on electronic roadside billboards as soon as a child is reported missing.
The McCanns had been in discussions with Channel 4 and independent production company Darlow Smithson, the company behind Touching the Void that is part of the IMG Group, about an observational documentary about Madeleine, but this is now not going ahead.
Clarence Mitchell, the McCann's spokesman, confirmed discussions had taken place with ITV.
"We have talked to one or two companies and have a number of proposals and we are moving forward with those proposals," he said.
"It more than likely it would be with ITV at this stage, but I am not at liberty to go into details."
Mitchell added that the McCanns were keen to highlight different initiatives that help look for missing children.
"We are looking at a long form documentary surrounding some of the wider issues Kate and Gerry want to highlight like the creation of an Amber alert system in Europe," he said.
"There is nothing like it in Europe. Each country has its own systems but they don't talk to each other.
"Kate and Gerry are keen to discuss that part of improvement with [non government organisations] and we may well do a documentary looking at that aspect."
Mitchell added that the McCanns did not want to do another film about how they felt about the disappearance of Madeleine, who vanished from a Portugese holiday apartment in May last year.
"They don't want to do anything about 'woe is us a year on'," Mitchell added. "That is what the tabloids would like but we are not following their agenda, we are following our own agenda."
He said the McCann's would not profit from any new film themselves.
An ITV spokesman declined to comment.
The McCann's have previously worked with the BBC on a controversial Panorama special.
The Panorama programme, which pulled in 5.3 million viewers in November on BBC1, was hit by controversy after its original producer David Mills walked out, claiming criticism of the media and Portugese police was toned down for the version eventually transmitted.
Last week, it was confirmed the McCanns had made formal complaints to Express Newspapers over a series of what Mitchell claimed were "wildly and grossly defamatory" articles in the group's titles' coverage of Madeleine and were considering taking legal action.
They have instructed London law firm Carter Ruck, which specialises in high profile libel cases, to push for a settlement.
THIS MEDIA GUARDIAN STORY IS ABOUT THE MCCANN REPORT AND THEY HAVE NOW DECIDED TO JOIN AN ITV DOCUMENTARY IN WHICH WILL LOOK IN TO DIFFERENT COUNTRIES AND HOW THEY DEAL WITH MISSING CHILDREN IN DIFFERENT COUNTRIES. THIS IS IMPORTANT AS A CASE OF A MISSING CHILD HAS NOW EXPANDED THROUGH THE USE OF THE DIFFERENT MEDIA
MediaGuardian.co.uk has learnt that discussions have been held between representatives of Kate and Gerry McCann and the commercial broadcaster about a long-form documentary.
It is thought that while the film would feature the McCann's own experience, it would have a greater focus on how different countries treat missing children. The documentary would examine initiatives such as Project Amber in the US, which sees alerts posted on electronic roadside billboards as soon as a child is reported missing.
The McCanns had been in discussions with Channel 4 and independent production company Darlow Smithson, the company behind Touching the Void that is part of the IMG Group, about an observational documentary about Madeleine, but this is now not going ahead.
Clarence Mitchell, the McCann's spokesman, confirmed discussions had taken place with ITV.
"We have talked to one or two companies and have a number of proposals and we are moving forward with those proposals," he said.
"It more than likely it would be with ITV at this stage, but I am not at liberty to go into details."
Mitchell added that the McCanns were keen to highlight different initiatives that help look for missing children.
"We are looking at a long form documentary surrounding some of the wider issues Kate and Gerry want to highlight like the creation of an Amber alert system in Europe," he said.
"There is nothing like it in Europe. Each country has its own systems but they don't talk to each other.
"Kate and Gerry are keen to discuss that part of improvement with [non government organisations] and we may well do a documentary looking at that aspect."
Mitchell added that the McCanns did not want to do another film about how they felt about the disappearance of Madeleine, who vanished from a Portugese holiday apartment in May last year.
"They don't want to do anything about 'woe is us a year on'," Mitchell added. "That is what the tabloids would like but we are not following their agenda, we are following our own agenda."
He said the McCann's would not profit from any new film themselves.
An ITV spokesman declined to comment.
The McCann's have previously worked with the BBC on a controversial Panorama special.
The Panorama programme, which pulled in 5.3 million viewers in November on BBC1, was hit by controversy after its original producer David Mills walked out, claiming criticism of the media and Portugese police was toned down for the version eventually transmitted.
Last week, it was confirmed the McCanns had made formal complaints to Express Newspapers over a series of what Mitchell claimed were "wildly and grossly defamatory" articles in the group's titles' coverage of Madeleine and were considering taking legal action.
They have instructed London law firm Carter Ruck, which specialises in high profile libel cases, to push for a settlement.
THIS MEDIA GUARDIAN STORY IS ABOUT THE MCCANN REPORT AND THEY HAVE NOW DECIDED TO JOIN AN ITV DOCUMENTARY IN WHICH WILL LOOK IN TO DIFFERENT COUNTRIES AND HOW THEY DEAL WITH MISSING CHILDREN IN DIFFERENT COUNTRIES. THIS IS IMPORTANT AS A CASE OF A MISSING CHILD HAS NOW EXPANDED THROUGH THE USE OF THE DIFFERENT MEDIA
Film Trailer Analysis
The first trailer is of the thriller ‘Saw’ which was made in 2002. The main function of this text is to persuade viewers and provide them with an insight to the movie. The second trailer is of ‘The Texas Chain Saw Massacre’ which was made in 1974. Both trailers are from the genre of horror. Although, they both share many similarities they are both different in the sense that the techniques alter according to the time they were produced.
Firstly, ‘Saw’ includes the institution at the very beginning of the trailer which suggests the importance of an institution in the 20th century due to the development of mainstream Hollywood films and the growth of the cinema. Whereas, ‘The Texas Chainsaw Massacre’ features the institution at the very end of the trailer, which suggests a lack of importance, however could be shown at the end for the audience to remember. This relates to audience as they may want to go and watch the movie because it is of that particular institution.
Also, both trailers relate to the genre, which is horror, as the trailer shows various characters in distress. In ‘The Texas Chain Saw Massacre’ there is a girl who is running away from the killer she looks distress and is presented to be an innocent character. These characteristics are usually related to females, especially in the 70’s, as women were presented to be the damsel in distress and men were the heroes who saved them. However, this is significantly different in the ‘Saw’ trailer as there is a man who is being victimised, he is presented to be scared and weak which is not the typical stereotype you would attach to a male character.
There are fade to blacks used in the beginning of the ‘Saw’ trailer to create enigma as the audience are unable to work out what is really happening and therefore the trailer does not quite follow a linear narrative as the audience are left to ask questions. There are slow cuts used at the beginning of the trailer to build up tension which is important as the genre is horror and is trying to create suspense. Towards the end of the trailer there are quick cuts used to give the trailer pace and therefore fitting in with the genre. On the other hand, ‘Texas Chainsaw Massacre’ has slow cuts and lacks special effects again relating to the time in which the films were produced.
The mise-en-scene, especially the colours used in both trailers are important as they create an atmosphere for this particular genre. However, the ‘Texas Chainsaw Massacre’ trailer uses more vibrant colours which do not quite relate to the genre. The trailer for ‘Saw’ however, does use dark and navy colours all throughout the trailer to suggest that something relating to a death or murder is taking place.
Although both trailers have various differences there is a repertoire of elements in both trailers as they are both taken from the horror genre. The props used in both trailers are commonly related to horror films as they both include a saw and a knife. This shows that producers of ‘Saw’ have looked at the elements in which the producers and directors have used in ‘Texas Chainsaw Massacre’ and replicated these generic conventions, so that people will instantly know what type of genre this particular film is associated with.
The ‘Saw’ trailer includes captions which appear on the screen for example ‘voyeur’. These captions provide the audience with an insight into what the film is going to be about, without giving away too much information. On the other hand, ‘Texas Chainsaw Massacre’ does not include any captions which suggest that all the information and storyline is provided through the use of the different scenes. In relation to this the trailer for ‘Saw’ allows the audience to gain an insight but yet still keeps them interested and eager to watch the movie as the scenes shown from the film are short and does not include a whole scene just captions. Whereas, the trailer for ‘Texas Chainsaw Massacre’ includes full length scenes, which then shows the audience a lot of what happens in the film and therefore does not fulfil it’s purpose as the trailer is merely there to persuade the audience to watch the rest of the film.
Firstly, ‘Saw’ includes the institution at the very beginning of the trailer which suggests the importance of an institution in the 20th century due to the development of mainstream Hollywood films and the growth of the cinema. Whereas, ‘The Texas Chainsaw Massacre’ features the institution at the very end of the trailer, which suggests a lack of importance, however could be shown at the end for the audience to remember. This relates to audience as they may want to go and watch the movie because it is of that particular institution.
Also, both trailers relate to the genre, which is horror, as the trailer shows various characters in distress. In ‘The Texas Chain Saw Massacre’ there is a girl who is running away from the killer she looks distress and is presented to be an innocent character. These characteristics are usually related to females, especially in the 70’s, as women were presented to be the damsel in distress and men were the heroes who saved them. However, this is significantly different in the ‘Saw’ trailer as there is a man who is being victimised, he is presented to be scared and weak which is not the typical stereotype you would attach to a male character.
There are fade to blacks used in the beginning of the ‘Saw’ trailer to create enigma as the audience are unable to work out what is really happening and therefore the trailer does not quite follow a linear narrative as the audience are left to ask questions. There are slow cuts used at the beginning of the trailer to build up tension which is important as the genre is horror and is trying to create suspense. Towards the end of the trailer there are quick cuts used to give the trailer pace and therefore fitting in with the genre. On the other hand, ‘Texas Chainsaw Massacre’ has slow cuts and lacks special effects again relating to the time in which the films were produced.
The mise-en-scene, especially the colours used in both trailers are important as they create an atmosphere for this particular genre. However, the ‘Texas Chainsaw Massacre’ trailer uses more vibrant colours which do not quite relate to the genre. The trailer for ‘Saw’ however, does use dark and navy colours all throughout the trailer to suggest that something relating to a death or murder is taking place.
Although both trailers have various differences there is a repertoire of elements in both trailers as they are both taken from the horror genre. The props used in both trailers are commonly related to horror films as they both include a saw and a knife. This shows that producers of ‘Saw’ have looked at the elements in which the producers and directors have used in ‘Texas Chainsaw Massacre’ and replicated these generic conventions, so that people will instantly know what type of genre this particular film is associated with.
The ‘Saw’ trailer includes captions which appear on the screen for example ‘voyeur’. These captions provide the audience with an insight into what the film is going to be about, without giving away too much information. On the other hand, ‘Texas Chainsaw Massacre’ does not include any captions which suggest that all the information and storyline is provided through the use of the different scenes. In relation to this the trailer for ‘Saw’ allows the audience to gain an insight but yet still keeps them interested and eager to watch the movie as the scenes shown from the film are short and does not include a whole scene just captions. Whereas, the trailer for ‘Texas Chainsaw Massacre’ includes full length scenes, which then shows the audience a lot of what happens in the film and therefore does not fulfil it’s purpose as the trailer is merely there to persuade the audience to watch the rest of the film.
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