Deconstruction of Sound in Adulthood

I have looked at the trailer for the sequel to Kidulthood, Adulthood, and have decided to deconstruct the sound used.

The trailer begins with a fade in with non-diegetic violin music at a fairly high pitch that begins at 0:01 seconds. This music is from the first song, Bashy's 'Adulthood', and with a soft dynamic due to the diegetic dialogue of the woman saying "When I was, like, fifteen, all I wanted to do was get older." This, coupled with the non-diegetic score, creates a negative tone that is mellowed, hence showing that the trailer is starting with a sort of equilibrium, which conforms to conventions of a teaser trailer as this obey's Todorov's theory of equilibrium.

This is further anchored by the following shot, which shows the production company in fast paced flashy editing, and is accompanied by the non-diegetic music at a louder dynamic, and is the point at which the lyrics of the score begin. The song is a rap song, which conforms to conventional representations of young adults as they are often represented as violent and 'gangster', both of which are connoted by music in this genre.  The song has a very fast beat, which adds tension as this is a sound that mimics a rapid heartbeat.

The song was created specifically for this film, and demonstrates the struggle of the transition from kidulthood to adulthood, particularly for teens living in London.
The first verse begins in a softer dynamic so as to allow more attention to be drawn to the diegetic dialogue of a confrontation between two characters. As the shots continue, the dynamics grow louder, with various shots to accompany the first verse. This verse introduces the darkly violent nature that is expected of working class youths in London.
The lyrics contains language that is stereotypically used to represent working class youths, such as the use of expletives in "Are you gonna fuck my bredrin or what?". Additionally, the use of colloquial language "bredrin" connotes the conventional representation as this is typical slang.

Throughout the score, diegetic sound effects are layered over the non-diegetic score, such as the sound of a car braking suddenly in this shot-

and the sound of the train in this one, and this is done to further reinforce the realism of the plot.

At 00:53 seconds the score continues, but layered over the lyrics is a new high pitched sound that conforms to conventions of a teaser trailer as this adds tension by making the audience feel uncomfortable. As the trailer continues, this high pitched sound grows louder in its dynamics, building into a crescendo until it overtakes the original score at 1:00 minute.

Then, at 1:03 the sound fades ever so slightly and is taken away, replaced by the diegetic sound of glass smashing - a sound effect that is stretched and fades. After this, there is a low pitched 'ghostly' hushed sound that builds tension as the editing slows.

Then, at 1:06 a new techno song begins, at a higher pitch, and this song is 'Arms Open Wide' by Shystie. This song has a slower tempo and uses piano notes to suggest a more quiet tone that is contrapuntal to the scenes being shown, as on the screen we see violence. There is diegetic dialogue at 1:09 as the man exclaims "This is about me!", and at 1:12, when there is a title that appears on screen, the lyrics to the song begin, and we discover that it is once again a rap song.

At 1:18 there is a loud sound effect of a person yelling, which is heard over the faded score, and at 1:23, as we clearly hear the non-diegetic lyric "Adulthood", the title of the film appears, and there is high pitched violin music which grows in pitch and volume until 1:24 where it cuts off very suddenly as there is only diegetic dialogue of "You think I forgot you blad?". The lack of non-diegetic music here is very sudden, building suspense and showing the trailer ending on disequilibrium, conventional of the teaser trailer form as this creates an enigma that encourages the audience to go out and watch the film.

The non diegetic music very briefly reappears at 1:26 with a low pitched sound to accompany the "coming soon" written on the screen.

Evaluation
This deconstruction has aided in our creation of our own soundtrack, as we will also consider using diegetic sound effects over the non-diegetic music. Similar to this trailer, our own has a shot at the end where the protagonist punches a mirror, and so we may consider adding the sound effect of glass shattering to indicate disequilibrium. However, our teaser trailers music will be parallel to the scenes being shown on the screen, so as to influence the feelings of the audience.