In this post, I will only be discussing affect within movie trailers. I am adhering to Brian Massumi’s definition of affect vs emotion. For Massumi, “affect is primary, non-conscious, asubjective or presubjective, asignifying, unqualified and intensive; while emotion is derivative, conscious, qualified and meaningful, a ‘content’ that can be attributed to an already-constituted subject.” (Massumi, 2005, p5).

Affect and trailers are both viewed as practical marketing tools. Marketing studies from the 1980s found that “affect could serve as a primary motivator of consumption behaviour” (Hirschman and Holbrook, 1982, p2). This study led to an increase in affect marketing that continues today. Erevelles states that “the role played by affect in marketing is now an integral part in the discussion of most marketing phenomena.” (Erevelles, 1998, p201). We see this throughout movie trailers in their visual intensity, sound design, affective atmosphere, and ambiguity.

These marketable aspects can change with various genres. For example, horror movies rely on fear and suspense, as seen through jumpscares. This effect is evident in the IT teaser trailer where Georgie viciously yells, “You’ll float too to our protagonist,” at the end whilst non-diegetic ominous music plays. Once Pennywise appears in the water, it quickly escalates to a deafening sound as the evil clown runs towards us. The trailer’s effective use of affect made it the most viewed trailer in a day, with over 190 million views.

Recently, the Barbie trailer used affect with its vibrant and eye-catching pink colours to create a visually appealing and cheerful atmosphere. It makes a whimsical and aspirational sense in the audience. The trailer jumps from three different pop songs to evoke a sense of joy and energy, contributing to a positive response from the audience. The last song played is “Make Your Own Kind of Music”, which, alongside the visuals, creates an aspiration image in the viewer—inspiring young audiences by emphasizing that Barbie encourages imagination, self-expression, and positive values. The campaign’s effectiveness showed in its £276 million opening weekend, making it the biggest movie for a female director.

We can see how film trailers strategically incorporate affective elements through these two vastly different trailers. Trailers seek to create a visceral and memorable experience that resonates with viewers on a non-conscious level. This effective engagement generates interest, builds anticipation, and drives audiences to the theatres.

Sarah Angel Majeed

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Bibliography

Ahern, Sarah. ““It” Trailer Sets Record for Most Online Views in Single Day.” Variety, 31 Mar. 2017, variety.com/2017/film/news/it-trailer-record-views-fate-of-the-furious-1202020299/. Accessed 27 Nov. 2023.

Bros, Warner . “IT – Official Teaser Trailer.” YouTube, 29 Mar. 2017, http://www.youtube.com/watch?v=FnCdOQsX5kc.

Clasen, Mathlas. “Why Sound Is so Important in Horror Movies | Psychology Today United Kingdom.” Www.psychologytoday.com, 17 Sept. 2022, http://www.psychologytoday.com/gb/blog/why-we-love-horror/202209/why-sound-is-so-important-in-horror-movies#:~:text=When%20horror%20movies%20create%20shock. Accessed 27 Nov. 2023.

Erevelles, Sunil. “The Role of Affect in Marketing.” Journal of Business Research, vol. 42, no. 3, July 1998, pp. 199–215, https://doi.org/10.1016/s0148-2963(97)00118-5.

Grant, Catherine. “Film Studies for Free: On “Affect” and “Emotion” in Film and Media Studies.” Film Studies for Free, 4 Nov. 2011, filmstudiesforfree.blogspot.com/2011/11/on-affect-and-emotion-in-film-and-media.html.

“Greta Gerwig Makes History as Barbie Has Biggest Opening Weekend for Film Directed by a Woman.” The Guardian, 24 July 2023, http://www.theguardian.com/film/2023/jul/24/barbie-movie-box-office-greta-gerwig-records-highest-grossing-woman.

Hirschman, Elizabeth C., and Morris B. Holbrook. “Hedonic Consumption: Emerging Concepts, Methods and Propositions.” Journal of Marketing, vol. 46, no. 3, July 1982, pp. 92–101, https://doi.org/10.1177/002224298204600314.

Massumi, Brian. Parables for the Virtual: Movement, Affect, Sensation. Durham, Duke University Press, 2002.