The Hyperreality of the Trailers As a Communication Strategy: A Reflection on Simulation Approach

The hyperreality is present in the technological world and could be defined as the technological capacity to combine virtual reality, physical reality, artificial and human intelligence, integrating them in a natural way to serve as a user interface for access to advanced applications (Tiffin and Terashima, 2001). In this context, underlying the fundamental elements of audiovisual language, there is a discourse that supports the argument of what appears in the form of audio and visual advertising discourse (Iuva, 2007). We can see then that the trailers are an important tool for communication and dissemination of a movie or proposed idea, seeking to attract individuals or by objective aspects (measurable), or subjective experiences (sensory). There are three types of narrative strategies in the trailers, which can be combined with each other: direct argumentation, narration and seduction, fascination. In the latter, it raises the question of this research: Does the hyper-reality of the trailers lead the individual's seduction to create distortions of what is real?

On the other hand, the media influence the behavior of post-modern society, especially television wich created a "simulational world" where individuals change very quickly their perceptions, and cancel any relationship to the past. Baudrillard (1991) did not believe in the the good use of media as he saw them as a non-communicative way, a quality that allowed them to manipulate people, creating constantly several simulations. Baudrillard (1991), initially propose a resistance to this simulations and destruction of the transmission and the world of media technology through a revolutionary action to return to the conversation face to face. Based on these discussions, the objective of this paper is to analyze the hyperreality of the trailers based on the simulation approach proposed by Baudrillard.

Baudrillard, Jean. Simulacra and Simulation. Lisbon: Clock D'water, 1991