A Call To Action Fans: Rhetorical Analysis Of Baby Driver

A Call To Action Fans: Rhetorical Analysis of Promotional Techniques in the Trailer “Baby

Driver” (2017)

Action films are among the most common in the movie industry. The movie "Baby

Driver" is action-based with a plot that is similar in structure and reminiscent of that of a classic action movie. The 2017 film, directed by Edgar Wright, follows Baby as he navigates his troubles with the mafia. While he is working with the mafia, he also finds himself falling in love with the other main protagonist Debora. The heartwarming and action-packed plot of this film makes for a thrilling experience for the audience. What entices the viewers to see this film is that it capitalizes on these emotions to help promote the film to action movie

enthusiasts

In it, she explains how music selection plays a vital part in the strategic creation of trailers and movies; hence, marketers must consider the role and impact music will have on consumers. She particularly expresses how “film music can have a strong influence on viewer attitudes toward characters, especially when the images on the screen are open-ended or ambiguous” (Strobin 5). An example from the trailer that utilizes Strobin’s explanation, is when the music lyrics say “There is nowhere to run to baby” while the visuals of the trailer are police helicopters following three red cars (1:46). This alludes to the fact that the main character is being chased by the cops in a red car and leaves the viewer wondering if he will be able to escape. The music, specifically the lyrics, during that scene is one of the driving factors that keep the audience on the edge of their seats; moreover, interested in the film because it adds to the story alongside the visuals. On the topic of keeping the audience intrigued, the addition of a female character and their relationship helps allude to the

Much of the valuable time in the trailer is spent on developing the relationship between the main character and the female protagonist Debora. This is done to aid the “Hero” trope previously mentioned to play the role of the girl who is won at the end of the story. Suzan Brydon analyzes the importance

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of women within a film in her article “Heart of Mothering...”, where she goes into detail about the different roles the female character may fill within a story. Brydon examines how the addition of female characters is created with intent and purpose as female heroines. She demonstrates this when she states, “Female ‘heroines’ are drawn with delicate strokes of femininity and coquettishness; they have hourglass figures, flawless features and need their men” (Brydon 132). Debora is intentionally portrayed as innocent and playful, as seen in the first shot of her where she smiles gleefully at the camera, making her the focal point of that scene (0:15). This shows the attention to detail and the careful decisions made in regard to her character. Her cheerful attitude blended with the intense suspenseful scenes helps