The goal of the article is to contribute to the basic framework of the semiotic study of film trailers, approaching the trailer as a model of film. Discussing the signifying relations between the trailer and the film, I clarify mechanisms through which meta- or paratexts model their source texts and shape their reception. As examples, two cases in which trailers appear to be deceptive about the film’s genre are closely looked upon as the multimodal construction of the trailers of Alejandro G. Inarritu’s Birdman and Nicolas Winding Refn’s Only God Forgives is analysed. Following Lisa Kernan and Keith Johnston, the film’s genre is seen as the central type of information communicated by the trailer. In this context, genre is understood as dominant in the sense of Roman Jakobson. I propose dominant as the crucial concept: examining incoherences between the dominants of the film and its trailer makes it possible to conduct a closer analysis of the misleading model-making and to predict possible disappointment in the viewing experience.

中文翻译：

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关于欺骗性预告片的概念：作为文本的预告片和电影的多模式模型

本文的目的是为电影预告片的符号学研究奠定基础，使预告片成为电影的模型。在讨论预告片和电影之间的重要关系时，我阐明了元或副文本通过其原始文本建模和塑造其接收效果的机制。例如，在分析了两种预告片似乎对电影类型具有欺骗性的情况时，分析了Alejandro G. Inarritu的Birdman和Nicolas Winding Refn的Only God Forgives的预告片的多模式结构。继丽莎·克尔南（Lisa Kernan）和基思·约翰斯顿（Keith Johnston）之后，电影的类型被视为预告片传达的信息的主要类型。在这种情况下，在罗马·雅各布森的意义上，体裁被理解为主导。我建议将主导作为关键概念：