The Trailer audiovisual deconstruction

Abstract

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Besides the reflections about certain audiovisual production, this article essays possible deconstructions of the hegemonic notion of publicity in the trailers. Therefore it’s important to consider that the trailer it’s not restricted to movie advertising, since we can identify in journalism, on television clips, other audiovisuals with similar constructions to trailers. Then, how would these be called if the term “trailer” is attached only to pieces regarding a movie? In such way it would be able to say that there are some movements and aspects in trailers which go beyond publicity and cinema. That said, it is also possible to think that what could justify a trailer it is not the existence of a movie but it’s promise, fact that can constitute, possibly, an emergent form of language in the audiovisual production. I mean, we notice an audiovisual composition adapted to a certain global production pattern, but at the same time, it is also identifiable the existence of fluid elements that escape preconceive models. The articulation of such audiovisual language with references that come since the videoclips productions and technological influences make it possible to glimpse an autonomous aesthetical and economical movement in the trailer production. It is in this theoretical and methodological context, between the semiology of Christian Metz and the deconstruction concept by Derrida, that this article discusses cinema and audiovisual inside the object of trailer.