• The trailer will begin with Azlyn digging in the forest, appearing shaken and cautious of her surroundings as she appears to be checking behind or beside her. The phone will be set on the ground next to her.– This will be at eye-level before switching the shot to pan down to show

the phone and the edge of the grave. This is done to confuse the audience and further intrigue them into finding out why she is digging.

The first shot uses the conventions of enigma code, leaving the audience to wonder why the character is digging and interest them further as well as using the binary oppositions of good and evil which is later shown throughout the trailer.

• The protagonist’s mother is walking past her daughter’s room late at night, the audience being able to imply it is night due to the silence of the house and the dull/dark appearance of the scene. She spots a shadow in Azlyn’s room hovering over her which causes her to pause after she walked by and backs herself up to see it has now moved closer to her.– This scene will be used with objective treatment of the camera to show this in

mother’s perspective and leave a question of who is walking past. The sounds of her breathing gradually picking up throughout the scene will be shown alongside a cutaway to her looking forward in shock before turning back and backtracking to the shadow.

Enigma code is again used as the mother passes by with who is in the dark posing a question to the audience. Furthermore, with the character being the protagonist’s twin, this reinforces the theory of monstrous feminine. This is done to enhance fear.

• Azlyn appears to be scrolling through her Tumblr account online, looking at scary stories she has posted before a notification of a message pops up. She brings her cursor closer to the icon in order to open the notifications however as she hovers over it, the scene cuts.– This scene will be an over-the-shoulder shot, from a slightly high

angle, with the laptop screen as the main focus of the shot. This foreshadows the device as later being the cause of the problems that Azlyn will face.

This scene highlights the binary opposition of the peace before disruption of the equilibrium begins. The high angle will emphasise the vulnerability of the character and as a slower shot, will be used to build suspense.

• The scene displays Azlyn by the steps inside her school which will be in an isolated area in the Sixth Form Building. She is eating lunch by herself as she is secluded due to the presence constantly hovering over her and deterring others however a group of teenagers approach her, claiming they like her stories and ask her to sit with them in the hall.– A high angle shot will be used while Azlyn is by herself as this will make her

appear inferior to the audience, further encouraging the representation of her being an outcast amongst others. When others appear around her, being friendly, the angle will shift with a cut at eye-level to show a change in the character’s representation by being accepted and things appear to be getting better for her.

The protagonist appears alone, a trait resembling the idea of the final girl. This foreshadows the events fore coming and the fate of her being left after the ‘mysterious’ entity is done. This will further prompt the audience to anticipate and become interested.

• The protagonist is in her room at night by herself, the house appears quiet and she is scrolling through her laptop. Her phone is in the front of her bed however as her phone is on silent, she is oblivious to the text messages from her friends. Seconds later, a message from herself appears “11:40 PM: I can see you.” – “12:30 AM: Why aren’t you noticing me?”– This will be as a wide shot of Azlyn sitting on her bed with her lights turned

on. Her phone will be in front of her on the bed which will be blurred as there will be a pull focus when the messages increase on her lock screen to allow the audiences to see the messages from herself.

Voyeurism is used throughout this scene as the audience will seemingly be ‘peeping’ into the private life of the protagonist and reading her messages which emphasises the idea of a ‘Big Brother’ effect. Male gaze is used primarily through the mise-en-scene as suspense continues to build.

• Azlyn appears on her laptop in the next scene, checking her statistics and noticing that her following has decreased which may be due to the issues overtime. Her body language displays her attitude as her face is crestfallen and her body is tucked into herself making her appear smaller and inferior to the audience.– This shot will be done as a wide shot to establish the bedroom of the

main character which will frighten the audience with the domestic and intimate setting that they are able to relate to Azlyn as well as establish the situation. Furthermore, the focus will be on the protagonist for a few seconds before pull focusing on the phone with messages from her friends and also herself.

Voyeurism once again is used within this shot to act as if the audience are invading the main character’s private life with the binary oppositions of light and dark playing throughout the shot as through the remaining trailer.

• Azlyn appears to be scrolling through messages that have been sent to her through her Tumblr, distraught as many tell her to stop sending messages which are implied to be personal with their defensive reactions. Messages will include “How did you even know that? Get out of my head!” and “If you continue to send messages, I’m pressing charges!”– The scene will be a close up shot to reveal the laptop screen and display the

messages to the audience. The laptop will only be visible to the viewers as they will see the protagonist’s reflection in the screen. Alongside this, it will be a canted shot in order to represent the disorientation the character is facing.

The shot uses moral panics as technology appears to turn against Azlyn as she sees appears to have people turn against her. This is a common fear of technology become a nightmare to teenagers to increase fear.

• Tumblr later emails her and confirms that the messages were tracked to her IP address, implying that it was through her computer and whoever it may be, is using her devices to message people.– This shot will be a side profile of Azlyn at the laptop, on her

bed, with the message from Tumblr appearing on screen. There will then be a cut to show the message, as a close-up, to emphasise the importance of it.

As a threat is established through the confirmation of an email from a reputable organisation, the enigma code is used to alert the question of what is going on for the audience to further add to the tension now building rapidly.

• Azlyn wakes up through the middle of the night and in a daze, she is scratching her arms and looks down to see scratches, marks and specks of blood on her skin which allows her to awaken from her state of delusion.– This shot will be filmed as a mid-shot at eye level but also blurred to

replicate her confusion in seeing the blood on her. This will later turn into subjective treatment of the camera in Azlyn’s perspective which will now be focused to show her concentrating and in her full conscious.

As marks suspiciously appear on the protagonist’s body, the enigma code is once again enforced to interest the audience. Although the eye-level shot is somewhat stable, the change of subjective to objective camera treatment distorts the audience.

• The “specialist” reassures Azlyn, telling her to go to sleep as she will observe the surroundings of her room and will note if something strange may occur.  – The scene will fade into the following scene to appear

connect in some way. The sound of the “specialist’s” voice will therefore bridge to the next scene with Azlyn by herself and appear as a dream.

The use of a ‘specialist’ enforces the idea of character functions, needing a helper for the narrative to continue. Tension is increased due to the sound-bridge to the next scene which distorts the order of shots in the viewer’s mind.

• Azlyn is looking into the mirror in this scene, going about her business before she spots a figure in her peripheral vision. When focusing on the unknown entity, she notices the figure is human-like. This will be done through a mirror as though we see part of Azlyn; the shot is mostly seen through the mirror.– The scene will be done to have a haze effect over the shot in

order for it to appear dream-like and distort the perception of artifice and reality. Furthermore, the shot will be over the shoulder to see the twin through the mirror rather than in real life.

This scene appears to be a continuous scene from the last to distort the order of shots to the viewer’s attention, to appear dream-like. Using the enigma code, the audience are left to wonder what is the shadowed figure attached to the protagonist along with voyeurism which is used as peaking into her ‘dream’.

• In a hysterical breakdown, Azlyn starts ripping out the wires of devices such as her TV and chargers. She will also begin shutting down her devices in order to stop her twin from contacting her.– This will be done as a tracking shot to allow the audience to

follow the actions of the protagonist. We will also have the camera slightly unstable in order to create the idea that the audience are there with her and following her around the room.

The devices Azlyn uses reinforces the theory of moral panics and once providing her happiness, technology is now ruining her life. Tension is building as this is one of the character’s climaxes through the trailer.

• As she slowly begins to calm down from her hysteria, her phone breaks the silence around her with a notification is sent to her with it being from herself. This message will be displayed to the audience as “You can’t get rid of me.”– There will be panned down shot to show the room so the

audience are able to see her on the floor with her phone beside her. This will display how vulnerable and distraught Azlyn is and redefines the idea of the power of the entity controlling her device.

Binary oppositions are highlighted between the use of devices and technology against a domestic, homely setting. As a symbol of distraught, the opposition of fear and danger is contrasted by what viewers see as comfort, their rooms/homes. Panning is used to establish the chaos of the situation.

• The protagonist is holding her phone and visibly shaken after the messages she has seen however by stabilising herself, Azlyn opens the messages (which are not opened) in order to reply. She messages herself to contact her twin, saying she will “get rid of you for good”.– This will be a stable shot, filmed at a high angle to show her as

inferior however as she rises up to reply, the angle will switch to a low angle. This will therefore allow the audience to imply she is ready to fight back.

As we are nearing the end of the trailer, the final girl is reaffirmed as the protagonist appears alone and left with the idea of the entity, highlights the use of monstrous feminine. The audience are left with questions of what she will she do to get rid of ‘it’.

• Azlyn appears to be looking around the room before her eyes connect with her mirror and it is once again night. She sees the shadowy figure of her twin coming closer and she screams with the phone against her chest as a sort of protection.– This scene will be done with subjective treatment of the camera as

she looks around the room before switching to objective treatment when looking into the mirror. Her breathing and panting will be heard to increase the atmosphere of suspense.

The mirror is now seen as the icon of fear, adding to common uses of iconography throughout horror. Additionally, monstrous feminine is used with the character of her twin. The chaos is now reaching her, appearing to be unfixable.

• Finally, as the mirror scene is switched to subjective view for the audience, Azlyn will appear frightened, looking side to side as the vision of a shadowy figure appears behind her and silence will overtake the scene.– At eye-level view, the shot will be filmed as subjective in

order to disorientate the viewer with different shifts of perspectives. Furthermore, the scene will soon cut to black to indicate the end of the trailer.

Finally, seen as the ‘new equilibrium’ the readers are left with the idea of what has happened to the character as the trailer ends with the entity having the upper hand. This enforces the enigma code.