Astro Boy Trailer

The first technique used is a fade-in from white to the introduction of Astro Boy's birth. This is because the white screen is commonly associated with waking up or something of a holy nature. This ties in because it soon shows the character being made; he is not only waking up (said before) but the fact he is being made, given life so to say, is a very religious theme. This happens again when the lights of the robot's eye shine. While it has the obvious suggestion the robot has simply turned on, it has the same connotations as previously said.

While we see this happening, the scene is consistently interrupted with fade-in and outs to black, almost like a heart beat. This is on the exact same line of thinking as to that he is being given life; the fade outs represent the time between his heart beating, as he is about to be given life. As well as this, the use of these means that we only really see about half of the scene, the rest is a black screen, and this is created a very restricted view of what is going on to the audience. This builds a sense of mystery within the audience; we want to know what is going on but it is hidden from us. Supporting this are the very restrictive camera shots used, revealing very little to us.

The music accompanies each fade in a peak and is very slow. This is to make the scene suspenseful.

There is another fade to white as the boy is finally completed: this has the same justifications as before.

The scene that next follows starts with a sudden change in music to more dramatic and exciting violins. It is also full very fast cuts depicting the boy flying. These two combined make the simple event of flying seem very chaotic, and thus it is much more exciting to the audience.

A sudden camera shutter sound and a Polaroid flashing onto the screen implies someone has photographed Astro Boy. This sound allows the music to be cut off, and in turn means emphasis is directed at the dialogue that follows. This is especially important as the moment is comedic, and it makes it seem more awkward as there is an extended period of silence.

As a fade-in reintroduces the main footage, what mostly follows is quickly cut glimpses from many different scenes. This is to create a montage effect, alluding to the the constant excitement the film offers but never remaining in one place long enough to reveal anything substantial. It keeps the action free-flowing to ensure the interest of children, who are the primary audience.

There is repetition of the techniques already shown from this point, including the sudden silence to highlight the humour of a scene, like where the big robot speaks into the microphone, or when they realise that the dog is driving the car.

It is around this point that a dramatic voice-over enters. This is the typical, film-trailer voice that breaks the fourth wall and announces the arrival of the film. His voice is separated by extended periods to create tension within the audience. He exists to create a structure and point to the trailer, and the form a climax. To emphasise the climax the editing at this point soon becomes incredibly and increasingly fast-paced, until the point where it becomes so fast that finally the title covers the screen and the music comes to a close; we have reached the end.

However, another period of silence allows one final comedic piece.