Django Unchained Trailer

The Django Unchained trailer portrays the text in such a way that the exact genre is next to impossible to decipher, without the inclusion of numerous Quentin Tarantino's pioneer hybrids. Aesthetically, the trailer is made out to look similar to the standard Western film, for the reasons that follow;

Initially, the establishing shot of the slaves wandering through the desert shows a typical setting for a lot of Western films, which is usually in a form of barren wasteland used for ranch working. This shot conveys this immediately, eliciting the same sort of response an audience would receive if shown this shot at the beginning of any other Western film. This use of mise-en-scene (setting) signifies the common theme of isolation, that was also felt during the time that the story is (conventionally) set in. With prior knowledge on Western films, I know that they, by standard, take place soon after the American civil war, which is also connoted through the use of (non-diegetic) music. Although the music has been tampered with a modernized beat, the melody (instrumental) aspect is similar to the minimalist guitar and violin combination that is commonly seen throughout classic Western films; this is conventional of the genre. (see example below.) The music resembles triumph but also rebellion; innately, music of this sort is associated with the good vs evil binary opposition, which is also seen through the Django Unchained trailer. (Bounty vs hunter.)

Additionally, the use of costume also connotes codes and conventions of the Western genre. In addition to the cowboy hats, horse saddles and roughed-up blazers, comes the (once again) civil war styled, anti-imperialist uniform that Django wears during a later point of the trailer. This, at the very least, signifies the time frame of which the story is set, from which we can connote that the character types and narrative as a whole will follow a similar structure to that of the Western films we have come to know.

The pair of protagonists are always framed in a way that represents them as being figures of authority, which, although juxtaposes the vision of African-Americans during that time, is significant when analyzing the genre. Western films were renown for presenting two main characters in a form of partnership, that work together for a common objective. This leaves the audience with a sense of familiarity within the text, given the almost reflected sense of clothing and posture that the two share. This is conventional of Western films, as we have the protagonist (hero) and the secondary protagonist (the sidekick.)

As for props and iconography, the six shooter revolver and the double-barrel shotgun signify the genre in a very profound, nostalgic way. For obvious reasons, the arsenal that forces dealt with at that time were limited; specifically, to revolvers (with a chamber that could hold six bullets), long range rifles, and shotguns. For the small amount of time that these two props are previewed on frame, we as an audience can safely say that the director, Quentin Tarantino, has tried to represent this limitation on screen, with these two iconic, traditional props. The juxtaposition that these two props signify within the narrative is also of importance; the character holding the double barrel shotgun, framed only from a low angle to signify power, ends up succumbing to the six shooter revolver, which had previously been shown being held through a high angle, which connotes vulnerability and weakness.

Functionality that contradict;
Soundtrack change (towards end), more funk-soul than Western.
Similar to 70's push on racism in film, rather than Western.
Both character types juxtapose expected.
Binary oppositions of evil vs evil.