The Mamma Mia Trailer

I have analysed a few shots in the Mama Mia trailer to see how some of the practical work we have been doing in class, is used in reality and for what purposes. As it is a trailer a montage of snappy shots are used and therefore although there is less camera movement, a range of different shot types have been used.

The opening shot is a MCU of dancing feet and legs. This enables the audience to focus on the legs and therefore not revealing much to the audience but introducing the elements of dance song and colour to the film. The camera is also on ground level showing the synchronisation of the dance step.

It is followed by a High angle VLS which enables us to see the crowd of people dancing. Here the VLS is useful in showing lots of detail, so the building n disco like lights around the set and the High angle is useful in showing many people densely packed in a small space. It also gives u an overview of the general atmosphere and happy tone of the movie. There is then a MLS of people’s arms in the air holding the main character whose back is facing the audience, before being first revealed in MCU. This enables us to see her expression, which shows she is is extremely enjoying herself, young and carefree, but also her hand gestures and positioning, being flung upside down.

The trailer then sets the scene with a lovely but quick crane shot showing that the story is set on a beautiful island. This is clear from the mis-en-scene present in the ELS showing the sparkling sea framed nicely by the mountains on either side, as well as the white Greek island building and trees. Here the director has nicely used a frame-within-a-frame Therefore an ELS and Crane shot can be used to show the surroundings and to set the scene.

At 0.25 there is an OTS which shows the main character revealing a secret to the boy. This can be used to leave the audience curious as to the young man’s reaction to this secret, and therefore anxious as to what will happen next. It also shows Amanda Seyfried’s shocked expression whilst revealing her new findings.

At 0.26 there is an example of a two shot and a slight pan as the two friends step backwards in shock. The two shot makes it obvious that after her boyfriend, she only has two other close friends.

At 0.36 there is another High angle shot which enables us to the wooden floors and white steps again showing it is set in a hot country. We also see the mother falling down looking quite vulnerable and clumsy from above.

At 0.39 there is also a Low Angle shot of the three men and it is also a POV shot as we see Meryl Streep’s two legs on either side (frame-within-a-frame). This clearly shows her dilemma of having had three men in her life who have all come back. All three have moved on and progressed in their lives as we see them looking quite dominating, but they all seem to be looking down at her as if she still has not changed her ways.

At 0.46 there is a reverse track shot showing the motion of car driving towards the camera. Here it gives us the glimpse of the swirling and sandy roads, maybe somewhere near a beach resort.

At 1.13 there is a tilted frame to enhance the craziness of the characters who seem a bit tipsy in their fancy dress costumes.

At 1.48 the director has used a whip pan from Meryl Streep to Pierce Brosnan showing how they are in love again as they glance at each other as well as to fit the fast paced movement on the dance floor and add to the excitement.