THE DEVIL INSIDE
The Devil Inside is another modern supernatural horror,
which also includes elements of possession. This feature popular within modern
horrors as it’s an on going fear of the audience.
The trailer begins with a phone call made from the home of Maria Rossi, accompanying this phone call to 911 is the dialogue which allows the audience to know exactly what is going on. The tone of voice that Maria has is extremely nerving, and frightful which immediately sets the scene for the audience as there is no action on screen for them to view, which means they have to pay more attention to the words being said. Because this is the only dialogue and action on screen the diegetic sound is thereby intensified reeling the audience into the rest of the narrative.
Once this conversation has happened has ended a quick second shot of a female with minimal clothing and vulnerable body language appears on screen to the audience. This sudden shock image then leaves the audience confused and wanting to proceed further with the trailer in order to find out what that snapshot was the result of, or what it may be leading to. An instant form of persuasion.
This then fades into a scene where Isabella is telling a group of people about her mother. The lighting for this is available to show the scene as casual, but immediately some iconography has been displayed, such as a priest being in this scene. A large number of horror films use religious imagery in order to fright their audience to a further extent, for a priest to be involved within this discussion means that the case is extremely serious, whilst implying that there may be some sort of exorcism coming up. Non diegetic music is played in the background on a piano; the keys that are played create a dreary and reflective tone, easing the audience into what is to come. There are many different camera shots used within this trailer such as medium shots, long shots, establishing shots as well as all of these shots there is a common use of zoom ins, for the purpose of the audience to understand who this is happening to.
A zoom in occurs within the first 40 seconds, where there is a zoom into Maria’s face. The makeup used for this shot on Isabella is minimal, whilst her hair is down and curly and correctly parted. This indicates to the audience that Isabella is just as casual as perhaps one of the audience. Although she may look casual the direct address given to the audience from this image makes the audience feel uncomfortable. The way Maria Rossi’s eye liner has been applied to her face makes her eyes pop out in comparison with the rest of her face, instantly making the audience aware that there is something devious to this character.
There are some fade edits used from one establishing shot of Rome to long shot of a hospital, this is to convey that the travelling to Rome and visiting the hospital all happened within the same day with the same purpose. The location of this trailer is not isolated as it takes place mainly at the hospital, as well as a small cellar where Isabella is shown exorcisms. Further along in the trailer, the audience are shown a medium shot of Maria within this institution, her face is drained with no makeup, and her hair is out and wavy looking distraught. She reveals to the audience how drained and tired she must be through her appearance, the mise en scene within her room is extremely minimal. There is chalk and drawings on the table, which indicates to the audience that this is what she does with her time. Conveying a childlike impression, almost leaving the audience to feel sorry for her as the possession is not her fault she is innocent.
A shot of horrific imagery is then thrown at the audience as a zoom in on Maria’s arm is displayed through a shaky camera, suggesting that this part of the trailer is being shot through a hand held camera. This zoom in reveals acts the aftermath of Maria mutilating her own skin. This scene is accompanied by the word ‘Connecticut’ which is of no correlation to what is shown on screen, further nerving the audience. The main colours of red, white and black do not dominate this film trailer, which is solely due to the way it is displayed as realistic and almost a documentary rather than a horrific trailer although there are scenes of horror that follow.
The camera follows the characters into a dark cellar, which old bricks and dark available lighting, implying that this is an old cellar and what is inside of the cellar is not new to the priest, but will be to the audience. Although no demonic or disturbed children are used within this trailer there are females who have been possessed, and are now attempted to be exorcised throughout the trailer relaying to the audience just how gruesome it would be if the unknown were to happen.
The montage at the end of the trailer includes many different snippets of the film; one is a long shot of Rome with ambient lighting at night. This displays the mood of the trailer to take another turn for the worst as the setting has now to. At the end of the short montage, a bird’s eye view shot is displayed, with the dialogue being a children’s rhyme sung by Maria in a condescending tone. This has embodied a convention of horror by taking something innocent that is associated with children and then turned it into a vision of evil.
The montage at the very end of the film includes numerous 2 second medium/long shots that are within the cellar and in a priest’s car. The shown characters are being possessed or sought out by the possessed characters, the music played along with these shots are Maria singing her nursery rhyme which further intensifies the action on screen causing the audience’s blood to rush and their hearts to beat further as they have become full of fear. The trailer again keeps to conventions as it carries out a sting at the end of the trailer. This is to persuade the audience further into watching the movie, sting for this trailer is a medium shot with what appears to be light through a night vision camera; this is the same shot as the beginning of the trailer, embodying the structure to the trailer whilst keeping the audience guessing.
The trailer begins with a phone call made from the home of Maria Rossi, accompanying this phone call to 911 is the dialogue which allows the audience to know exactly what is going on. The tone of voice that Maria has is extremely nerving, and frightful which immediately sets the scene for the audience as there is no action on screen for them to view, which means they have to pay more attention to the words being said. Because this is the only dialogue and action on screen the diegetic sound is thereby intensified reeling the audience into the rest of the narrative.
Once this conversation has happened has ended a quick second shot of a female with minimal clothing and vulnerable body language appears on screen to the audience. This sudden shock image then leaves the audience confused and wanting to proceed further with the trailer in order to find out what that snapshot was the result of, or what it may be leading to. An instant form of persuasion.
This then fades into a scene where Isabella is telling a group of people about her mother. The lighting for this is available to show the scene as casual, but immediately some iconography has been displayed, such as a priest being in this scene. A large number of horror films use religious imagery in order to fright their audience to a further extent, for a priest to be involved within this discussion means that the case is extremely serious, whilst implying that there may be some sort of exorcism coming up. Non diegetic music is played in the background on a piano; the keys that are played create a dreary and reflective tone, easing the audience into what is to come. There are many different camera shots used within this trailer such as medium shots, long shots, establishing shots as well as all of these shots there is a common use of zoom ins, for the purpose of the audience to understand who this is happening to.
A zoom in occurs within the first 40 seconds, where there is a zoom into Maria’s face. The makeup used for this shot on Isabella is minimal, whilst her hair is down and curly and correctly parted. This indicates to the audience that Isabella is just as casual as perhaps one of the audience. Although she may look casual the direct address given to the audience from this image makes the audience feel uncomfortable. The way Maria Rossi’s eye liner has been applied to her face makes her eyes pop out in comparison with the rest of her face, instantly making the audience aware that there is something devious to this character.
There are some fade edits used from one establishing shot of Rome to long shot of a hospital, this is to convey that the travelling to Rome and visiting the hospital all happened within the same day with the same purpose. The location of this trailer is not isolated as it takes place mainly at the hospital, as well as a small cellar where Isabella is shown exorcisms. Further along in the trailer, the audience are shown a medium shot of Maria within this institution, her face is drained with no makeup, and her hair is out and wavy looking distraught. She reveals to the audience how drained and tired she must be through her appearance, the mise en scene within her room is extremely minimal. There is chalk and drawings on the table, which indicates to the audience that this is what she does with her time. Conveying a childlike impression, almost leaving the audience to feel sorry for her as the possession is not her fault she is innocent.
A shot of horrific imagery is then thrown at the audience as a zoom in on Maria’s arm is displayed through a shaky camera, suggesting that this part of the trailer is being shot through a hand held camera. This zoom in reveals acts the aftermath of Maria mutilating her own skin. This scene is accompanied by the word ‘Connecticut’ which is of no correlation to what is shown on screen, further nerving the audience. The main colours of red, white and black do not dominate this film trailer, which is solely due to the way it is displayed as realistic and almost a documentary rather than a horrific trailer although there are scenes of horror that follow.
The camera follows the characters into a dark cellar, which old bricks and dark available lighting, implying that this is an old cellar and what is inside of the cellar is not new to the priest, but will be to the audience. Although no demonic or disturbed children are used within this trailer there are females who have been possessed, and are now attempted to be exorcised throughout the trailer relaying to the audience just how gruesome it would be if the unknown were to happen.
The montage at the end of the trailer includes many different snippets of the film; one is a long shot of Rome with ambient lighting at night. This displays the mood of the trailer to take another turn for the worst as the setting has now to. At the end of the short montage, a bird’s eye view shot is displayed, with the dialogue being a children’s rhyme sung by Maria in a condescending tone. This has embodied a convention of horror by taking something innocent that is associated with children and then turned it into a vision of evil.
The montage at the very end of the film includes numerous 2 second medium/long shots that are within the cellar and in a priest’s car. The shown characters are being possessed or sought out by the possessed characters, the music played along with these shots are Maria singing her nursery rhyme which further intensifies the action on screen causing the audience’s blood to rush and their hearts to beat further as they have become full of fear. The trailer again keeps to conventions as it carries out a sting at the end of the trailer. This is to persuade the audience further into watching the movie, sting for this trailer is a medium shot with what appears to be light through a night vision camera; this is the same shot as the beginning of the trailer, embodying the structure to the trailer whilst keeping the audience guessing.
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